Oona Hatton
Biographic Data
| ID | 6359527 |
|---|---|
| NAME | Oona Hatton |
| GIVEN NAMES | Oona |
| FAMILY NAME | Hatton |
| SIGNATURE | HATTON O |
| AFFILIATIONS | San Jose State University, San Jose, CA, USA |
| ORCID | 0000-0001-5291-8129 |
| VERIFIED | Yes |
| TOTAL WORKS | 3 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 3 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 0 |
SJS-Who? Performance Ethnography and a Practice-Based Pedagogy
What is the performative force of practice-based pedagogy? Are there common perceptible outcomes of students engaging in practice-based research (PBR) in a learning environment? This essay utilizes an interview-based performance that is part of a course on performance ethnography to propose three observable features of practice-based pedagogy: intimacy, accountability, and reciprocity. In addition to articulating how PBR aligns with critical perf…
If you are going to treat someone like a human’
This study draws on the experiences of eleven individuals working for six organisations in Northern California to identify ways White supremacist ideals operate in performance-related programmes in correctional facilities. The inquiry examines the experience of teaching artist/facilitators (TAFs) of colour; White TAF’s (in)ability to reflect on the impact of their racial identity in the classroom/workshop; and the racism inherent in institutional…
Devilish deals
The annual ethnographic performance SJS-Who? is an example of how theatre may survive or even thrive in an educational/institutional environment that seems increasingly indifferent to the arts and humanities. In addition to being a meaningful educational experience for many students, SJS-Who? has successfully increased the profile of performance work within the department, college, and university. It also offers an opportunity to publicly critiqu…
No prominent works on this page.
Devilish deals
The annual ethnographic performance SJS-Who? is an example of how theatre may survive or even thrive in an educational/institutional environment that seems increasingly indifferent to the arts and humanities. In addition to being a meaningful educational experience for many students, SJS-Who? has successfully increased the profile of performance work within the department, college, and university. It also offers an opportunity to publicly critiqu…
If you are going to treat someone like a human’
This study draws on the experiences of eleven individuals working for six organisations in Northern California to identify ways White supremacist ideals operate in performance-related programmes in correctional facilities. The inquiry examines the experience of teaching artist/facilitators (TAFs) of colour; White TAF’s (in)ability to reflect on the impact of their racial identity in the classroom/workshop; and the racism inherent in institutional…
SJS-Who? Performance Ethnography and a Practice-Based Pedagogy
What is the performative force of practice-based pedagogy? Are there common perceptible outcomes of students engaging in practice-based research (PBR) in a learning environment? This essay utilizes an interview-based performance that is part of a course on performance ethnography to propose three observable features of practice-based pedagogy: intimacy, accountability, and reciprocity. In addition to articulating how PBR aligns with critical perf…
Art (3 works) · Art Education and Development (3 works) · Political science (3 works) · Sociology (3 works) · Theatre and Performance Studies (3 works) · Aesthetics (2 works) · Anthropology (2 works) · Critical Race Theory in Education (2 works) · Ethnography (2 works) · Gender Studies (2 works)