Aubrey A Huber
Biographic Data
| ID | 6609971 |
|---|---|
| NAME | Aubrey A Huber |
| GIVEN NAMES | Aubrey A |
| FAMILY NAME | Huber |
| SIGNATURE | HUBER A A |
| AFFILIATIONS | University of South Florida |
| ORCID | 0000-0002-6985-0156 |
| VERIFIED | Yes |
| TOTAL WORKS | 10 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 10 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2013 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 1 |
A performance pedagogy of the small
In this essay, I urge teachers of performance to write their performance pedagogies to further document and theorize the careful work they do as performance scholars and practitioners that contributes to and extends disciplinary and interdisciplinary conversations. I suggest a turn toward what I call a "performance pedagogy of the small" that embraces "small performances," and "small stages" to sustain and enliven performance practice(s) in our c…
Collaborative performances of and toward survival in the communication classroom and beyond: An inter-institutional performance forum
This forum features collaborative performances comprised of graduate student and faculty contingencies representing various institutions: University of Kansas, Arizona State University, University of South Florida, and University of Denver. Drawing on lived experience through the vantage of instructor and/or of student, participants embody performances of survival in the communication classroom and beyond. In particular, participants draw on perf…
Embodied fragments: Embracing risk, failure, resistance, and pedagogical possibility
This video performance utilizes collage and assemblage to embody risk, failure, and possibility in the communication classroom as well as to explore how such embodiments function as disruptions to normative expectations. Informed by Amy Kilgard’s “pedagogy of chaos,” framework for “collage” the performers generate collaborative fragments of the classroom experience to speak with one another, with the audience, and as distinct, individual voices. …
Documenting Emotional Labor
This essay builds on Lawless’s call to name and chronicle emotional work. The authors draw attention to the emotional labor that has become an institutional expectation of the academic position, particularly among people with marginalized identities, to name this labor as such and to use this documentation as evidence for compensation. The authors’ emotional labor is grounded in critical communication pedagogy (CCP), which compels them to engage …
Failing at the help desk: Performing online teacher
Performing failure presents radical opportunities for reimagining the world. Drawing from critical autoethnographic accounts, I utilize performance as a method to examine individual and structural failures in the online classroom from my perspective as a contingent faculty member. I contend that online education structurally compels teachers into “help desk” positions. Drawing from staged conspicuous aesthetic performance, I examine how these pos…
Performing remote pedagogy: Reductions, omissions, and interventions
In this piece, we contend with what it means to craft a pedagogy during an ongoing global pandemic. Our experience is fluctuating, frenetic, and fragmented. Drawing on our commitment to critical performance pedagogy, and Berlant & Stewart's (2019) “hundreds,” we craft an essay that is similarly scaled down, distilled, and splintered as a way to with resonating as well as dissonant experiences. For perhaps, in this moment, as we realize what is go…
Wunderkammer: The performance showcase as critical performative pedagogy
The performance showcase is a rich opportunity to employ critical performative pedagogy as an embodied engagement with, interrogation of, and disruption to institutional and ideological structures and practices. Wunderkammer (cabinet of curiosities): A Performance Showcase radically actualizes critical performative pedagogy by attending to, collecting, and curating the embodied labor of the performance classroom and curriculum. We include a descr…
Collaborative Directing and Teaching
In this essay, the relationship between directing and critical approaches to pedagogy is considered as a starting place for theorizing directing as an act of critical performative pedagogy. Performance and directing create opportunities for relational, collaborative, and experiential approaches to students, learning, and the classroom. Connecting critical approaches to pedagogy with the act of directing offers new ways of conceptualizing both the…
Hearing Voices
As the director of Miles Away from “The Cool,” the performer asks me to listen to/for the implications of specific location, the pedagogical potentiality in the life and work of Miles Davis, and his relationship with Davis. The performer asks the audience to consider their subject positions and relationships to and with race, cultural icons, and their pedagogical practices as students and teachers. Together, we want to create a performance that i…
Documenting a Present: Coming to Performance Studies
This story of coming to performance studies reveals how performance and pedagogy intricately weave themselves together in my experience
Wunderkammer: The performance showcase as critical performative pedagogy
The performance showcase is a rich opportunity to employ critical performative pedagogy as an embodied engagement with, interrogation of, and disruption to institutional and ideological structures and practices. Wunderkammer (cabinet of curiosities): A Performance Showcase radically actualizes critical performative pedagogy by attending to, collecting, and curating the embodied labor of the performance classroom and curriculum. We include a descr…
A performance pedagogy of the small
In this essay, I urge teachers of performance to write their performance pedagogies to further document and theorize the careful work they do as performance scholars and practitioners that contributes to and extends disciplinary and interdisciplinary conversations. I suggest a turn toward what I call a "performance pedagogy of the small" that embraces "small performances," and "small stages" to sustain and enliven performance practice(s) in our c…
Collaborative performances of and toward survival in the communication classroom and beyond: An inter-institutional performance forum
This forum features collaborative performances comprised of graduate student and faculty contingencies representing various institutions: University of Kansas, Arizona State University, University of South Florida, and University of Denver. Drawing on lived experience through the vantage of instructor and/or of student, participants embody performances of survival in the communication classroom and beyond. In particular, participants draw on perf…
Embodied fragments: Embracing risk, failure, resistance, and pedagogical possibility
This video performance utilizes collage and assemblage to embody risk, failure, and possibility in the communication classroom as well as to explore how such embodiments function as disruptions to normative expectations. Informed by Amy Kilgard’s “pedagogy of chaos,” framework for “collage” the performers generate collaborative fragments of the classroom experience to speak with one another, with the audience, and as distinct, individual voices. …
Documenting a Present: Coming to Performance Studies
This story of coming to performance studies reveals how performance and pedagogy intricately weave themselves together in my experience
Collaborative Directing and Teaching
In this essay, the relationship between directing and critical approaches to pedagogy is considered as a starting place for theorizing directing as an act of critical performative pedagogy. Performance and directing create opportunities for relational, collaborative, and experiential approaches to students, learning, and the classroom. Connecting critical approaches to pedagogy with the act of directing offers new ways of conceptualizing both the…
Hearing Voices
As the director of Miles Away from “The Cool,” the performer asks me to listen to/for the implications of specific location, the pedagogical potentiality in the life and work of Miles Davis, and his relationship with Davis. The performer asks the audience to consider their subject positions and relationships to and with race, cultural icons, and their pedagogical practices as students and teachers. Together, we want to create a performance that i…
Wunderkammer: The performance showcase as critical performative pedagogy
The performance showcase is a rich opportunity to employ critical performative pedagogy as an embodied engagement with, interrogation of, and disruption to institutional and ideological structures and practices. Wunderkammer (cabinet of curiosities): A Performance Showcase radically actualizes critical performative pedagogy by attending to, collecting, and curating the embodied labor of the performance classroom and curriculum. We include a descr…
Failing at the help desk: Performing online teacher
Performing failure presents radical opportunities for reimagining the world. Drawing from critical autoethnographic accounts, I utilize performance as a method to examine individual and structural failures in the online classroom from my perspective as a contingent faculty member. I contend that online education structurally compels teachers into “help desk” positions. Drawing from staged conspicuous aesthetic performance, I examine how these pos…
Performing remote pedagogy: Reductions, omissions, and interventions
In this piece, we contend with what it means to craft a pedagogy during an ongoing global pandemic. Our experience is fluctuating, frenetic, and fragmented. Drawing on our commitment to critical performance pedagogy, and Berlant & Stewart's (2019) “hundreds,” we craft an essay that is similarly scaled down, distilled, and splintered as a way to with resonating as well as dissonant experiences. For perhaps, in this moment, as we realize what is go…
Documenting Emotional Labor
This essay builds on Lawless’s call to name and chronicle emotional work. The authors draw attention to the emotional labor that has become an institutional expectation of the academic position, particularly among people with marginalized identities, to name this labor as such and to use this documentation as evidence for compensation. The authors’ emotional labor is grounded in critical communication pedagogy (CCP), which compels them to engage …
Collaborative performances of and toward survival in the communication classroom and beyond: An inter-institutional performance forum
This forum features collaborative performances comprised of graduate student and faculty contingencies representing various institutions: University of Kansas, Arizona State University, University of South Florida, and University of Denver. Drawing on lived experience through the vantage of instructor and/or of student, participants embody performances of survival in the communication classroom and beyond. In particular, participants draw on perf…
Embodied fragments: Embracing risk, failure, resistance, and pedagogical possibility
This video performance utilizes collage and assemblage to embody risk, failure, and possibility in the communication classroom as well as to explore how such embodiments function as disruptions to normative expectations. Informed by Amy Kilgard’s “pedagogy of chaos,” framework for “collage” the performers generate collaborative fragments of the classroom experience to speak with one another, with the audience, and as distinct, individual voices. …
A performance pedagogy of the small
In this essay, I urge teachers of performance to write their performance pedagogies to further document and theorize the careful work they do as performance scholars and practitioners that contributes to and extends disciplinary and interdisciplinary conversations. I suggest a turn toward what I call a "performance pedagogy of the small" that embraces "small performances," and "small stages" to sustain and enliven performance practice(s) in our c…
Sociology (10 works) · Art (6 works) · Epistemology (6 works) · Pedagogy (6 works) · Psychology (5 works) · Aesthetics (4 works) · History (4 works) · History (4 works) · Performative utterance (4 works) · Philosophy (4 works)