Remembering a Zenith

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Disclosure statement

No potential conflict of interest was reported by the author(s).

Notes

1 D. Soyini Madison, “Performance, Personal Narratives, and the Politics of Possibility,” in The Future of Performance Studies: Visions and Revisions, ed. Sheron J. Dailey (Washington, DC: National Communication Association, 1998), 241.

2 Daniel C. Brouwer, “Communication as Counterpublic,” in Communication As … : Perspectives on Theory, ed. Gregory J. Shepherd, Jeffrey St. John, and Ted Striphas (Thousand Oaks, CA: Sage, 2006), 198, 200. [emphasis in original]

3 John Henrik Clarke, “Paul Robeson: The Artist as Activist and Social Thinker,” Présence Africaine 107 (1978): 223-241, https://doi.org/10.3917/presa.107.0223. Paul Robeson's influence on the social commentary of the U.S. spanned from the 1930s to the 1970s. He was a progenitor for peace, justice, racial equality, and better labor conditions for workers both domestically and internationally.

4 Dwight Conquergood, “Beyond the Text: Toward a Performative ‘Cultural Politics,’” in The Future of Performance Studies: Visions and Revisions, ed. Sheron J. Dailey (Washington, DC: National Communication Association, 1998), 138.

5 Myron M. Beasley, “Curatorial Studies on the Edge: The Ghetto Biennale, a Junkyard, and the Performance of Possibility,” Journal of Curatorial Studies 1, no. 1 (2012): 65–81, https://doi.org/10.1386/jcs.1.1.65_1.

6 Kristin Langellier, “Storytelling, Turning Points, and Wicked Problems in Performance Studies,” Text and Performance Quarterly 33, no. 3 (2013): 214–19, https://doi.org/10.1080/10462937.2013.790072.

7 J. Blake Scott & Lisa Melonçon, “Caring for Diversity and Inclusion,” Rhetoric of Health & Medicine 2, no. 3 (2019): iii–xi, https://doi.org/10.5744/rhm.2019.1011. #CommSoWhite and #RhetoricSoWhite, which had their genesis in Summer, 2019, refer to forums specific to the National Communication Association (NCA) when controversy erupted regarding NCA's process for selecting Distinguished Scholars and its paucity of scholars of color recognized as Distinguished Scholars. Moreover, the controversy revealed the significance and need for greater attention to diversity and inclusion of scholarship and membership in the National Communication Association.

8 Caroline Wake, “Through the (In)visible Witness in Through the Wire,” Research in Drama Education: The Journal of Applied Theatre and Performance 13, no. 2 (2008): 191.

9 Kent Ono, “Postracism: A Theory of the ‘Post’- as Political Strategy,” Journal of Communication Inquiry 34, no. 3 (2010): 227, https://doi.org/10.1177/0196859910371375.

10 Dusty Goltz, Banging the Bishop, The Empty Space, ASU, 2005

11 Kimberlee Perez, Pushing at the Seems, The Empty Space, ASU, 2007.

12 Fargo Tbakhi, My Father, My Martyr, and Me, The Empty Space, ASU, 2019.

13 Dwayne Holmes, Hush, The Empty Space, ASU, 2013.

14 Desiree Rowe, Just Read My Manifesto, The Empty Space, ASU, 2007.

15 Kris Acheson's “the fence” from Relative Silence, performed by Dan Brouwer at The Empty Space, ASU, 2007.

16 Cornucopia is an annual performance gathering that includes a variety of styles of performance by faculty, students, and staff in The Hugh Downs School. Excerpts from Dan Brouwer's scripts include: Adrienne Rich, Women and Honor: Some Notes on Lying (Motheroot,1977), 415; Audre Lorde, “Poetry is Not a Luxury,” in Sister Outside: Essays and Speeches (Trumansburg, NY: Crossing Press, 1984), 373; Alice Walker, “Alice Walker Lets Down Her Hair,” MS Magazine, June 1988; Björk, “Hyperballad,” track 2 on Post, One Little Independent Records, 1996; Jennifer Linde, “The Cornucopia Video” (unpublished, 2013).