Performance ethnography invokes both familiar and strange recollections regarding a set of practices, methodological innovations, and epistemic orientations and challenges. This is particularly true when considering the ways performance, ethnography, and education intersect. Delving into the pedagogy, politics, and possibilities of performance ethnography in qualitative educational research, this article highlights the implications, deployments of, and engagements with the methodology in the field. To do so, key definitional offerings of performance, ethnography, and education are provided, enactments of performance ethnography within educational research, contexts, and applications are examined, and the “politics of doing” as a tool in performance ethnography is proposed. Upholding the contested nature of performance studies, this article outlines the utility of bridging performance, pedagogy, and education to foster new possibilities for teacher-student dynamics, the facilitation and understanding of embodied knowledges inside and outside schooling contexts, as well as how educational research can be conceptualized.
Durell M. Callier and Dominique C. Hill
Gender and sexuality are slippery social constructs whose meanings vary across time and place. To capture some of the complexity of these relations, it is necessary to consider their mutable meanings in different parts of the world. This means understanding how gender and sexuality are regulated, produced, consumed, and embodied in young people’s lives transnationally. At a regulatory level, nation-states are found to disseminate different policies and approaches when it comes to young people’s gender and sexual learning. Alongside formal pedagogical approaches, young people’s peer groups and local friendship circles are critical to the production of sexual knowledge and gender practices. In what is a rapidly interconnected world, processes of cultural globalization evident in the spread of film, media, and music are providing new templates from which to transform more “traditional” gender and sexual relations. In consuming global images of gender and sexuality, young people are found to be active and discerning agents who experience and negotiate global processes at a local level, managing risk and carving out new opportunities as they see fit. Young people are seen to perform and embody gender and sexuality in a host of different ways. In doing so, they not only reveal the instability of sex and gender norms but also disclose the intense amount of “gender work” that goes into the performance of gender and sexuality.
Kathleen Gallagher, Rachel Rhoades, Sherry Bie, and Nancy Cardwell
The field of drama education and applied theater is best understood through a consideration of the major developments and aspirations that have shaped its trajectory over three historical periods: the latter years of the 19th century up until 1960, between 1960 and 1990, and the years encompassing the turn of the 21st century, 1990–2015, which was a decidedly more globalized epoch. The drama education/applied theater scholarship of the English-speaking world, including the United Kingdom, Europe, Australia and New Zealand, and North America, offers a fascinating distillation of the relationship between making drama and learning, including the history of alternative forms of education. Scholarship from Asia drawing on traditional forms of theater-making, as well as imported and adapted structures of Western drama education movements, speak to hybrid and ever-expanding practices across the globe. Although young as a discipline within the academy, drama education/applied theater has all but made up for its relative immaturity by spanning a wide domain of multidisciplinary thinking, embracing an eclectic theoretical field that covers an enormous breadth of social issues and a vast range of learning theories, while straddling a compelling spectrum of political positions. The development of the field is infused with pioneering ideas that broke with entrenched historical traditions and habitual ways of learning, harkening toward new ways of thinking, being, relating, and creating. Taking the world as its source material and humanity as its target audience, the history of the progressive discipline of drama education/applied theater tells the story of an ambitious, flawed, idealized, politicized, divisive, and deeply humanistic scholarly and practice-driven field.