I am an Assistant Professor in the Department of Special, Education, Foundations, ad Research at East Carolina University. My scholarship is rooted in Critical Race Theory (CRT). I draw on CRT and critical and performance ethnography methodologies to highlight the interplay between structural racism and teacher practices and to promote teacher agency. I also serve as an Equity Coach for schools in North Carolina. Please see the links above for more on my publications, courses, and other activities. To inquire about my services as an Equity Coach, please email me at email@example.com.
Dr. Desireé D. Rowe received her interdisciplinary Ph.D. in 2009 from the Hugh Downs School of Human Communication at Arizona State University. She also earned her M.A. from Minnesota State, Mankato and B.A. in English from Seton Hall University. Her work lives at the intersections of queer performance ethnography, feminist rhetorical perspectives on popular culture, and digital discourses. Her research agenda currently focuses on radical negativity and failure (among other darker aspects of human subjectivity) to reimagine alternative constructions of possibility. Her work includes articles in Women and Language, Text and Performance Quarterly, Cultural Studies -Critical Methodologies, Rethinking History: A Journal of Theory and Practice, Qualitative Inquiry, many book chapters, and a solo autoethnographic performance that she is touring. She was recently awarded the Best Book Chapter of 2015 by the National Communication Association’s Ethnography Division. In her spare time, she likes to watch crappy reality television and period dramas and build cardboard rocket ships with her daughter.
I am a doctoral candidate in the department of Writing, Rhetoric and American Cultures at Michigan State. I am a writing studies scholar whose work is grounded in materialist feminism, feminist standpoint theory and institutional ethnography. My doctoral research explores the relationship of faculty evaluation to labor equity. I center my work in institutional change and equity. In addition, I have researched and published in writing across the disciplines and the visual and performing arts.
Currently I am writing about the practices of contemporary anarchist communes. Thereby I am particularly interested in the collective contestation of private property, the performative modes within which communard subjects evolve and the practice of the commune as an interstitial strategy of resistance and anti-capitalist form of life. In general my thinking and practices of writing feed from critical pedagogies, anarchist, feminist and Marxist political philosophies, practice theory, ethnography and critical science studies. In the center of my thought are subjects and their potentials.
I am a gender and cultural studies scholar with research interests spanning affect theory, scene theory, queer theory, feminist methodologies and alternative archive practices. My doctoral thesis examined Sydney’s local drag king culture from the perspective of a scene fading from cultural view. I am interested in LGBTIQ cultures, urban scenes and ethnographic research.
Shayna Silverstein’s research examines the politics and aesthetics of sound and movement in the contemporary Middle East, with a focus on Syria. Her current book project analyzes the ethos of movement (ḥarake in Syrian Arabic) amidst the politics of performance, looking specifically at how Syrian dabke, a popular dance music suffused with cultural memory and nationhood, has paradoxically contributed to isolation and fragmentation within Syrian society throughout the recent conflict. Silverstein’s teaching interests include embodiment, ethnographic methods, ethnomusicology, performance, popular culture, social theory, sound studies, and Middle Eastern studies. Active in several music ensembles, she plays violin and ‘ud, and has also trained extensively in dance, yoga, and martial arts. Silverstein is also a core faculty member of Northwestern’s Program in Middle East and North African Studies.
…ra” American Musicology Society/Society of Music Theory Annual Meeting in Milwaukee, Wisconsin November, 2014), Leonora Saavedra, Chair; Alejandro I. Madrid, Respondant.
“Inda/o-Hispana/o Popular Music and Culture of New Mexico and Southern Colorado” at the Hilos Culturales Teaching Symposium at Adams State College, Alamosa, Colorado. July, 2014.
“On Ethnomusicology, Comparative Musicology, and the Anthropology of Music-De-colonial Turns and Performance Ethnography” Guest Speaker for CSUN Anthropology Exposition “Scape: Space, Sound and Context in Anthropological Research” Thursday, March 27, 2014.
“Nuevomexicana/o Ballads and Singers from the Rio Abajo” Symposium: “Violence, Poetry, and Memory: Corridos, Inditas, and Cuandos of New Mexico and Colorado” University of Colorado at Boulder College of Music, April 14, 2014, Brenda Romero, Coordinator, Enrique Lamadrid and David Ga…
Dr. Peter J. García is Professor at California State University Northridge where he teaches in Anthropology, Music, and Chicana and Chicano Studies. His research in U.S. Latinx and Mexican borderlands focuses on indigenous and settler music-culture intersectionalities and contact zones between and among New Mexican, Northern Mexican and Southwest Native American (indigenous) communities and immigrant barrios on both sides of the US/Mexico border. García is also faculty advisor, directs and performs with the CSUN Latin/x music ensemble and Mariachi “el Matador.” García was Fulbright García-Robles grantee to Mexico in 2007 and continues ethnographic research on the annual peregrinacion (pilgrimage) in Magdalena de Kino (Sonora).
In its most general terms, my work concerns French and Francophone Literature, Culture, and Folklore, with particular emphasis on the early modern period (16th -18th centuries) and contact between cultures. I have a longstanding research interest in the writings of missionaries and other colonists in New France, especially in relation to the Indigenous cultures they encountered there. My book Masters and Students: Jesuit Mission Ethnography in Seventeenth-Century New France (McGill-Queen’s UP, 2015) treats the famous Jesuit Relations (1632-1673) as the products of two simultaneous and overlapping missions, in which the Jesuit priests both extracted information from a distant and poorly understood place and attempted to furnish Europe’s religious knowledge to the inhabitants of that place. These two simultaneous missions—gathering information and also transmitting it—provide the framework that the book uses to reflect on the nature of Jesuit mission ethnography, as well as its relationship both to early modern travel narrative and to modern ethnohistory. My newest major work in this vein is The Jesuit Pierre-François-Xavier de Charlevoix’s (1682–1761) Journal of a Voyage in North America: An Annotated Translation (Brill, 2019). I am now in the early stages of a new monograph project, a biography-of-the-book style treatment of the famous Jesuit Relations. In the past several years, I have also begun to research how seventeenth-century France’s rich literary traditions—particularly theatre—intersected with its colonial projects in what is today eastern and maritime Canada. I am interested both in performances of French plays in colonial Quebec and Acadia and in the ways in which France’s efforts to colonize the New World may have influenced some of the period’s best-known works of literature. I approach this subject from a point of view that is consonant with recent scholarship on the French Atlantic World, preferring to think of the relationship between France and Quebec as one of reciprocal influence between two distinct but related sites of French culture instead of adopting the more traditional vision of France with Paris as its one and only centre. My work in this field has appeared in well-respected journals like French Studies and French Forum, with more planned. Although my contributions in this area will be focused on article projects for the next several years, I expect that they will eventually culminate in a book.
Eliot Bates, an ethnomusicologist by training, has contributed new approaches to the study of music’s instruments, materialities, technologies, infrastructures, and production workflows. From 2004 to 2016, he researched these within Istanbul’s recording studios, luthieries, and music industry; since 2013, his work has broadened geographically to consider European, North American, and Australian audio technology gear cultures. Committed to social science and ethnographic methods, Bates incorporates an experimental practice-led research design, whether that entails his ongoing studio-based audio engineering work, collaborative recordings featuring the 11-stringed oud, or Makamqore solo Eurorack performances for the New York Modular Society. Bates has served as either performer, composer, or audio engineer to more than 80 albums produced in the U.S., UK, and Turkey, as well as several TV series and feature films. In addition to a robust body of journal articles and book chapters, Bates has published three books in his field. In 2018, with Samantha Bennett, he co-edited Critical Approaches to the Production of Music and Sound (Bloomsbury Academic), a collection of essays on the intersections of music and technology from leading thinkers in music, audio engineering, anthropology, and media. Digital Tradition: Arrangement and Labor in Istanbul’s Recording Studio Culture (Oxford University Press, 2016) offers an ethnography of contemporary studio music production in an effort to investigate the emerging milieu of Anatolian ethnic music, while Music in Turkey: Experiencing Music, Expressing Culture (Oxford University Press, 2011) draws on Bates’ extensive fieldwork to situate Turkey’s diverse musical sounds within their respective social contexts and political modernity.
I am an ethnomusicologist and music theorist whose publications focus on two intersecting areas: 1) music and politics, particularly as it relates to social movements and war trauma; and 2) popular music in global context, exploring social and aesthetic processes of globalization and identity formation. My publications address intertextuality, musical metaphor, cyberspace, urban soundscapes, popular music analysis, the interaction of linguistics and music, and the music industry, particularly as it relates to hip hop, Japanese music, and Cuban music. Combining ethnography with music theory, I develop frameworks drawn from linguistics, political science, urban studies, literary studies, and financial analysis. I am the editor of a book series on Japanese popular music and co-editor of the Oxford Handbook of Protest Music. Recent research topics include:
- Urban space and its interaction with street performance and protests
- Types of intertextuality in protest music and their relation to sociopolitical circumstances
- The constraints placed on Japanese musicians and the roles they take in the antinuclear movement
- Interaction of phonetics and meter with meaning in African American hip hop and Japanese rock
- Japanese identity as expressed by popular musicians outside Japan
- Musical commemoration of the atomic bombing of Hiroshima and Nagasaki