Critical University Studies and Performance

Noe Montez is an associate professor of theater at Emory University. He is the author of Memory, Transitional Justice, and Theatre in Postdictatorship Argentina and co-editor of Nothing to Do with Love: and Other Plays by Santiago Loza and The Routledge Companion to Latine Theatre and Performance. He is the former editor of Theatre Topics.Ariel Nereson is an associate professor of dance studies in the Department of Theatre and Dance at the University at Buffalo, SUNY. She is the author of the award-winning book Democracy Moving: Bill T. Jones, Contemporary American Performance, and the Racial Past. She is the editor of Theatre Journal as well as a practicing choreographer and dramaturg.

“This incisive anthology offers astute, resistant analyses of strategies determined to dismantle colleges, universities, and the arts, and beckons with hopeful enumerations of better futures for academic institutions, scholarly fields, and arts practices so necessary for socially just human endeavor.”—Jill Dolan, author of Utopia in Performance: Finding Hope at the Theater

• List of ContributorsIntroduction | Noe Montez and Ariel NeresonPart I: EmbodimentChapter 1: On Embodied Solidarity | Shelby BrewsterChapter 2: A Movement Toward Liberation: The Progression of Theater Programs at Historically Black College and Universities | Khalid Y. LongChapter 3: Improvising Abolition: Dance, Decarceration, and Higher Education | Hannah SchwadronPart II: Academic LaborChapter 4: Revising TDPS PhD Programs to Support Career Diversity Without Losing Your Soul: Strategies for Incorporating Humanist-Forward Curriculum Revision, Interdisciplinary Learning, and the Public Humanities | Noe Montez and Danielle RosvallyChapter 5: Challenge Inaccessibility: A Worklist for the TDPS Job Market | Samuel YatesChapter 6: Are Faculty Employees? The Potential for Human Resources as an Ally | Charlotte M. CanningPart III: Pedagogies of JusticeChapter 7: Making Space in the Curriculum: Centering Non-Western Epistemologies | Anita GonzalezChapter 8: Bricks as Memory: Embodied Understandings of Racialized University Landscapes in the US South | Cortland Gilliam, Tommy Noonan, and Elizabeth OlsonChapter 9: “Performance as Monument”: An Interview with Marisa Williamson | Ariel NeresonChapter 10: Theater of the Anatomical Theater | Marisa WilliamsonPart IV: Public Facing EngagementsChapter 11: Defund the Season | Henry BialChapter 12: “Institutional Change Is for Suckers”: Higher Education and the Performance of Land Acknowledgments | Bethany HughesChapter 13: Can the University Speak? | Michelle Liu Carriger