Graduate Studies Reports Access

Graduate Course Proposal Form Submission Detail - EEX7342
Tracking Number - 2458

Edit function not enabled for this course.

Current Status: Approved, Permanent Archive - 2011-06-30
Campus: Tampa
Submission Type: New
Course Change Information (for course changes only):
Comments: Recd 2/7/11; to GC for review 2/15/11. Title is too long; needs revision. Cleared 2/28/11. To GC for review 3/11/11. Approved 3/21/11. to System 3/24/11. To SCNS 4/1/11; SCNS approved EEX 7342, effective 5/15/2011. posted in banner

Detail Information

  1. Date & Time Submitted: 2011-02-06
  2. Department: Special Education
  3. College: ED
  4. Budget Account Number: 172800 Special Education
  5. Contact Person: Patricia Alvarez McHatton
  6. Phone: 8139749595
  7. Email:
  8. Prefix: EEX
  9. Number: 7342
  10. Full Title: Making your research accessible
  11. Credit Hours: 3
  12. Section Type: O - Other
  13. Is the course title variable?: N
  14. Is a permit required for registration?: N
  15. Are the credit hours variable?: N
  16. Is this course repeatable?:
  17. If repeatable, how many times?: 0
  18. Abbreviated Title (30 characters maximum): Making Research Accessible
  19. Course Online?: C - Face-to-face (0% online)
  20. Percentage Online: 0
  21. Grading Option: R - Regular
  22. Prerequisites:
  23. Corequisites:
  24. Course Description: This doctoral seminar critically examines performance theories and performance and qualitative arts-based research methods as a mechanism for disseminating research findings and making research more accessible to the community in which it takes place.

  25. Please briefly explain why it is necessary and/or desirable to add this course: Offered as enrichment course (not part of program/concentration/certificate)
  26. What is the need or demand for this course? (Indicate if this course is part of a required sequence in the major.) What other programs would this course service? This would be offered as an elective. Prior enrollment has averaged 10 students.
  27. Has this course been offered as Selected Topics/Experimental Topics course? If yes, how many times? Yes, 3 or more times
  28. What qualifications for training and/or experience are necessary to teach this course? (List minimum qualifications for the instructor.) Ph.D., knowledgeable in qualitative methods, and experience with alternative formats for dissemination of research
  29. Objectives: Students will explore and critique the following topics

    a) Performance theories in education (power, pedagogy, politics of identify)

    b)Teaching as a performance and performative event

    c) Research as a performance and performative event

    d) Scholarly work as a collaborative event with codependent variables that include the following (Alexander, Anderson, & Gallegos, 2005, pg. 4):

    The "acting/active bodies"

    "Reciprocal enactment" between performer and audience

    The "transactional communication process" including backstage events that inform the performance

    The "political influence" in the interactions

    The "tension of resistance to and of knowledge negotiated with passion and compassion"

    d) Situating research within the community that is the researched

    e) Situating the researchers within the research story in which he/she is an acting/active body

    f) The role of the arts in disseminating research findings

    g) Various methods for qualitative arts-based research

  30. Learning Outcomes: Upon completion of this course students will be able to:

    (a) critique existing performance theories

    (b) describe performance and critical ethnography

    (c) utilize performance as a research method

    (d) utilize performance as a method for disseminating research

    (e) critique various forms of qualitative arts-based research

  31. Major Topics: Major course topics include: Defining self and other, The art of improvisation, Performance Theories in Education, Multiple mediums for performance, Creating possibilities for research, and Bringing our work to life.

    1Course overview

    1.1 Seminar introduction

    1.2 Setting ground rules

    1.3 Defining self and other

    1.4 The art of improvisation

    2 Performance Theories in Education

    2.1 Performance and performativity in pedagogical practice

    2.2 Performance, power, and the politics of identity

    2.3 Policy, ritual, and textual performances

    3 Multiple mediums

    3.1 Spoken word

    3.2 Theatrical performance

    3.3 Documentary

    3.4 Visual Arts

    4 Creating possibilities

    4.1 Releasing the imagination

    4.2 The imagination-intellect

    5 Qualitative Arts-Based Research Methods

    5.1 Critique various qualitative arts-based research methods

    5 Bringing our work to life

  32. Textbooks: Cahnmann-Taylor, M., & Siegesmund, R. (Eds.). (2008). Arts-based research in education: Foundations for practice (Inquiry and pedagogy across diverse contexts). New York: Routledge.

    Ellingson, L. L. Engaging crystallization in qualitative research: An introduction. Los Angeles, CA: Sage Publications.

    Leavy, P. (2008). Method meets art: Arts-based research practice. New York: Guilford Press.

  33. Course Readings, Online Resources, and Other Purchases: Alvarez McHatton, P., & Shaunessy, E. (2006). My child and me: Traversing the educational terrain. Teachers College Record content ID12855.

    Bagley, C. (2008). Educational ethnography as performance art: Towards a sensuous feeling and knowing. Qualitative Research, 8(1), 53-72.

    Bell, E. (2008). Theories of Performance. Los Angeles, CA: Sage Publications. (Introducing theories of performance, 1-27).

    Boal, A. (2006). Theatre of the Oppressed. New York: Theatre Communications Group. (Poetics of the oppressed, 119-156).

    Cozart, S. C. (2003). Disrupting dialogue: Envisioning performance ethnography for research and evaluation. Retrieved from the world wide web 11/2/2006 from

    Conquergood, Dwight. (1985). Performing as a Moral Act: Ethical Dimensions of the Ethnography of Performance. Literature in Performance 5(12),1-13.

    Denzin, N. K. (1999). Two-stepping in the 90’s. Qualitative Inquiry, 5(4), 568-572.

    Denzin, N. D. (2003). Performance Ethnography: Critical Pedagogy and the Politics of Culture. Los Angeles, CA: Sage Publications. (The call to performance, 3-56).

    Denzin, N. D. (2003). Performance Ethnography: Critical Pedagogy and the Politics of Culture. Los Angeles, CA: Sage Publications. (Toward a performative social science, 77-105).

    Foster-Fishman, P., Nowell, B., Deacon, Z., Nievar, M. A., & McCann, P. (2005). Using methods that matter: The impact of reflection, dialogue, and voice. American Journal of Community Psychology, 36(3/4), 275-291.

    Glesne, C. (1997). That rare feeling: re-presenting research through poetic transcription. Qualitative Inquiry, 3(2), 202-220.

    Gray, R. E. (2003). Performing on and off the stage: The place(es) of performance in arts-based approaches to qualitative inquiry. Qualitative Inquiry, 9(2), 254-267.

    Greene, M. (2000). Releasing the Imagination: Essays on Education, the Arts, and Social Change. San Francisco, CA: Jossey-Bass. (Imagination, breakthroughs, and the unexpected, 17-31).

    Jones, J. L. (1997). “Sista Docta”: Performance as critique of the academy. The Drama Review, 41(2), 51-67.

    Kanter, J. (2006). “Incident”: Performing as a moral act two decades later. Text and Performance Quarterly, 26(4), 405-413.

    Lehrer, J. (2007). Hearts & Minds. Brain in the News.

    Madison, D. S. (2005). Critical ethnography: Methods, ethics, and performance. Thousand Oaks, CA: SAGE Publications. (Performance ethnography, 149-180).

    Madison, D. S., & Hamera, J. (2006). The SAGE handbook of performance studies. Thousand Oaks, CA: SAGE Publications. (Performance studies at the intersections x1-xxv).

    McCall, M. M., Becker, H. S., & Meshejian, P. (1990). Performance science. Social Problems, 3(1), 117-132.

    Nowell, B. L., Berkowitz, S. L., Deacon, Z., & Foster-Fishman, P. (2006). Revealing the cues within community places: Stories of identity, history, and possibility. American Journal of Community Psychology, 37(1/2), 29-46.

    Paterson, D. L. A brief introduction to Augusto Boal. Retrieved May 4, 2008 from

    Peshkin, A. (1985/86). God’s chgoice: The total world of a fundamentalist Christian school. Educational Leadership, December 1985/January 1986.

    Peshkin, A. (2000). The nature of interpretation in qualitative research. Educational Researcher, 29990, 5-9.

    Under Pressure (2008). Theatre of the Oppressed International Newsletter, 9(27), 1-20.

    Saldaña, J. (2007). Dramatizing data: A primer. Qualitative Inquiry, 9, 218-236.

    Saldaña, J. (2005). Ethnodrama: An anthology of reality theatre. Walnut Creek: Altamira Press. (An introduction to ethnodrama, 1-36).

    Shaunessy, E., & Alvarez McHatton, P. (In Press). Language at the fault lines. Cultural Studies Critical Methodologies.

    Sherry, Jr., J. S., & Schouten, J. W. (2002). A role for poetry in consumer research. The Journal of Consumer Research, 29(2), 218-234.

    Valentine, K. B. (2006). Unlocking the doors for incarcerated women through performance and creative writing. In D. S. Madison & J. Hamera (Eds.). The SAGE handbook of performance studies, 309-324. Thousand Oaks, CA: SAGE Publications.

    Other media:

    Bagley, C., & Cancienne, M. E. (Eds.). (2002). Dancing the data. New York: Peter Lang Publishing, Inc.

    Boal, A. (2005). Games for actors and non-actors, 2nd ed. New York: Routledge.

    King, N. (2007). Developing imagination, creativity and literacy through collaborative storymaking: A way of knowing. Harvard Educational Review, 77(2), 204-227.

    Kippett, K. (2001). Training to imagine: Practical improvisational theatre techniques to enhance creativity, teamwork, leadership, and learning. Sterling, VA: Stylus Publishing.

    Rose, A. (1976). Interacting through creative arts activities. Palo Alto, CA: Learning Handbooks.

    Smith, A. D. (1994). Twilight Lost Angeles, 1992. New York: Anchor Books.

    Weems, M. E. (2003). Public education and the imagination-intellect: I speak from the wound in my mouth. New York: Peter Lang Publishing, Inc.

  34. Student Expectations/Requirements and Grading Policy: (a) Grades will be assigned in the following manner:

    A = 90 – 100 points

    B = 80 – 89 points

    C = 70 – 79 points

    D = 65-69

    F = Below 65

    Weighting will be determined by course instructor

    (b) Grades will be based on a compilation of the following:

    o Critical reflections of readings

    o Performance research projects

    o Qualitative conference session proposals

    o Weekly activities

    o What I learned

  35. Assignments, Exams and Tests: o Critical reflections of readings

    o Performance research projects

    o Qualitative conference session proposals

    o Weekly activities

    o What I learned

  36. Attendance Policy: Course Attendance at First Class Meeting – Policy for Graduate Students: For structured courses, 6000 and above, the College/Campus Dean will set the first-day class attendance requirement. Check with the College for specific information. This policy is not applicable to courses in the following categories: Educational Outreach, Open University (TV), FEEDS Program, Community Experiential Learning (CEL), Cooperative Education Training, and courses that do not have regularly scheduled meeting days/times (such as, directed reading/research or study, individual research, thesis, dissertation, internship, practica, etc.). Students are responsible for dropping undesired courses in these categories by the 5th day of classes to avoid fee liability and academic penalty. (See USF Regulation – Registration - 4.0101,

    Attendance Policy for the Observance of Religious Days by Students: In accordance with Sections 1006.53 and 1001.74(10)(g) Florida Statutes and Board of Governors Regulation 6C-6.0115, the University of South Florida (University/USF) has established the following policy regarding religious observances: (

    In the event of an emergency, it may be necessary for USF to suspend normal operations. During this time, USF may opt to continue delivery of instruction through methods that include but are not limited to: Blackboard, Elluminate, Skype, and email messaging and/or an alternate schedule. It’s the responsibility of the student to monitor Blackboard site for each class for course specific communication, and the main USF, College, and department websites, emails, and MoBull messages for important general information.

  37. Policy on Make-up Work: All assignments are expected to be completed by the assigned due date. In cases of emergency, it is the student's responsibility to contact the instructor to see if alternative arrangements may be made.

    Academic Dishonesty: (Use the statement below)

    “Plagiarism is defined as "literary theft" and consists of the unattributed quotation of the exact words of a published text or the unattributed borrowing of original ideas by paraphrase from a published text. On written papers for which the student employs information gathered from books, articles, or oral sources, each direct quotation, as well as ideas and facts that are not generally known to the public-at-large, must be attributed to its author by means of the appropriate citation procedure. Citations may be made in footnotes or within the body of the text. Plagiarism also consists of passing off as one's own, segments or the total of another person's work.”

    “Punishment for academic dishonesty will depend on the seriousness of the offense and may include receipt of an "F" with a numerical value of zero on the item submitted, and the "F" shall be used to determine the final course grade. It is the option of the instructor to assign the student a grade of "F" of "FF" (the latter indicating dishonesty) in the course.”

    Detection of Plagiarism: It is very important to state in your syllabus that you plan to submit student assignments to in order to detect plagiarism. This will give you the legal right to submit student assignments to If you pan to submit assignments to Safe Assignment, use the statement below:

    The University of South Florida has an account with an automated plagiarism detection service which allows instructors to submit student assignments to be checked for plagiarism. I reserve the right to 1) request that assignments be submitted to me as electronic files and 2) electronically submit to, or 3) ask students to submit their assignments to through myUSF. Assignments are compared automatically with a database of journal articles, web articles, and previously submitted papers. The instructor receives a report showing exactly how a student's paper was plagiarized.

  38. Program This Course Supports: Ph.D. in Curriculum and Instruction, specialization in Special Education
  39. Course Concurrence Information: As this course is an elective, it could service any other program (e.g., Educational Leadership, English Education)

- if you have questions about any of these fields, please contact or