I currently serve as a visiting assistant professor of performance studies at Muhlenberg College (2018-the present). See the following course descriptions and course titles for a sense of the thematics and methods of my pedagogy.

Co-Art: Collaboration and Interdisciplinarity in the Post-1945 Avant-Garde

Judith Dunn and Bill Dixon, 1968

This course provides students with a critical framework and creative toolbox for interdisciplinary collaboration.  Students will engage with the work of artists and theorists who have challenged the figure of the individual author and the partition of knowledge production and art-making into discrete hierarchized disciplines. In doing so, students will grapple with difficult questions about how, why, and under what historical conditions we make together. “Co-Art” is both a seminar and a studio course—we read, discuss, and write about questions of disciplinarity and collective authorship as well as make, show, and respond to interdisciplinary collaborative works. Assigned readings will be put into practice and practices will be analyzed. Along the way we will encounter interdisciplinary artists from the post-WWII avant-garde including Judith Dunn,Bill Dixon, Dianne McIntyre, Merce Cunningham, John Cage, Yoko Ono, Yvonne Rainer, and Allan Kaprow; contemporary interdisciplinary and collaborative artists such as Aliza Shvarts, Dynasty Handbag, Julie Tolentino, Clifford Owens, My Barbarian, Park McArthur, and Constantina Zavitsanos; as well as art theorists such as Claire Bishop, Danielle Goldman, Ricardo Montez, and José Esteban Muñoz.
Performance and Imperialism

Postcommodity, Repellent Fence, 2015

This course explores how performance has been deployed both as a tool of domination within colonial regimes and also as an insurgent tactic for decolonial resistance and refusal. The course traverses three units organized around key scenes of imperialist violence and anti-imperial contestation over the past five hundred years of global history—"Encounters and Exhibitions," "Auction Blocks and Gallows," and "Settlements and Borders.”  Within each unit students will read central texts in Postcolonial Studies, Black Studies, and Indigenous Studies by scholars such as G.S. Coulthard, Saidiya Hartman, Katherine McKittrick, Edward Said, Gayatri Spivak, and Harsha Walia; as well as experience a range of contemporary decolonial and anti-imperialist performance projects by artists such as Rafa Esparza, Coco Fusco, Ken Gonzalez-Day, Emily Johnson, Amirtha Kidambi, Ralph Lemon, James Luna, Suzan-Lori Parks, Howardena Pindell, Tanya Tagaq, and Eyal Weisman.
Groups, Ensembles, Collectives

Tuesday Smillie, Together, 2017

This class is a hybrid scholarship and studio course that explores the political and artistic significance of collective authorship, ensemble performance, and group processes. Along the way we will attempt to get willfully confused between form and content, between research methods and research objects. Or in other words, we will not just study groups, we will work as a group. We will not just investigate collective processes and ensemble performance but attempt to make ourselves into an artist collective and a performing ensemble.  We’ll pass through five units—Manifesto, Mutual Aid, Group Therapy, Collective Action, and Band—while engaging with psychoanalytic accounts of group experience and group therapy, feminist theories of collective praxis, anarchist organizing practices, and the work of various artist collectives.

Song in an Expanding Field

Geo Wyeth, Juice CrosxxxSing, 2017

Taking Rosalind Krauss's 1978 essay "Sculpture in the Expanded Field" as an oblique historical and conceptual point of departure, this course gives students the critical and creative tools to consider how songs operate as a material for experimentation within contemporary performance. We turn to recent work from a group of interdisciplinary artists (such as Morgan Bassichis, Justin Vivian Bond, Vaginal Davis, Miguel Gutierrez, My Barbarian, Trajal Harris, Tracie Morris, Okwui Okpokwasili, Samita Sinha, Mariana Valencia, and Geo Wyeth) to explore the political and aesthetic significance of how songs get put to use beyond their inherited forms and contexts. Across four units—“Singalongs: Song, Participation, and Mobilization,” “Song-Texts: Non-Conventional Lyrics,” “Voice-Bodies: Song and/as Dance,” and “Noise and Sound:Song and Formlessness”—we will experiment with song’s relation to its own limits and make work alongside each other that investigate songs as movements, texts, noises, and events. Each unit culminates in students sharing a creative project and composing brief written responses to their classmates’ work.
Other courses I’ve taught at the undergraduate level:

Histories of Queer Performance Looking, Watching, Seeing: Race and the Politics of Spectatorship
Introduction to Performance Studies
Black Feminist Performance
Performance and Psychoanalysis
Performance and Absence