Articles & Chapters by Jocelyn E. Marshall
Public Art Dialogue, 2023
Gloria Anzaldúa concludes her 1987 multilingual poem “To live in the Borderlands means you” with:... more Gloria Anzaldúa concludes her 1987 multilingual poem “To live in the Borderlands means you” with: “To survive the Borderlands/you must live sin fronteras/be a crossroads.” This ending prompts the question: How can we both live without borders (Anzaldúa’s provided translation of sin fronteras) and be a crossroads? The both–and dynamic connotes an approach to the politics of in/visibility and il/legibility that asks us to consider how altering public spaces, like the U.S.–Mexico border and immigrant detention centers, concomitantly alter our perceptions of the concepts and systems they represent. By turning to public art and engaging with language, this article examines what happens when queer feminist artists extend Anzaldúa’s words to address imperial violence. I use Cassils’s and rafa esparza’s 2020 co-led skytyping project In Plain Sight as a case study, which worked with eighty artists to skytype a range of phrases above U.S. detention centers and to offer a form of countermapping. By focusing on In Plain Sight, this article analyzes: how transmedia works complicate spatial, textual, and geopolitical borders; how an activist call-in and -out may be simultaneously articulated; and how features of embodied practice shape our understandings of queer feminist worldmaking.
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Women & Performance: A Journal of Feminist Theory, 2023
This article examines the work of black feminist performance artist and scholar Gabrielle Civil a... more This article examines the work of black feminist performance artist and scholar Gabrielle Civil as a mode of transhistorical historiography. By working from Civil's artistic aim to open up space and her commitment to breaking the frames of identity, history, and art, the paper explores how textual and temporal slippages cultivate an embodied polyphonic practice responding to individual and collective histories and senses of belonging. With specific regard for transnational and diasporic identities and experiences, Civil's work addresses three different relationships between oneself and others: familial, (re)imagined familial, and ancestral bloodlines. The resulting dynamic enacts a "collaborative timeslip" as a means with which to address racist and patriarchal histographies and transgenerational trauma and memories. This approach allows for layering asynchronistic local and global perspectives to elicit calls for and demonstrations of protest and joy.
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Trauma-Informed Pedagogy: Addressing Gender-Based Violence in the Classroom, 2022
Engaging with the interconnected dynamics of the classroom, this chapter draws from Audre Lorde’s... more Engaging with the interconnected dynamics of the classroom, this chapter draws from Audre Lorde’s “Uses of Anger” to consider how empathy may be cultivated as a soft skill for stronger interpersonal relationships. Jocelyn E. Marshall highlights the need for mutual vulnerability between instructor and student, where vulnerability is understood to be a mode of resistance in regards to patriarchal and hegemonic higher education institutions and learning standards. By braiding queer feminisms with interdisciplinary approaches, the trauma-informed pedagogy upholds radical empathy as the linchpin to Lorde’s advocating of articulating anger with precision, listening intensely, gaining new insight, and enacting change. In creating spaces to practice and further develop empathy, the trauma-informed pedagogical approach aims to empower students with agency and equip them with skills for self-accountability and holding others accountable.
Learn more about the edited collection at: https://books.emeraldinsight.com/book/detail/trauma-informed-pedagogy/?k=9781800714984
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The Journal of American Culture, 2019
This article won the William M. Jones Award & William E. Brigman Award for Outstanding Graduate P... more This article won the William M. Jones Award & William E. Brigman Award for Outstanding Graduate Paper.
Abstract: Gertrude Stein and Virgil Thomson’s 1934 production of Four Saints in Three Acts, “an opera to be sung,” is unique in its collaborative features and U.S. sociohistorical positioning: text by a Paris-based American writer (Stein), costumes designed by a painter (Florine Stettheimer), choreography determined by a British ballet director (Frederick Ashton), and a cast of all African-American performers. Though Thomson describes the texts’ themes as “’religious life—peace between the sexes, community of faith, the production of miracles’” (Weber 217), the language and performance of this specific event, and the implications of which, prevent such a general theme from emerging. Instead, constructions of blackness through the early-20th-century performing body are at the forefront. When undergirded by Steinien language, the intricacies between language and performance as related to history, time, and race work to negate the ‘religious life’ theme and instead make palpable the early-20th-century U.S. moment. In particular, Four Saints enacts Stein’s ‘continuous present’ conception of time, speech, and action (“Composition” 5), which introduces the questioning of the degrees to which a temporal construct can impact elements of a performance. As a result, this project is an investigation of the relationships between Stein’s specific temporal-historical lens, the collaborative features of the opera’s production, and the text’s early-20th-century sociohistorical positioning.
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Edited Volumes by Jocelyn E. Marshall
Rejoinder, 2023
Rejoinder is an online feminist journal published by Rutgers University's Institute for Research ... more Rejoinder is an online feminist journal published by Rutgers University's Institute for Research on Women.
Themed “Textual-Sexual-Spiritual: Artistic Practice and Other Rituals as Queer Becoming and Beyond,” this issue highlights tools of resistance, social justice, and joy emerging across communities and media. By pairing political activism with a spiritually concerned queer feminism, we heed the call to carry knowledge from the mystical into concrete social action—affirming each other and fostering mutual support and political power (Gearhart & Rennie 1981, xviii).
The artists, writers, and scholars featured here explore rituals, erotics, and queer kinships. As a result, they turn to the oft unsaid and unseen, to silences, missing texts, and discursive exclusions. Their work reflects a feminist methodology that de-centers and de-prioritizes hegemonic narratives and modes of communication (Presser 2023, 133, 87). When we engage with physical and spiritual needs—and the concomitant energies that percolate and bubble up alongside them—we adopt different forms of listening and “voicing.” This work prompts us to reconsider how we understand “facts” and “histories”—or, more pointedly, allows us to tend to magical and mythical elements as we perpetually reevaluate ourselves, our needs, communities, desires, and (other)worlds.
View the complete issue at: https://irw.rutgers.edu/rejoinder-webjournal/issue-8-textual-sexual-spiritual
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Gender-based violence is an issue often met with silence, unempathetic discourse, and troublesome... more Gender-based violence is an issue often met with silence, unempathetic discourse, and troublesome visual representation. As educators, mentors, and public facilitators, how can we address this subject in our teaching spaces, curricula, texts, and conversations with greater care and understanding? And, what do we need as resources to cultivate these deeper insights and new roads to increased awareness and dynamic healing?
Building decentered and empowering spaces is vital to addressing gender-based violence. In an educational setting, this must take into consideration instructors’, students’, and other professionals’ own histories of and relationships to traumatic experience. The authors provide a cross-disciplinary dialogue involving spaces ranging from first-year writing programs to international classrooms to public art installation. What holds the conversation together is a collective emphasis on transnational feminist pedagogy and pedagogy of the oppressed while also prioritizing affective discourse. This combination of approaches is used to not only open the conversation itself, but to also pointedly deconstruct standard patriarchal practices found in academia and other institutional settings.
With contributions from scholars and practitioners from a variety of disciplines, cultures and educational backgrounds, Trauma-Informed Pedagogy brings visibility to perpetuated violence and silence through a range of genres, including poetry, syllabi, and critical reflections, offering an invaluable resource for instructors and workshop facilitators interested in approaches that decentralize learning spaces and empowers all participants.
Learn more about the edited collection at: https://bookstore.emerald.com/trauma-informed-pedagogy.html
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Curation || Public Programming by Jocelyn E. Marshall
Creativity in the Time of COVID-19 Exhibition Catalog, SUNY Press, 2023
Opening on August 25th, 2023 and closing on September 30th, 2023, the multi-site exhibition was i... more Opening on August 25th, 2023 and closing on September 30th, 2023, the multi-site exhibition was installed across Buffalo Arts Studio, Buffalo Game Space, and Squeaky Wheel Film & Media Art Center. As part of a public humanities collaboration with SUNY Buffalo’s Amatryx Gaming Lab & Studio and Michigan State University’s Digital Humanities & Literary Cognition Lab, the exhibition was supported by The Andrew W. Mellon Foundation’s "Just Futures" Initiative and showcased work from a range of professional artists to emerging, first-time makers associated with LGBTQ+, BIPOC, and/or Buffalo, NY communities. Although each artwork was produced during a time of unprecedented isolation, this exhibition offers a way to see how art was used to cope, to understand, to forge new connections or hold onto existing ones, and to care for ourselves and our communities. Together, these pieces speak to themes of self-recognition and transformation, to new modes of community building and forging new connections, to shifting experiences of temporality, to ways of advocating for mental health and our communities. These works help account for the specific local histories and conditions that contributed to lockdown isolation, as well as celebrate the creative practices marginalized communities used to survive the pandemic and care for each other.
Amatryx Gaming Lab & Studio: https://ubwp.buffalo.edu/amatryx/projects/creativity-in-the-time-of-covid-19/
Public Humanities Project: https://dhlc.cal.msu.edu/creativity-in-the-time-of-covid-19/
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Being In-Between / In-Between Being Exhibition Catalog, SUNY Press, 2021
Opening on December 15th, 2020 and closing on January 15th, 2021, the online exhibition showcased... more Opening on December 15th, 2020 and closing on January 15th, 2021, the online exhibition showcased intermedia works by queer and womxn artists exploring aspects of identity related to ‘being in-between.’ As a practice, intermediality provides new ways of contesting the divisions between art, politics, and society (Intermedialities 2011). Working between mediums while existing in-between modes of embodiment elicits a unique textuality that is often-times ignored, absent, or entirely misread in the public sphere. This show allowed viewers to simultaneously experience texts as intimate moments and bold celebration, ritual and performance, and healing and recovery. Artists include: Cassils, Abhipsa Chakraborty, Gabrielle Civil, Sam Moyer-Kardos, Halley Marie Shaw, Julia Rose Sutherland, and Vincent Tiley. Catalog contributors include: Anja Foerschner, Brandon Giessmann, Benjamin Kersten, sarah jm kolberg, and Dana Tyrrell.
The exhibition also featured a virtual events series, and all works and recordings are available through SUNY Buffalo's Department of Art: https://arts-sciences.buffalo.edu/art/research/department-galleries/exhibitions-archive/past-exhibitions/being-in-between.html
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The Riverrun Global Film Series presented a curated selection of films that moved beyond national... more The Riverrun Global Film Series presented a curated selection of films that moved beyond national frameworks to account for an increasingly transnational imagination of film production, reception, and distribution. To better understand our present existence in the networked world, we explored a “Country in Focus” each year to investigate the dynamics of location in the history of world cinema, emphasizing recent globalizing transformations rather than national concerns. This annual three-day series ran from Thursday to Saturday at the Burchfield Penney Art Center, Buffalo, NY. The Global Film Series was built upon the success of Riverrun’s Cinegael Buffalo program, which focused on Irish film. All events were free and open to the public.
During my term as an Assistant Director, I co-curated and -organized the 2017 festival, which focused on Cuban films and culture, and the 2018 festival, which centered Mexican cinema and U.S.-Mexico border issues.
All programs are archived on the festival site: https://globalfilmseries.wordpress.com
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Book & Performance Reviews by Jocelyn E. Marshall
Tripwire: A Journal of Poetics, 2020
Review of black feminist performance artist Gabrielle Civil's second book entitled Experiments in... more Review of black feminist performance artist Gabrielle Civil's second book entitled Experiments in Joy (Civil Coping Mechanisms, 2019) in Tripwire 16: Performance/Writing Issue, which includes over 325 pages of writing, scores, reviews, interviews, & translations, and an 80 page Kevin Killian Poets Theater Tribute.
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The Journal of American Culture, 2018
Review of The Beyoncé Effect: Essays on Sexuality, Race, and Feminism (McFarland 2016), a collect... more Review of The Beyoncé Effect: Essays on Sexuality, Race, and Feminism (McFarland 2016), a collection edited by Adrienne Trier‐Bieniek, is featured in the Journal of American Culture.
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Bellingham Review, 2016
Review of Ruth Ozeki's May 2016 Reading Event at the Mt. Baker Theatre in Bellingham WA.
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Bellingham Review, 2015
Review of Andrea Gibson's full-length poetry collection Pansy (Write Bloody Publishing 2015) and ... more Review of Andrea Gibson's full-length poetry collection Pansy (Write Bloody Publishing 2015) and Seattle WA Reading Event in March 2015
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Interviews by Jocelyn E. Marshall
Art Journal Open (2023) & Trauma-Informed Pedagogy: Addressing Gender-Based Violence in the Classroom, 2022
Julia Rose Sutherland highlights the heart of her feminist practice as an indigenous artist: Femi... more Julia Rose Sutherland highlights the heart of her feminist practice as an indigenous artist: Feminism for everyone and feminism every day. From detailing her mixed media usage to collaborative project dynamics, Suther- land reemphasizes the urgent need to continue to highlight and address ongoing settler violence forced upon the land, women, and communities. By keeping histories and the work of knowledge keepers close to her individual work and pieces created with others, Sutherland demonstrates the complex and layered steps vital for navigating patriarchal institutions and questioning multiple systems of oppression through art in order for everyone to be “heard in their entirety.”
Full interview is available through Art Journal Open at https://artjournal.collegeart.org/?p=18259
Learn more about the edited collection at: https://books.emeraldinsight.com/book/detail/trauma-informed-pedagogy/?k=9781800714984
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Bellingham Review, 2015
Interview with PNW photographers Kim Lincoln and Amy Woodward on their collaborative practice.
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Creative Work by Jocelyn E. Marshall
Strange Stories Volume 1 (Salt Lake City: Forty-Two Books, 2019),
437-45.
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Assaracus: A Journal of Gay Poetry 25 (2017): 107.
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Articles & Chapters by Jocelyn E. Marshall
Learn more about the edited collection at: https://books.emeraldinsight.com/book/detail/trauma-informed-pedagogy/?k=9781800714984
Abstract: Gertrude Stein and Virgil Thomson’s 1934 production of Four Saints in Three Acts, “an opera to be sung,” is unique in its collaborative features and U.S. sociohistorical positioning: text by a Paris-based American writer (Stein), costumes designed by a painter (Florine Stettheimer), choreography determined by a British ballet director (Frederick Ashton), and a cast of all African-American performers. Though Thomson describes the texts’ themes as “’religious life—peace between the sexes, community of faith, the production of miracles’” (Weber 217), the language and performance of this specific event, and the implications of which, prevent such a general theme from emerging. Instead, constructions of blackness through the early-20th-century performing body are at the forefront. When undergirded by Steinien language, the intricacies between language and performance as related to history, time, and race work to negate the ‘religious life’ theme and instead make palpable the early-20th-century U.S. moment. In particular, Four Saints enacts Stein’s ‘continuous present’ conception of time, speech, and action (“Composition” 5), which introduces the questioning of the degrees to which a temporal construct can impact elements of a performance. As a result, this project is an investigation of the relationships between Stein’s specific temporal-historical lens, the collaborative features of the opera’s production, and the text’s early-20th-century sociohistorical positioning.
Edited Volumes by Jocelyn E. Marshall
Themed “Textual-Sexual-Spiritual: Artistic Practice and Other Rituals as Queer Becoming and Beyond,” this issue highlights tools of resistance, social justice, and joy emerging across communities and media. By pairing political activism with a spiritually concerned queer feminism, we heed the call to carry knowledge from the mystical into concrete social action—affirming each other and fostering mutual support and political power (Gearhart & Rennie 1981, xviii).
The artists, writers, and scholars featured here explore rituals, erotics, and queer kinships. As a result, they turn to the oft unsaid and unseen, to silences, missing texts, and discursive exclusions. Their work reflects a feminist methodology that de-centers and de-prioritizes hegemonic narratives and modes of communication (Presser 2023, 133, 87). When we engage with physical and spiritual needs—and the concomitant energies that percolate and bubble up alongside them—we adopt different forms of listening and “voicing.” This work prompts us to reconsider how we understand “facts” and “histories”—or, more pointedly, allows us to tend to magical and mythical elements as we perpetually reevaluate ourselves, our needs, communities, desires, and (other)worlds.
View the complete issue at: https://irw.rutgers.edu/rejoinder-webjournal/issue-8-textual-sexual-spiritual
Building decentered and empowering spaces is vital to addressing gender-based violence. In an educational setting, this must take into consideration instructors’, students’, and other professionals’ own histories of and relationships to traumatic experience. The authors provide a cross-disciplinary dialogue involving spaces ranging from first-year writing programs to international classrooms to public art installation. What holds the conversation together is a collective emphasis on transnational feminist pedagogy and pedagogy of the oppressed while also prioritizing affective discourse. This combination of approaches is used to not only open the conversation itself, but to also pointedly deconstruct standard patriarchal practices found in academia and other institutional settings.
With contributions from scholars and practitioners from a variety of disciplines, cultures and educational backgrounds, Trauma-Informed Pedagogy brings visibility to perpetuated violence and silence through a range of genres, including poetry, syllabi, and critical reflections, offering an invaluable resource for instructors and workshop facilitators interested in approaches that decentralize learning spaces and empowers all participants.
Learn more about the edited collection at: https://bookstore.emerald.com/trauma-informed-pedagogy.html
Curation || Public Programming by Jocelyn E. Marshall
Amatryx Gaming Lab & Studio: https://ubwp.buffalo.edu/amatryx/projects/creativity-in-the-time-of-covid-19/
Public Humanities Project: https://dhlc.cal.msu.edu/creativity-in-the-time-of-covid-19/
The exhibition also featured a virtual events series, and all works and recordings are available through SUNY Buffalo's Department of Art: https://arts-sciences.buffalo.edu/art/research/department-galleries/exhibitions-archive/past-exhibitions/being-in-between.html
During my term as an Assistant Director, I co-curated and -organized the 2017 festival, which focused on Cuban films and culture, and the 2018 festival, which centered Mexican cinema and U.S.-Mexico border issues.
All programs are archived on the festival site: https://globalfilmseries.wordpress.com
Book & Performance Reviews by Jocelyn E. Marshall
Interviews by Jocelyn E. Marshall
Full interview is available through Art Journal Open at https://artjournal.collegeart.org/?p=18259
Learn more about the edited collection at: https://books.emeraldinsight.com/book/detail/trauma-informed-pedagogy/?k=9781800714984
Creative Work by Jocelyn E. Marshall
Learn more about the edited collection at: https://books.emeraldinsight.com/book/detail/trauma-informed-pedagogy/?k=9781800714984
Abstract: Gertrude Stein and Virgil Thomson’s 1934 production of Four Saints in Three Acts, “an opera to be sung,” is unique in its collaborative features and U.S. sociohistorical positioning: text by a Paris-based American writer (Stein), costumes designed by a painter (Florine Stettheimer), choreography determined by a British ballet director (Frederick Ashton), and a cast of all African-American performers. Though Thomson describes the texts’ themes as “’religious life—peace between the sexes, community of faith, the production of miracles’” (Weber 217), the language and performance of this specific event, and the implications of which, prevent such a general theme from emerging. Instead, constructions of blackness through the early-20th-century performing body are at the forefront. When undergirded by Steinien language, the intricacies between language and performance as related to history, time, and race work to negate the ‘religious life’ theme and instead make palpable the early-20th-century U.S. moment. In particular, Four Saints enacts Stein’s ‘continuous present’ conception of time, speech, and action (“Composition” 5), which introduces the questioning of the degrees to which a temporal construct can impact elements of a performance. As a result, this project is an investigation of the relationships between Stein’s specific temporal-historical lens, the collaborative features of the opera’s production, and the text’s early-20th-century sociohistorical positioning.
Themed “Textual-Sexual-Spiritual: Artistic Practice and Other Rituals as Queer Becoming and Beyond,” this issue highlights tools of resistance, social justice, and joy emerging across communities and media. By pairing political activism with a spiritually concerned queer feminism, we heed the call to carry knowledge from the mystical into concrete social action—affirming each other and fostering mutual support and political power (Gearhart & Rennie 1981, xviii).
The artists, writers, and scholars featured here explore rituals, erotics, and queer kinships. As a result, they turn to the oft unsaid and unseen, to silences, missing texts, and discursive exclusions. Their work reflects a feminist methodology that de-centers and de-prioritizes hegemonic narratives and modes of communication (Presser 2023, 133, 87). When we engage with physical and spiritual needs—and the concomitant energies that percolate and bubble up alongside them—we adopt different forms of listening and “voicing.” This work prompts us to reconsider how we understand “facts” and “histories”—or, more pointedly, allows us to tend to magical and mythical elements as we perpetually reevaluate ourselves, our needs, communities, desires, and (other)worlds.
View the complete issue at: https://irw.rutgers.edu/rejoinder-webjournal/issue-8-textual-sexual-spiritual
Building decentered and empowering spaces is vital to addressing gender-based violence. In an educational setting, this must take into consideration instructors’, students’, and other professionals’ own histories of and relationships to traumatic experience. The authors provide a cross-disciplinary dialogue involving spaces ranging from first-year writing programs to international classrooms to public art installation. What holds the conversation together is a collective emphasis on transnational feminist pedagogy and pedagogy of the oppressed while also prioritizing affective discourse. This combination of approaches is used to not only open the conversation itself, but to also pointedly deconstruct standard patriarchal practices found in academia and other institutional settings.
With contributions from scholars and practitioners from a variety of disciplines, cultures and educational backgrounds, Trauma-Informed Pedagogy brings visibility to perpetuated violence and silence through a range of genres, including poetry, syllabi, and critical reflections, offering an invaluable resource for instructors and workshop facilitators interested in approaches that decentralize learning spaces and empowers all participants.
Learn more about the edited collection at: https://bookstore.emerald.com/trauma-informed-pedagogy.html
Amatryx Gaming Lab & Studio: https://ubwp.buffalo.edu/amatryx/projects/creativity-in-the-time-of-covid-19/
Public Humanities Project: https://dhlc.cal.msu.edu/creativity-in-the-time-of-covid-19/
The exhibition also featured a virtual events series, and all works and recordings are available through SUNY Buffalo's Department of Art: https://arts-sciences.buffalo.edu/art/research/department-galleries/exhibitions-archive/past-exhibitions/being-in-between.html
During my term as an Assistant Director, I co-curated and -organized the 2017 festival, which focused on Cuban films and culture, and the 2018 festival, which centered Mexican cinema and U.S.-Mexico border issues.
All programs are archived on the festival site: https://globalfilmseries.wordpress.com
Full interview is available through Art Journal Open at https://artjournal.collegeart.org/?p=18259
Learn more about the edited collection at: https://books.emeraldinsight.com/book/detail/trauma-informed-pedagogy/?k=9781800714984