Drawing on their embodied experiences as queer disabled graduate students directing a student-founded, student-led community literacy program, this article foregrounds queercrip embodied experiences to reinterpret normative notions of failure in community literacy programs. Using our own experiences as queer disabled graduate students directing the community literacy program, queer and disability theory, and community literacy studies scholarship, the authors unpack their own stories of failure and argue, through queercrip readings of that failure, that failure should be seen as generative, as relational, and as bound by institutional perspective.

In this collaboratively composed article, we both theorize and dramatize the act of paying attention to scalar dynamics. In particular, we draw on the concept of transacting scales in order to complicate how “ethics” materialize in technical and professional communication (TPC). Because ethics materialize in relation to particular contexts and events, in the second half of this article, we show affordances of our approach for TPC through case studies animated by personal stories. We hope this will encourage readers to stay attuned to the particularities of embodied experiences as we theorize with unwieldy complex systems. Our cases speak to international student enrollment, matriculation, and retention in TPC programs and also general education TPC pedagogy.

In this article, we share the example of our recent community-based performance project on reproductive justice, We are BRAVE, to serve as a model of how community-based performance can be an embodied strategy for social change. We draw from the work of scholars of feminist rhetoric, community- based performance, and reproductive justice. This case study examines elements of the community-created script to demonstrate how we knit together intersectional narratives of reproductive (in)justice that challenge and expand a mainstream discourse of reproductive rights and move towards a broader vision of reproductive freedom. The We are BRAVE project was a form of cultural work that went alongside other grassroots organizing e orts to persuade both legislators and constituents to think about the significance of abortion and to engage with more complexity around intersecting identities and issues that impact our reproductive lives. This strategy was used to frame groundbreaking legislative work. In sharing the example of We are BRAVE, we show how using community-centered, performative storytelling as embodied rhetoric can be an effective mode of public and political persuasion.

In this article, we share the example of our recent community-based performance project on reproductive justice, We are BRAVE, to serve as a model of how community-based performance can be an embodied strategy for social change. We draw from the work of scholars of feminist rhetoric, community-based performance, and reproductive justice. In sharing the example of We are BRAVE, we show how using community-centered, performative storytelling as embodied rhetoric can be an effective mode of public and political persuasion.

This article analyzes the capacity for public art to build a “métis” infrastructure (Grabill 2007) capable of supporting local experiential and performative knowledge about the environment. The article describes the work of UPPArts, a small, nonprofit arts organization focused on promoting environmental awareness. Their long-term cultivation of partnerships with state agencies, NGOs, and community residents resulted in a robust collaborative arts program that engaged the public in making “nonexpert” (Simmons and Grabill 2008) knowledge based on the embodied experience of living within a contaminated urban watershed. Using field research conducted over the course of the author’s work with the organization, the article presents a thick description and rhetorical analysis of UPPArts’ annual culminating event, a parade known as the Urban Pond Procession. The article argues that the representation and performance of community knowledge in the form of community-made arts projects like the Urban Pond Procession helped mobilize a community into a public that could advocate for its right to environmental remediation and protection. The lesson of UPPArts is that the material dimensions of artistic method matter. The close attention that art-making forces us to pay to how we use materials to make things with each other can reconfigure social relations around the idea of a watershed as a rhetorical common-place (Druschke 2013).

Review of composing(media) = composing(embodiment): bodies, technologies, writing, the teaching of writing by editors Arola, K. l., & Wysocki, A. F.