“What One Voice Can Do”: Civic Pedagogy and Choric Collectivity at Camp Courage

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ldquoWhat One Voice Can Dordquo CivicPedagogy and Choric Collectivity atCamp CourageErin J RandPublished online 10 Dec 2013

To cite this article Erin J Rand (2014) ldquoWhat One Voice Can Dordquo Civic Pedagogy andChoric Collectivity at Camp Courage Text and Performance Quarterly 341 28-51 DOI101080104629372013853825

To link to this article httpdxdoiorg101080104629372013853825

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ldquoWhat One Voice Can Dordquo CivicPedagogy and Choric Collectivity atCamp CourageErin J Rand

Camp Courage exemplifies the indivisibility of rhetoric and performance in practices ofcivic education and the production of choric collectivity Designed to mobilizegrassroots support for lesbian gay bisexual and transgender equality this activisttraining session is based on Marshall Ganzrsquos Camp Obama organizing model Byutilizing three specific techniques of choric communicationmdashstorytelling chanting andcall and response and applausemdashCamp Courage seeks to foster a community ofactivists that is based on synchronized action rather than shared identities Theseharmonious bodily practices I contend physically enact participantsrsquo membership in agroup and constitute a temporary but powerful collectivity

Keywords LGBT activism Collectivity Choric communication Affect Embodiment

hellipby transforming ourselves into courageous actors and members of a courageousgroup we also transform our world (Ganz 19)

On October 11 2009 an estimated 200000 people convened in Washington DC forthe National Equality March united around a single revolutionary demand ldquoEqualprotection for lesbian gay bisexual and transgender people in all matters governedby civil law in all 50 statesrdquo (Equality Across America)1 The National Equality March(NEM) scheduled to coincide with National Coming Out Day was catalyzed in partby the conflicting emotions wrought by the November 2008 election The sense ofhope and possibility of Barack Obamarsquos victory was dampened by the crushingdisappointment of the passage of Proposition 8 which rescinded the right to legal

Erin J Rand is Assistant Professor in the Department of Communication and Rhetorical Studies at SyracuseUniversity The author thanks Mindy Fenske Dustin Bradley Goltz and the two anonymous reviewers for theircomments on an earlier version of this essay She is also grateful for the opportunity to think through questionsof collectivity performativity and affect with the graduate students in Communication and CosmopolitanismCorrespondence to Erin J Rand Department of Communication and Rhetorical Studies 100 Sims HallBuilding V Syracuse University Syracuse NY 13244 USA Email ejrandsyredu

Text and Performance QuarterlyVol 34 No 1 January 2014 pp 28ndash51

ISSN 1046-2937 (print)ISSN 1479-5760 (online) copy 2014 National Communication Associationhttpdxdoiorg101080104629372013853825

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same-sex marriage in California But this defeat combined with the empowermentmany felt while working on Obamarsquos campaign galvanized activists in their fight fora federal guarantee of lesbian gay bisexual and transgender (LGBT) equal rights

I traveled to Washington DC to walk in the March and attend several of therelated events including a training session called Camp Couragemdashan intensiveprogram that teaches activists working for LGBT equality the tenets and skills ofcommunity organizing Attempting to foster a strong sense of the participantsrsquocollective power Camp Courage included a number of choric activities in whichtrainees were asked to move or speak in unison Utilized across a range of civicinstitutions choric communication is significant not just for its persuasive clout orfor the potential for community-building that it harnesses It also highlights theindivisibility of the rhetorical from the performative this is a rhetorical tactic that isrooted in the body and gains its force only insofar as bodies align appropriately intheir movement and speech That is choric communication simultaneously drawsour attention to the embodied performance of rhetoric and the rhetorical force ofperformance Thus Camp Courage is a useful case study through which tounderstand not only the ways in which rhetoric and performance studies arehistorically and fundamentally intertwined through practices of civic education butalso the specific role of choric communication in the performative production ofcollectivity

The Camp Courage training sponsored by the California-based Courage Cam-paign is founded on techniques used for years in progressive social movements andteaches ldquoempowerment team building leadership development and grassrootsorganizing skillsrdquo (ldquoCourage Campaign to Host Camp Couragerdquo) It is designed togive activists the skills they need to turn their passion and commitment into realchange highlighting individualsrsquo personal narratives as a key component of coalition-building Camp Courage Washington DC was the sixth in a series of Camp Couragetrainings normally spanning two days this special session was compressed into theSaturday afternoon preceding the March2 It was listed on the official schedule ofNEM events required preregistration and a $5ndash10 donation and was capped at 360participants the members of our group represented various regions of the countryand were diverse in terms of age socioeconomic status race and ethnicity andgender and sexual identity

Camp Courage is explicitly grounded in the organizing model advanced byMarshall Ganz Currently a senior lecturer in Public Policy at Harvard UniversityGanz has a long history of working for social change beginning in the 1960s withcivil rights organizing and then continuing with Delores Huerta and Ceacutesar Chaacutevez inthe United Farm Workers (UFW) of America He has also led strategic planningprojects and trained organizers for various democratic gubernatorial congressionaland presidential campaigns In fact Ganz was ldquothe brains behind the movement-buildingrdquo of the 2008 Obama campaign his organizing model was at the heart of theldquoCamp Obamardquo neighbor-to-neighbor strategy that so successfully mobilizedthousands of grassroots organizers and led to Obamarsquos victory (Abramsky)

ldquoWhat One Voice Can Dordquo 29

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All three of the co-founders and trainers of Camp CouragemdashTorie Osborn MikeBonin and Lisa Powellmdashworked extensively on the 2008 Obama campaign and itsldquoYes we canrdquo spirit and emphasis on collectivity are evident in Camp Courage aswell3 As Osborn puts it the Obama model did not rely on identity-based claimsinstead ldquolinking communities and sectors together into public and political will forsolutions on big thorny issues affecting everyonerdquo (22 original emphasis) TheObama campaign motto ldquoRespectmdashEmpowermdashIncluderdquo which Osborn Boninand Powell also adopted for Camp Courage insists on commonalities rather thanendless fragmentation and competing victimization Osborn recalls how herheterosexual African-American and Latino friends with whom she had worked onthe Obama campaign were quick to take to the streets in protest when Proposition 8was passed the diverse coalition that united in optimism to work for Obama inother words did not exclude the needs of its LGBT members and it is from thissense of oneness that Camp Courage was born (27) In short like muchcontemporary organizing Camp Courage faces numerous challenges to forge bondsof collectivity among a group of disparate individuals without relying on assumptionsof shared identities to foster the kind of group cohesion and trust necessary for riskyacts of protest and to develop a sense of community and cooperation in the face ofpolitical economic and cultural pressures to see one another as competitors forlimited resources

Camp Courage responds to these challenges I suggest by basing their trainingaround several choric rituals wherein participants are asked to move in unison orspeak as one effectively producing a temporary harmony of voices and bodiesSpecifically Camp Courage employs three distinct but often interconnectedtechniques of choric communication (1) teaching participants to narrate their lifeexperiences through the standard form of the Story of Self (2) engaging in ritualizedchanting and call-and-response techniques that root the group in a historicaltradition of working for social change and (3) using directed applause to guide andaffirm a shared affective experience Through these practices participants embodyand physically enact their common membership in a group Camp Courage thereforeperformatively produces at least within the limited time and space of the training achoric collectivity that depends on synchronized action but does not assumesimilarity or uniformity of identity4

My participation in Camp Courage (and the NEM overall) was marked by anawkward but nonetheless productive ambivalence I am both personally andprofessionally invested in LGBT activism but my own politics lead me to beskeptical of demands for ldquorightsrdquo that are based on the extension of the institution ofmarriagemdashan institution with a long history of enforcing sexism racism national-ism heterosexism and a whole host of other inequalitiesmdashand on the privileging of aspecific model of romantic and sexual coupling In short while I certainly supportequal access to marriage for all people and am relieved that the Supreme Court hasnow recognized the unconstitutionality of the Defense of Marriage Act there arepowerful queer and feminist critiques to be made of marriage itself and I worryabout the normative trend (both heteronormative and homonormative) in LGBT

30 E J Rand

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2013

politics that packages marriage as the single or most important fight of our time5

Presented with the opportunity to attend Camp Courage as part of my research onperformative collectivities then I was simultaneously delighted to be in the companyof other queer activists and uneasy with my own (publicly unexpressed) doubts aboutour professed cause My discomfort was magnified by attempting to balance my rolesas trainee and academic investigator participating in the training activities while alsotrying to document them unobtrusively increased my sense of self-consciousalienation from the group6

I was therefore astonished to recognize that in spite of my various feelings ofestrangement I was nonetheless moved inspired and even transported by theexperiences I shared with the other Camp Courage trainees that day My reservationsabout marriage did not abate but neither did they preclude me from being caught upin the effervescent exhilaration of the grouprsquos innervation Our sense of collectivityin other words exemplified the indivisibility of rhetoric and performance it was aresult less of the trainingrsquos persuasive power and more of our communalperformance of solidarity Thus I offer my doubts about marriage equality herenot to stake out a position on the merits of marriage as an institution or as a politicalgoal nor to make any claims about Camp Couragersquos effectiveness or value in thisbattle but to mark the ambivalence that generates this project That is my discussionof Camp Couragersquos choric collectivity emerges out of the frictions between my queercritical stance and my affective immersion in the training experience and showcasesa productive methodological encounter between my rhetorical analysis of the ldquotextrdquoof Camp Courage and my narration of my embodied participation in the grouprsquosactivities

Choric Communication as Civic Pedagogy

Choric communication draws on the rich theatrical tradition of the ancient Greekchorus The chorus was a group of actors who would sing speak and dance inunison to advance the plot supplement the drama and help the audience visualizethe action of a play sometimes the chorus would split into halves to alternatespeaking antiphonally (Larson 1) The synchrony rhythm and embodiment of thechorus were also evident in the Greek fashion of training the body and the soul andboth Plato and Aristotle identified music as a means of facilitating pedagogicalexercises Gymnastic activities were coordinated through music and as StephanieNelson explains Plato believed that regularly singing a chorus of noble sentimentswould imbue citizens with those virtues (284) Furthermore the rhythm andrepetition of music made it an ideal tool for inculcating communal values DebraHawhee contends that for Plato and Aristotle ldquomusicrsquos capacity to transmitdispositions falls outside the category of reasoned conscious learning as rhythmsand modes invade the soul and at times excite the body to movementrdquo (139)Hawhee goes on to explain that rhetorical education in ancient Greece was markedlycorporeal focusing on what she calls ldquothe three Rs of sophistic pedagogymdashrhythmrepetition and responserdquo (135) Hence rhetoric was always understood as an


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embodied performance ldquoEntwined with the body in this way rhetorical training thusexceeds the transmission of lsquoideasrsquo and rhetoric the bounds of lsquowordsrsquordquo (160)7

The affective qualities of the rhythm repetition and response of rhetorical andphysical educationmdashthose which ldquoexcite the bodyrdquo and provoke intense emotionalimpactmdashare as Plato understood brilliantly channeled through choric performanceas a potent mode of civic education As Nelson puts it choric communication canwork as ldquoa powerful indoctrination tool that can be applied in the service of culturalconventions and the status quordquo (284) the unpredictability of affect however meansthat choric techniques can also incite appetitiveness unruliness or insurgency aconcern for both Plato and Aristotle (Hawhee 140) Today the prevalence of chorictechniques wherein the coordinated harmonious bodies and voices of the groupdiscipline the disorderly and reinforce the imperatives of contemporary socialinstitutions is unmistakable

Speaking singing or moving as a chorus is a tremendously socializing mode ofcommunication that permeates Western life to a great extent examples beingchurch hymnal singing and liturgy responses the pledge of allegiance militarymarches sports cheers saying grace around an evening meal the campfire songtradition etc Choric educational techniques including group singing andrecitation are still central to early childhood education in Western culture(Nelson 268)

As such contemporary scholars have investigated choric communication as aninstrument of civic pedagogy across an array of sites but most frequently in theclassroom and for religious purposes Choric speaking has been advocated for tasksranging from learning a foreign language and reducing stuttering or regional accentsto appreciating literature and poetry and improving diction (Larson 1ndash4 Meader 235Griffin 14 Long) It is commonly noted that choric speaking fosters sociabilityparticipation cooperation belonging and identity in a group and as ChristineGriffin brightly concludes ldquobesides itrsquos funrdquo (30) Choric reading also has a longhistory in religion because as Helen A Brown and Harry J Heltman contend itallows all members of a religious community to take part in the process ofworshippingmdashnot just as listeners or mere reciters of memorized responses but asactive participants Brown and Heltman insist that choral reading enhances a sharedor communal experience describing for instance the thoughts and feelings that arisefrom ldquocommon worshiprdquo and ldquothe common expression of those deep spiritual truthswhich dwell in the words of the Bible and other sacred literaturerdquo (5ndash6)

Even in settings that are not clearly marked out as instructionalmdashas schools andplaces of worship generally aremdashchoric communication still performs pedagogicalfunctions For example Leslie Hahner describes the rituals of Girl Scouts and CampFire Girls in the early twentieth century arguing that they acculturated the daughtersof immigrants into a US American way of life thereby assuaging anxieties about theinfluences of the ldquonew immigrantrdquo (114) Drawing on the ancient Greek convictionthat rhythm and repetition are key components of the training of citizens many ofthese rituals of US Americanness were performed chorically girls wore matching

32 E J Rand

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2013

uniforms performed marches and drills in unison held rallies pageants andparades and recited the pledge of allegiance in order to ldquoerase ethnic difference andmold the troop or Camp Fire as a singularitymdasha union of patriotic American girlsrdquo(125ndash26)

Hahnerrsquos explanation also clearly illustrates the less salubrious instructional effectsof choric communication promoting a collectivity necessarily seeks to deemphasizeif not even expunge those markers of identity that might otherwise prevent one frombeing incorporated into the group In other words as Girl Scouts and Camp FireGirls performed their nationality their inclusion as US Americans was premised onthe covering over or disavowing of their ethnic identities and traditions Even morepointedly Jeff Parker Knight demonstrates how the choric techniques of militarytraining serve as ldquoan instrument of secondary socializationrdquo in which onersquos identityas a Marine supersedes onersquos identity as an individual (158) By marching in unisonperforming cadence songs or ldquojodiesrdquo undergoing group punishments participatingin military rituals and submitting to a range of de-individualizing experiences(having onersquos head shorn living in barracks forgoing privacy in bathrooms andshowers and so on) Knight argues the individual agency of recruits is dissolved Anew undying loyalty to the group and sense of oneself as a part of a larger militarymachine are cultivated in its place (160ndash61) To be sure an efficient and successfulmilitary may require the suppression of fear and the new morality of killing that suchtraining instills But when group cohesion is forged through homophobic andxenophobic discourse the dehumanization and objectification of women and amartial allegiance that cannot be breached or interrogated ldquoserious ethical questionsrdquomust be raised about the implications of military socialization (166)8 Choriccommunicationrsquos ability to generate collective feeling then does not distinguishbetween purposes good or ill Furthermore even if particular identities are notnamed explicitly as the basis for collectivity certain identity markers may beprivileged or disparaged as the collective takes shape

Each of these examples of choric communication not only emphasizes thecombination of body and language necessary for training and education but theyall also suggest that choric performance produces the important effect of collectivefeeling That is it constitutes the community it purports to instruct not justadvocating but actually physically inducing cohesion within the group Dale Cyphertaccentuates this capacity in her account of the interplay of the physical and rhetoricalrhythms established by laborers on a work site ldquosynchrony of movement creates thesense of community that is necessary for any rhetorical action to take place and anindividualrsquos synchrony with the rhythm of the group determines his or her ability toinfluence its actionrdquo9 Likewise as Nelson contends in her study of the performancesof a Togolese womenrsquos musical organization singing speaking andor movingtogether with a group can be an ldquointensely socializingrdquo experience ldquoa temporaryescape from onersquos inner liferdquo that fosters consubstantiality and community (269281ndash82)

As I turn now to the techniques of choric communication utilized at CampCouragemdashstorytelling chanting and call and response and applausemdashit is the


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2013

building of a collective spirit that I want to emphasize To be sure Camp Courage isan activist training and thus explicitly a pedagogical exercise in civic engagement Butit is also and perhaps more importantly an attempt to forge the bonds of collectivityamong a disparate group of individuals who might not otherwise identify themselvesas allies The training thus illustrates rhetoricrsquos embodied enactment and theparticipantsrsquo performances temporarily constitute an affective choric collectivity

Storytelling

Storytelling is the backbone of Camp Courage with the afternoonrsquos agenda dividedinto three storytelling segments Story of Self Story of Us and Story of Now Tolaunch the first major section Story of Self the facilitators offered a brief story oftheir ownmdashCamp Couragersquos origin story as it weremdashof the Jewish traditions thatshaped Ganzrsquos philosophy of organizing and of his involvement with the UFW andthe 2008 Obama campaign The Camp Courage experience is developed directly fromGanzrsquos model and is geared toward the production of a ldquopublic narrativerdquo thatincorporates the three story components and emphasizes the importance ofstorytelling as a leadership art that can cultivate affective ties among individualsAccording to Ganz a Story of Self describes onersquos values and experiences explainsonersquos motivations and offers details through which listeners can identify with thespeaker A Story of Us communicates the values experiences and motivations thatare shared by and unite a community Importantly Ganz views a Story of Us as bothdescriptive and constitutive because the process of storytelling can forge communityties where they may not already exist

Points of intersection can become the focus of a shared storymdashthe way we linkindividualsrsquo threads into a common weave My story becomes ldquoourrdquo story when itsproject is our project its crisis is our crisis or its resolution teaches a moralcommon to us all (15ndash16)

A Story of Now narrativizes a crisis or challenge as a moment of choice invokes theshared values of the community and articulates a hopeful vision of the futureUltimately Camp Courage participants were told that our objective for the day wasto become effective community organizers through the relational impact ofstorytelling specifically by ldquofinding your unique voice and learning to use yourpersonal story as a vehicle for social changerdquo ldquolearning to build a movement andpersuade people based on personal relationshipsrdquo and ldquobuilding community throughcommon values shared goals and higher purposerdquo (ldquoCamp Couragerdquo)

The first task at Camp Courage then and the activity that occupied the longestsegment of the training was learning to tell the Story of Self in a way that highlightskey challenges and choices therefore allowing others to respond emotionally and feelconnected to the storyteller Reflecting on onersquos life and history in order to tell apersonal story may seem like an intensely individual act that would emphasize thediversity of experiences rather than the commonalities of the people in the roomHowever the Story of Self exercise was guided very specifically by a handout and a

34 E J Rand

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2013

worksheet that ensured each individualrsquos story would conform to a designated formalstructure The ldquoDeveloping Your Story of Self Worksheetrdquo offers four narrativecomponentsmdashldquoIntroduce the Character(s)rdquo ldquoCharacter Encounters a ChallengerdquoldquoCharacter Makes a Courageous Choicerdquo and ldquoThe Outcome of the Choicerdquomdashforeach of which participants were asked to ldquofill in the blankrdquo with the details of ourown stories Stories were honed with partners and then in small groups where wereceived feedback from peers and the training organizers As they were repeatedlyrecited individualsrsquo stories were gradually normalized hewing continually closer tothe common format and pieces of stories that could not be accommodatedcomfortably by the four plot components tended to be excised

I found that my own story fit clumsily within the requested narrative components(or put differently the worksheet encouraged a different story than the one I mostwanted to tell) After all my coming out into queer identity and politics might bemore aptly described as an exciting intellectual epiphany than as a real ldquochallengerdquoand the obstacles I have encountered and ldquocourageous choicesrdquo I have made could beconnected only tangentially to my commitment to activism today With theassistance and encouragement of the members of my group however I was able tocraft a story that fit the prescribed format while it was not exactly the story I mighthave told if left to my own devices it was certainly still ldquotruerdquo and actually offeredsome surprising insights into my own life In other words my experience highlightedthe performativity of storytelling or what Kristin M Langellier describes as thedifference ldquobetween the present act of narrating and the past act being narratedrdquo(128) When we enter into what she refers to as the ldquopersonal narrative contractrdquoldquo[w]e concede the strategic ways that performing intervenes between experience andstory the way that narrative mediates experience even when a factual account ispromised In a word personal experience stories are made not found by eithernarrators or researchersrdquo (128 original emphasis)

My Story of Self also underscored the constraints that attend any instance ofldquogiving an account of oneselfrdquo As Judith Butler puts it to become recognizableto another one must also be to some extent ldquosubstitutablehellip The narrativeauthority of the lsquoIrsquo must give way to the perspective and temporality of a set ofnorms that contest the singularity of [onersquos] storyrdquo (Giving an Account 37) Thusit is not just the content but also the form of onersquos story that marks one as amember of a particular culture or community While these norms are usuallymaintained only implicitly the Story of Self renders them stark and vivid makingthem both easier to obey and more difficult to resist Because I wanted to becomea part of the Camp Courage community I willingly shaped my narrative to fit itsparameters

The normalizing process of storytelling was accelerated by the additional demandthat Camp Courage stories must be narratable in three minutes or fewer to increasetheir impact as an organizing tool Given this constraint streamlined one-dimensional decisive accounts tended to be favored over more complex intersec-tional or potentially undecided analyses Telling onersquos personal story to strangers andparticipating in the shaping of othersrsquo stories lent a unique intensity to this exercise


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2013

bodies in folding chairs bent toward one another in small clumps around the roomand the air buzzed with the sounds of separate voices simultaneously reciting storiesabout coming out coming to terms with an LGBT family member or friendsurviving various forms of injustice and recognizing the myriad violences ofdiscrimination Ultimately while the content of each participantrsquos story was uniquethe formal structure was remarkably similar encouraging individuals to understandand reflect upon their own experiences through the rhetorical structure of the groupand allowing the Stories of Self to blend seamlessly into a Story of Us that resonatedwith all Indeed even though initially I found the required form of the Story of Self tobe rather cramped and therefore felt alienated from those who were able to producethe most exemplary and moving stories it turned out to be the process of rehearsingour stories in the group that was most important to our collectivity That is thepractice of communal storytelling in a shared formatmdashnot the content of theindividual stories themselvesmdashproduced a powerful sense of a unified andinterconnected group

The merging of disparate individual stories into a cohesive collectivity wasconsummated at the end of the Story of Self exercise when the Camp Couragetrainers who had been mingling with the small groups listening to snippets ofparticipantsrsquo stories and offering suggestions for improvement selected the mostpoignant stories to be shared from the stage with the entire group The stories chosenwere not only those that best fit the provided model but also those that evoked themost powerful emotional responses One woman for example recounted the years ofseparation and anguish she and her partner who was not a US citizen suffered as aresult of immigration policies that did not recognize same-sex relationships Theaudience already familiar with the structure that guides the story and emotionallyprimed by the vulnerability and exhilaration of sharing their own stories in theirgroups responded in perfect symbiosis with the speakermdashwith an outpouring oftears at the speakerrsquos challenge and with indignant and hopeful enthusiasm at hercourageous choice to fight for federal protections for LGBT people Of course eachindividual audience member did not respond identicallymdashwhile one person mayhave been incredibly moved by the story another may have been distracted by herown bodily need for a cigarette or a trip to the restroom another disinclined toemote so publicly By virtue of participating in the Story of Self exercise and beingpart of the audience for its conclusion though we all learned to model the expectedreaction interpellated as it were as those who are emotionally invested in this causeIn other words the formal elements of the story not only enabled participants topromote the commonalities of their Stories of Self but they also cultivated the affectof the group directing everyone to cry and applaud in unison the strength of thecollectivity they produced in direct relationship to and as reward for the intensity oftheir affective response

Although the Story of Self is ostensibly individual it was not until the stories werepresented in interaction with a witnessing audience that their purpose was fulfilledThe audience did not just listen passively rather by responding in unison withexpressions of sadness or joy with laughter and with cheers and applause they

36 E J Rand

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2013

participated actively in constituting a collective that folded the Story of Self into aStory of Us However this does not mean that one Story of Self becameinterchangeable with another or that the audience was able to access or understandthe speakerrsquos experience fully For John Durham Peters the concept of witnessing isinteresting precisely because it actually intensifies rather than reduces the problem ofcommunication more generally ldquoIt always involves an epistemological gap whosebridging is always fraught with difficulty No transfusion of consciousness is possibleWords can be exchanged experiences cannotrdquo (710) Although the act of witnessinga Camp Courage story does not necessarily provide an avenue of greatercommunicative transparency the audiencersquos collective acts of listening and respond-ing produce a community in which that story is validated the crucial effect of thiswitnessing is performative rather than transactional10 As Emily Dianne Cramcontends acts of witnessing ldquoare sustained emotional encounters that engenderpolitical actionrdquo and function ldquoas a mode of citizenship a category of embodiedsociality public emotionality and performative enactmentrdquo (415)

The bonds of collectivity forged by the end of the Story of Self exercise were put topractical use in the second and third major sections of the Camp Courage trainingWe were asked to gather in small regional groups to create Congressional DistrictAction Teams (CDATs) which were composed of activists who live near each otherand could work together as a part of the Equality Across America network Theconnection between storytelling and mobilization was again emphasized as theldquoStory of Usrdquo handout explains

Communities express and define themselves through their stories Stories recallcommon history invoke shared values and remind us of mutual goals andcommitmentshellip Just as you have a Story of Self that expresses who you are as anindividual you have a [sic] various Stories of Us that tell who and what yourcommunity is

Now that the Camp Courage participants had already come to see ourselves as acommunity in the previous exercise our presence and participation in the trainingwas sufficient to constitute a nascent Story of Us

Along with everyone else here at Camp Couragemdashand all those who have come toWashington DC for the Equality Across America march and rallymdashwe face mutualchallenges share similar values and have common goals We are united by ourcommitment to full federal equality in all matters governed by civil law (ldquoStory ofUsrdquo original emphasis)

The fledgling CDATs were asked to brainstorm ideas for building local coalitionsrecruiting and empowering more community members and launching new actionsThis is what Ganz describes as ldquoa crucial point at which story and strategy overlaprdquowhen a credible and specific vision for taking action must be developed in order forhope to be maintained (19) He explains ldquoa vision of hope can unfold a chapter at atimerdquo and even simply following through with a meeting if it is articulated as part ofa larger strategy can be interpreted as a victory of sorts but ldquothe action must begin


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2013

right here right now in this room with action each one of us can takerdquo (20ndash21) Assuch by the end of their discussions each of the CDATs was expected to havescheduled its first Mobilization Meeting in the local community and committed toconcrete actions that members could take on their own and as a group CampCourage concluded with a brief Story of Now session in which Osborn reiterated theimportance of immediate action to build a movement and the conviction thatindividuals are empowered to create progressive change

Chanting and Call and Response

If the Stories of Self and Stories of Us provided the primary framework forparticipants in Camp Courage to come to understand ourselves as a collective thenthe frequent uses of chanting and call and response in the training operated assupplemental practices through which the group performed itself as a collective bodyImportantly when the chants were narrativized within a trajectory of progressiveactivism and respected leaders the Camp Courage collective was situated within andconnected to a larger cultural and historical context

One of the first handouts Camp Courage participants were asked to review washeaded with the Camp Courage (and Camp Obama) mantra ldquoRespectmdashEmpowermdashIncluderdquo Trainees were told to chant the mantra in unison each repetition of thewords growing in intensity and volume and evoking a swelling sense of anticipationFrom the early moments of the training then even before the work of the Story ofSelf session began the bodily experience of hearing onersquos voice merging into othersof feeling oneself buoyed by the increasingly synchronous voices of the crowdamplified the affective charge of the room It was in this moment of burgeoningexcitement that the trainers offered the previously described narrative of Ganz andthe origins of the Camp Courage organizing model and then turned the grouprsquosattention to the ldquoQuotation of the Dayrdquo a passage from Ganz that was featured onthe same handout The trainers instructed us to read Ganzrsquos words aloud and inunison ldquoMaking change isnrsquot wishing or thinking or talking to yourselves It takesorganizing Organizing is three things (1) Developing leaders (2) Buildingcommunity around that leadership and (3) Building power from the resourcesgenerated by that communityrdquo (ldquoCamp Couragerdquo) This quote is perhaps a rather oddchoice since it is not particularly poetic memorable or inspirational and its formatmdashstaccato phrases organized as a numbered listmdashled to a few giggles as we allattempted to coordinate our reading pausing to see whether others would verbalizethe numbers or ignore them and stumbling awkwardly through the rhythmlesswords

But the imperfect recitation of the quote served an important rhetorical functionthough our individual voices may not have been flawlessly in sync with one anotherwe nonetheless carried out the task as a group therefore performing a collective thatworked together across its differences And the collective affect generated by theprevious chant was now channeled toward a specific purpose in line with Ganzrsquos

38 E J Rand

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2013

principles the group voicing its own commitment to Ganzrsquos vision for organizing acommunity As an instance of choric communication chanting has been noted byseveral scholars for its ability to produce a collective identity and community Forinstance Mikita Hoy writes about British football (soccer) chants as a folk practice ofgroup chanting or singing or ldquoas part of a ritualistic public performancerdquo (292) Thefootball chant promotes ldquoa sense of lsquobeing togetherrsquo in support of a teamrdquo andldquoestablishes a kind of united self-identityrdquo (295 original emphasis) Likewise SherylHurner argues that the songs sung in unison by female suffragists served to unify themovement ldquoSuffrage songsrdquo she explains ldquohelped to create and promote groupcohesion solidarity and increased morale among the members A sense of individualentitlement assurance and support was affirmed through group affiliation camara-derie and participating in the collective singing of suffrage musicrdquo (249) Notably forHoy and for Hurner football chants and suffrage songs respectively have the effectof establishing and affirming the cohesion of the group not merely expressing it inother words it is the performance itself that produces and intensifies solidarityamong members

Chanting was used in another significant manner during Camp Courage As ameans of emphasizing the blending of Stories of Self into Stories of Us and ofmarking out the present moment as an urgent time of action Camp Courage leaderstold the story of Edith Childs a favorite anecdote from the 2008 Obama campaigntrail Early in the primaries when Obama was still lagging in the polls he appeared ata sparsely attended campaign meeting in Greenwood South Carolina Countering thesleepy somewhat despondent atmosphere in the room city councilwoman Childswhom Obama described as a diminutive 60-year-old woman in a church hatunexpectedly cried out ldquoFired uprdquo Even more unexpectedlymdashat least to Obama andhis staffmdashthe small crowd responded by repeating ldquoFired uprdquo Childs then shoutedldquoReady to gordquo and again the crowd replied in kind Childs continued with this call-and-response chant for several minutes as Obama described it later he was initiallybewildered (and perhaps a bit displeased) ldquoAnd Irsquom thinking this woman is showingme up This is my meeting Irsquom running for President And shersquos dominating theroom And I look at my staff and they just shrug their shoulders They donrsquot knowwhat to dordquo However Obama notes the budding affective charge of the chant whenhe continues ldquoAfter a few minutes Irsquom feeling kind of fired up Irsquom feeling like Irsquomready to go So I start joining in the chant and my staff starts joining in the chantAnd somehow I feel pretty goodrdquo (Presta) It did not take long for the ldquoFired upReady to gordquo chant to become a common exchange between Obama and his staffand an anthem at his rallies around the nation He began telling the story of Childsin subsequent speeches offering it as evidence of the importance of individualconviction and grassroots organization The Camp Courage leaders quoted Obamarsquosconclusion to this story

It shows you what one voice can do one voice can change a room And if a voicecan change a room it can change a city And if it can change a city it can change astate And if it can change a state it can change a nation And if it can change a


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2013

nation it can change the worldhellip your voice can change the world tomorrow(Obama)11

The deep undeniable rhythm of these sentences was a welcome fulfillment of thedesire aroused but frustrated by the arrhythmic Ganz quotation and the room wasbreathless with unexpressed passion and anticipation12 The Camp Courage trainersstrung out the moment with a dramatic pause and then shouted the longed-forquestion ldquoAre you fired uprdquo In an ecstatic peak of ideological fervor and politicalzeal the roomful of trainees exploded ldquoFired uprdquo Then louder ldquoAre you ready togordquo ldquoReady to gordquo As such we were led in call-and-response formatmdashjust like thetemporarily disheartened but ultimately victorious Obama supporters in Greenvillemdashto chant ldquoFired up Ready to gordquo our volume and exhilaration mounting with eachrepetition the sense of hope and possibility palpable in the room This was a crucialelectrifying moment Not yet directed toward a particular project the affectiveintensity aroused through the chant hung in the air as seemingly limitless potentialityand as an overpowering sense of openness and devotion toward the other membersof the group Filled with the bubbling potency of our individual voices coalescing asone I was emboldened and compassionate ready for any challenge13

In addition to being another chance for us to perform and behold our own unitythe Childs story served at least two more purposes for Camp Courage First it offereda larger narrative of progressive organizing within which the power of the individualis depicted as central to the effort It is clear that one need not occupy a position ofauthority live in a big city or have extensive resources to have an impact rather theexample of Childs demonstrates quite literally the capacity of a single voice to make adifference Even the form of Obamarsquos concluding statement quoted in full by theCamp Courage trainers in which he builds from the individual voice to the climax ofchanging the world reinforces the notion that a single personrsquos actions occur withina larger context and toward a greater purpose of progressive social change Utilizing arhetorical figure known as anadiplosis from the Greek for ldquoredoublerdquo or ldquodoublebackrdquo in which the last word of a phrase is repeated at the beginning of the nextphrase for the purpose of amplification this passage not only emphasizes thecumulative effects of seemingly small actions but also mimics the choric perform-ance of Childsrsquos call-and-response style (ldquoSilva Rhetoricaeligrdquo) As Paul Butler suggestsldquo[t]he repetition of words has the effect of an antiphonal choir the acted upon andthe acting of languagerdquo (19) Thus Obamarsquos words and style as they are utilized forCamp Courage encourage participants to understand their own stories as uniquecontributions to a larger movement and as necessary starting points from whichsignificant results can be achieved furthermore they invoke the participatory flavorof call and response implicating addressees not only as beneficiaries but also asagents of the action they describe

Second the call-and-response chanting that the Childs story prompts is itself asignificant tactic for building a collective especially a resistant collective of themarginalized Whether it is spontaneous or rehearsed call and response usuallyinvolves a speakerrsquos statements being punctuated with responses from the audience

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resulting in ldquoa reciprocal speech event which serves to unite the speaker and theaudiencerdquo (Boone 213) Patreece R Boone suggests that although call and responseldquoforwards the concept of collectivismrdquo it simultaneously showcases the uniqueness ofthe individual valuing the contribution of each voice to the ensemble (222ndash23)Thomas Kochman describes this balancing of collectivism and uniqueness as producingan exhilarating enlivening experience of an almost religious andor sexual nature

call and response embodies an interlocking and synergistic dimension in whichmembers of the group participate by adding their own voice to those of others toserve both as counterpoint and counterforce alternating stimulating others andreceiving the stimulus of others until collective spiritual release and regeneration isachieved (196)

The powerful affective connections generated by call and response are enhancedwhen the individuals are oppressed as a group and therefore are explicitly orimplicitly discouraged from identifying with one another For instance call-and-response techniques were featured frequently in African-American slavesrsquo spiritualswhich played an important role in creating community emphasizing a collectivespirit and forging a positive self-definition in the face of violent subjugation Slavessinging together would take turns guiding the song while others repeated orresponded to their verses and then would drop back to rejoin the chorus allowinganother to take the lead According to Kerran L Sanger ldquo[t]he sharing ofresponsibility in creating a song encouraged a strong sense of identification andcommunity among slavesrdquo even though having been brought from disparatecultures and locations in Africa they previously had little in common (182)Furthermore the conversational pattern of call and responsemdashin which singersalternate speaking turns often asking and answering questions or offering a series ofindividual claimsmdashenacts the listening affirmation and support necessary to acommunity formed through marginalization

The use of call-and-response chanting at Camp Courage then draws upon thisrich history of racial resistance and inserts contemporary LGBT activists of all racesinto its trajectory through the narratives of Obama and Childs (although Childs isnot explicitly identified in the story as African-American her geographical locationher ldquochurch hatrdquo and her use of call and response all serve as not-so-subtle racialmarkers) Moreover because the Camp Courage mantra and the ldquoQuotation of theDayrdquo are both directly connected to the story of Ganzrsquos background and organizingmodel the collectivity produced at the training incorporates this history of activismas well By repeating Ganzrsquos words in unison and by engaging in Childsrsquos chant wewere not merely taught the contexts and precedents for our organizing efforts but wealso performed our own inclusion in the legacies of previous activists

Applause

As one might expect of any group training speakers at Camp Courage werewelcomed and thanked with applause the conclusions of specific components of the


Dow

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2013

training were usually marked by general applause from the participants and thefacilitators suggested that trainees ldquogive [our]selves a handrdquo for our dedication to thecause of LGBT equal rights Of course applause is one of the most basic embodiedacts of choric communication and one that compels participation Even whenapplause seems to arise spontaneously it exerts a powerful normative pull findingoneself in an applauding audience it is difficult to not join in regardless of whetherone shares the grouprsquos enthusiasm for the act toward which the applause is directedLikewise it is nearly impossible for an individual to sustain applause on his or herown and lone audience members who mistakenly applaud at the ldquowrongrdquo momentare likely to silence themselves quickly in embarrassment (Brandl-Risi 12 Bull andNoordhuizen 276) In short applause creates a ldquosort of pluralityrdquo in which clapping isan action and a reaction simultaneously encouraging and monitoring similarreactions from others (Brandl-Risi 12ndash13)

The most interesting instances of applause at Camp Courage were those that didnot arise from the collective will of the audience but that were actually directed bythe trainers First during the Story of Self exercise described earlier before any of theselected participants mounted the stage to tell their stories we were given specificinstructions about how to respond the audience was to offer ldquowildly enthusiasticapplauserdquo for every story told We were even asked to rehearse our wildly enthusiasticapplause before the first speaker began amplifying our hand-clapping foot-stomping and shouting until it reached the desired level of raucousness For BettinaBrandl-Risi applause is always aimed at two separate targets it offers an evaluationof the success of a performance but it is also a means of acknowledging the others inthe audience of recognizing onersquos collective role as an audience and of transmittingaffect (12) She explains ldquo[i]n a circle of enthusiasm and disappointment theadmirers first celebrate the admired performance and then celebrate their admira-tion applaud their own applause Enthusiasm becomes inflationary success givesbirth to success booing gives birth to booingrdquo (14ndash15) In our practice round ofapplause and in response to the Stories of Self however the first role of applause wascircumvented since the trainers instructed us to offer the same wildly enthusiasticassessment of every story The second role of applause on the other hand wasenhanced it was not merely the physical gesture of the clapping of many hands butrather the affective investment the wild enthusiasm of the audience that the trainerssought to encourage Challenged to scream louder we raised our voices togetherstriving as a group for the crescendo of sound that would meet the trainersrsquo approvalTo be sure the goal of telling Stories of Self to the Camp Courage audience is not tosolicit genuine critical feedback about the quality of the storyrsquos content or thestorytellerrsquos delivery Instead it is a community-building exercise in which theperformance of synchronization between speaker and audience binding the speakerand the individual Story of Self into the collective is the most important effect Theapplause thus plays a vital constitutive role as Brandl-Risi summarizes ldquo[a]pplause isa collective gesturehellip Applause functions in a collective and it producescollectivesrdquo (12)

42 E J Rand

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The second manner in which Camp Courage deliberately utilizes directed applauseis through the ldquoUFW claprdquo Sometimes also called the ldquosolidarity claprdquo and closelyassociated with the United Farm Workers the clap begins very slowly graduallydrawing in more and more hands increasing in pace and intensity and gainingrhythm until ultimately it concludes in perfect unison and then releases with loudand exuberant cheers In the 1960s UFW members used this clap to announce theirpresence at an event to allow members to connect with one another and even as aform of intimidation (Rosin) Camp Courage trainers relayed the history of the claptoward the beginning of the training providing yet another connection to Ganzrsquosexperiences with the UFW and led participants in a practice round The UFW clapfunctioned throughout the afternoon as a way to regain the attention of traineeswhen we were working together in pairs or small groups the trainers would begin toclap slowly and as various participants noticed the sound they too would beginclapping until everyone had joined in and the focus of the room was back to thespeaker(s) on the stage Thus the clap had a practical purpose (the trainers weresaved from trying to shout over the din) as well as an ideological purpose that is atthe moments when we were potentially the most disconnected from one another(working in groups broken up by congressional district for example) the UFW clapwas a way for us to perform our collectivity to reinstate the existence of a collectivethrough a physical act of choric communication

Although in both of these instances of applause the Camp Courage participantsperformed at the direction of the trainersmdashwe were instructed to applaud inparticular ways at particular timesmdashthis is not a matter of passive indoctrination Onthe contrary it is only through the activity of the participants that the collective canbe said to exist at all As Brandl-Risi puts it ldquo[p]articipation in this sense comes intobeing by moving and being moved and exceeds the active-passive binaryrdquo (13)Indeed one participant at Camp Courage San Diego describes her experience withthe UFW clap as a dynamic embodied act that led to the production of a collectiveldquoThe clapping started slow grew faster stomping feet joined in and then the cheeringbecame infectious When the echo died away I knew I had become part of a new gaymovement for social changerdquo (linfar) Another activist exposed to the UFW clap in adifferent organizing context explains its affective and community-building effects soeloquently that I quote her here at some length

The power of the farmworker clap is that it IS the movimiento [movement] We allstart out in different places clapping at our own tempo Some are superenthusiastic others are half-hearted others afraid or dismissive But the act ofclapping brings us together and by listening to each other we find a pulse that isalways growing always moving forward And as that clap grows stronger andfaster until itrsquos frenetic thatrsquos when we know wersquore united Thatrsquos when we knowwersquore winning (Consuela original emphases)

Both of these activists note that performing the UFW clap with others does notmerely reflect but actually produces a sense of solidarity and collectivity Alsobecause of the UFW claprsquos history across generations of various kinds of movements


Dow

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2013

for social change the collectivity within which one participates is not limited to thepresent time and space As Consuela adds ldquoit connects me back to other strugglesand past movimientosrdquo an effect that is invaluable to Camp Couragersquos efforts tosituate contemporary LGBT activists within a history of American struggles for socialjustice

The various kinds of applause at Camp Courage were for me the mostconsistently effective and most immediately resonant means of establishing a senseof group solidarity In the moments of enthusiastic applause I found myself leastconcerned about my hesitations regarding the politics of marriage and leastconscious of my presence as a researcher and note-taker in other words throughapplause I felt myself most effortlessly and unreservedly incorporated into thegroup The power of applause in the production of a collectivity might beunderstood as a result of its foregrounding of performance of all the choric tacticsused in the training applause was the most plainly embodied and physical Whilethe bodies of storytellers were an important component of the Story of Self and thechanting and call-and-response exercises required us to raise our voices it was onlyin boisterous applause that our entire bodies were called upon to act Rising fromour seats stomping our feet pounding our hands together hooting and yelling andsometimes even jumping up and down our mutual hoarseness and breathlessnessspoke to the corporeal pleasures of applause I experienced our collectivity inthese moments not just conceptually but also on a sweaty passionate viscerallevel

Moreover applause reduced my feelings of alienation because it shifted our focusaway from the specific ideologies methods or goals of the trainingmdashthe elementsupon which I might cast a more critical eyemdashand onto our own value andpotentiality as a group Through the Story of Self and through chanting and call andresponse we affirmed Ganzrsquos vision for sharing personal narratives and a particularversion of progressive grassroots politics through applause we affirmed ourselvesJoining with others to clap in response to a traineersquos story I was not weighing in onthe potential benefits of marriage equality rather I was simply cheering on thecourageous choices of a fellow activist and community member Thus it was not thatmy ambivalence about marriage was somehow reduced or overtaken by the applausebut that the applause reflected my unequivocal support and admiration for the otherindividuals in the room as well as my desire to enact my own relationship to thegroup

Of course applause could only produce and exhibit collectivity in this mannerbecause of the specific rhetorical framing provided by the Stories of Self and thechanting and call-and-response activities without the other choric elements ofthe Camp Courage training both the impetus to applaud and the meaningfulness ofthe audiencersquos participation would have been lost The force of applause in thiscontext then not only accentuates the importance of the performative but alsoaffirms the indivisibility of the performative from the rhetorical in the production ofchoric collectivity

44 E J Rand

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ecem

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2013

Conclusion Choric Collectivity

By engaging the tactics of choric communication that I have describedmdashstorytellingchanting and call and response and applausemdashCamp Courage leaders were not justutilizing the power of unison performances but were doing so quite consciouslydescribing their techniques and acknowledging their pasts providing trainees withthe necessary tools to mobilize their own communities at home Ganz acknowledgesdirectly this purpose of organizing ldquothrough mass meetings singing common dressshared language and other rituals we can foster a sense of collective identity thathelps each of us feel supported in the risks we takerdquo (19) It is important to notehowever that because Camp Courage promotes a particular version of activisthistorymdashone that situates the present struggle for LGBT equality within a context ofcivil rights labor organizing and the 2008 Obama campaignmdashit severs it from theadvocacy of previous generations of sexual minorities and gender nonconformistsNot only does this erase the history of LGBT activists (who have not always beenwelcomed with such warmth by the civil rights and labor movements) but it alsoappropriates the histories and tactics of movements by and for people of color toadvance a cause that has been criticized for its lack of critical engagement withrace14

Nonetheless for Camp Courage participants the connection to a trajectory ofprogressive organizing has the effect of creating a collectivity not just among thepeople in the room but also extending outward through time and space to all thoseothers who have engaged in similar practices of storytelling chanting and cheeringI could imagine myself clapping alongside Ceacutesar Chaacutevez and Delores Huerta at aUFW rally or being fired up by Childsrsquos infectious call and response in Greenvilleand I also anticipated the next dayrsquos National Equality March where my own bodywould join the masses to move together voices lifting as one weaving the fight forLGBT equality into the historical and future narrative of US activism and socialmovements

The thrill of such visualizations points to the ability of synchronized speech andmovement to enliven a kind of collective affect an intensity of feeling experienced bythe individual members of the group yet somehow understood to be greater than thegroup Emile Durkheim has famously coined the term ldquocollective effervescencerdquo todescribe this sense of being moved by a force external to and larger than oneself andof being transported beyond oneself through participation in a grouprsquos ritualactivities This is a sensation that is reinforced as it is expressed so that ldquothe initialimpulse is thereby amplified each time it is echoed like an avalanche that grows as itgoes alongrdquo (218) Furthermore while effervescence is an embodied affective stateDurkheim suggests that it can be channeled through the use of symbols and result ingroup identification

The individual minds can meet and commune only if they come outsidethemselves but they do this only by means of movement It is the homogeneityof these movements that makes the group aware of itself and that in consequencemakes it be (232)


Dow

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2013

The cohesion of the group is achieved not by ignoring or smoothing out thedifferences between individuals nor through a battle of competing claims ratherldquo[i]t is by shouting the same cry saying the same words and performing the sameaction in regard to the same object that they arrive at and experience agreementrdquo(232) In other words for Durkheim choric enactment both rouses and wrangles theaffect of the group producing as its result the coalescence of a collective

The notion that the effervescent experience of choric communication mayfacilitate the production of collectivity leads me to understand the use ofsynchronous speech and movement in Camp Courage both as a form of civicpedagogy and as a means of constituting the collective it hopes to empower This is akind of temporal collectivity that in response to the exigence of contemporarypolitical organizing does not assume the identities of individuals as the basis foralliance nor does it require the transcendence or submersion of individuality forthe sake of the group Instead in line with Jean-Luc Nancyrsquos assertion that thefundamental character of Being is actually ldquobeing-with-one-anotherrdquo in a ldquosingularlyplural coexistencerdquo (3) it posits the simultaneity of individuality and collectivity withcollectivity arising as a fleeting and contextual effect of choric enactment The feelingof community does not emerge from sameness then or even from cooperation orcoalition but from the ldquoradical relationsrdquo of performance as Michele A Willsonwould have it ldquoin the relations or exposures that both touch but are also distinct andresistant incompletely shared and thus partly and mutually constitutive singular butalso pluralrdquo (286)

Taking seriously the possibility that choric performance can constitute aldquosingularly pluralrdquo collective Misha Myers identifies in ldquoconceptual choirsrdquo or newparticipatory forms of choral work the potential for ldquoheterogeneous and discordantvoices to come together through structures of collaboration self-organisation andsocial interactionrdquo in ldquodissensus and critiquerdquo (62) This is a unique instance ofasynchronous choral communication that highlights individuality even as it producesa collective The creators of one such choir describe its purpose as being ldquoto embraceand exaggerate our individuality to invent and stage idiosyncrasiesrdquo (Kalleinen andKochta-Kalleinen qtd in Myers 65) However Myers explains ldquothose individualitiesare held within a common space and timehellip the work is not about common bondbut being-in-commonrdquo(65) Clearly the work of Camp Courage is about commonbond but I would suggest that it is also about individuality and idiosyncrasies Afterall the Story of Self provides a means for articulating onersquos individual experience in aformat through which its rhythmmdashbut not its quotidian detailsmdashcan be shared withothers and call-and-response chants and applause compel particular kinds ofreactions without dictating the specific features or execution of those reactions

If choric collectivity indicates not a shared identity or set of beliefs but thetemporary constitution of a group through synchronized action then it might beunderstood as both a precondition of and the aspiration for any movement forequality Judith Butler makes this point when she describes a group of immigrantssinging the US national anthem in Spanish She highlights the fact that theimmigrants are exercising a right (freedom of assembly) that because they are not

46 E J Rand

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2013

citizens they do not actually possess freedom she explains ldquocomes into beingthrough its exerciserdquo (ldquoPerformativityrdquo vindashvii) She sees this not as a contradictionbut rather as an illustration of the logic of the performative

To be a participant in politics to become part of concerted and collective actionone need not only make the claim for equality but one needs to act and petitionwithin the terms of equality The ldquoIrdquo is thus at once a ldquowerdquo without being fusedinto an impossible unity To be a political actor is a function a feature of acting onterms of equality with other humans (ldquoPerformativityrdquo vii)

Choric collectivity exhibits the same seemingly contradictory logic of the perform-ative it is constituted only through its embodied performance by a group of peoplewho cannot yet properly be labeled as a collective

Thus the moments of choric communication at Camp Courage performativelyconstitute a collectivity that neither transcends nor supplants individuality and thatexists as Kathleen Stewart puts it only in the potentiality of everyday affects to openup a ldquospace of shared impactrdquo even if only momentarily (39) For her this is apotentiality that although vague and unfinished is a resource that awaits only aspecific flash of animationmdasha story unexpectedly witnessed a shouted response thatcompletes a tentative call a slow ovation emerging from thick and uncertain airmdashtoproduce collectivity And ldquothis kind of thingrdquo Stewart says ldquohappens all the time Itrsquosan experiment that starts with sheer intensity and then tries to find routes into a lsquowersquothat is not yet there but maybe could berdquo (116)

Notes

[1] The weekendrsquos activities were organized by Equality Across America a national network ofLGBT grassroots activists and organizations and the Courage Campaign a California-basedonline network that describes itself as ldquoa greenhouse for the grassroots communityrdquo and thatprovides infrastructure and resources to a variety of progressive activists and groups(ldquoCourage Comes in All Formsrdquo) The March itself concluded in an afternoon rally on thelawn of the United States Capitol building but related events were scheduled throughout theweekend an HIVAIDS rally and vigil mixers and parties activities for queer youth andworkshops and discussions on adoption campus organizing ldquoDonrsquot Ask Donrsquot Tellrdquononviolent resistance and religion and sexuality

[2] Over a thousand activists had already completed previous trainings in Los Angeles FresnoSan Diego Oakland and East Los Angeles

[3] ldquoYes we canrdquo is the English translation of ldquoSiacute se puederdquo a rallying cry that originated withthe UFW The source of this phrase is disputed Ceacutesar Chaacutevez claims that it was hisinvention and is generally given credit for it but Delores Huerta a co-founder of the UFWmaintains that it was actually her idea As Stacey Sowards points out this is potentially aninstance of gender-biased interpretations of history that tend to obscure womenrsquoscontributions (224ndash25)

[4] Choric collectivity might be understood in relation to other performance phenomena dealingwith the enactment of group membership For instance Victor Turner uses the termldquocommunitasrdquo to describe the relations among people that exceed the territorial bounds ofcommunity and to capture the ldquospontaneous immediate concreterdquo nature of thepotentiality of such relations (127) For Turner however communitas is distinct from


Dow

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13 1

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ecem

ber

2013

structure it occurs during ritual states of liminality when individuals are deprived of theusual social strata and thus experience a kind of comradeship as equals (Deflem 14) Choriccollectivity on the other hand may reject certain social structures but ultimately involves anexplicit or implicit normalizing process that does not eschew structure altogetherMeanwhile Jill Dolan and Joseacute Esteban Muntildeoz both refer to the ldquoutopian performativerdquoDolan is interested not so much in describing the qualities of utopia but rather in ldquohowutopia can be imagined or experienced affectively through feelings in small incrementalmoments that performance can providerdquo (460) Likewise Muntildeoz describes the ldquosense ofpotentialityrdquo of utopian performativity wherein the possibilities of performance do not existin the present but only on the horizon of futurity (99) While my notion of choriccollectivity does not imply a utopian impulse it might be one mode of enacting a utopianperformative within a specific context

[5] Although I am describing the ldquoqueer critiquerdquo of mainstream LGBT politics here it is notmy intention to draw a clear distinction between the ostensibly identity-based politicsdescribed by the ldquoLGBTrdquo abbreviation and the supposedly radical critique of identity namedby ldquoqueerrdquo While I prefer the term ldquoqueerrdquo both for its critical leverage and as a morecapacious label for genders and sexualities that fall outside of heteronormative categories Iuse ldquoLGBTrdquo in this essay in order to reflect the language of Camp Courage and the NEM Infact it is precisely the struggle to organize both as and on behalf of LGBT peoplemdashthat is tomobilize those who regardless of identity support full federal LGBT equalitymdashthat CampCourage attempts to negotiate Thus this essay seeks to preserve the tensions between theclaims and critiques of identity performed in Camp Couragersquos practices of choric collectivityrather than simply making sense of them in terms of ldquoLGBTrdquo vs ldquoqueerrdquo politics

[6] My account of Camp Courage is developed from the materials that were handed out at thetraining my field notes about our activities my own reflections and supplemental researchI attempted to contact the trainers for follow-up information but my inquiries received noresponse While I have tried to be as accurate as possible in my representation of the relevantcomponents of the training it is not my intention to offer a thorough description of theentire afternoon

[7] The use of choric techniques in the form of songs choral speaking dance and drumming iscertainly not limited to the Western traditions of ancient Greece There is evidence of chorictechniques in Native American and West African traditions and in the Christian Bible toname just a few (see Larson Nelson)

[8] Knight points to such negative effects of military socialization as the My Lai massacre thecommonality of wartime rape and Oliver Northrsquos involvement in the Iran-Contra affair(166) A vivid contemporary example is the abuse of detainees at the Abu Ghraib prison

[9] There is a growing body of social scientific literature that also supports the connectionbetween synchronous behavior and the promotion of social bonds See for instance BeringLumsden et al Miles Nind and Macrae Schmidt et al Wiltermuth and Heath

[10] Witnessing also has been understood as a performative act that can draw attention toinjustices done to people and to the environmental degradation of particular spaces as wellas to constitute communities See Pezzullo Spurlock

[11] Obama delivered this speech in 2008 the day before the election so in this case he was usingldquovoicerdquo as a metaphor for voting He continued to tell the story of Childs during his 2012campaign and even invited her to attend his final campaign rally in Des Moines IowaChilds reportedly declined because there was still work to do to get out the vote in NorthCarolina (Presta)

[12] I am alluding here to Kenneth Burkersquos definition of form as ldquothe creation of an appetite inthe mind of the auditor and the adequate satisfying of that appetiterdquo (31)

48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

[13] I do not think it accidental that some of my descriptions of Camp Courage may begin toecho the fanatical commitments typically associated with cult behavior Indeed althoughcults also involve proselytizing isolation and control of members and authoritarian leaderssome of their techniques of indoctrination and ldquobrainwashingrdquo certainly invoke the power ofchoric communication

[14] For an interrogation of the raced and classed implications of the mainstream LGBTmovementrsquos focus on equality rhetoric and inclusion in dominant social institutions seeRyan Conrad

Works Cited

Abramsky Sasha ldquoA Conversation with Marshall Ganzrdquo The Nation The Nation 21 Feb 2011Web 2 Jan 2013

Bering Jesse ldquoAll Together Now How Getting in Sync Can Make You a Better Personrdquo ScientificAmerican Scientific American 6 Feb 2009 Web 12 Dec 2012

Boone Patreece R ldquoWhen the lsquoAmen Cornerrsquo Comes to Class An Examination of the Pedagogicaland Cultural Impact of CallndashResponse Communication in the Black College ClassroomrdquoCommunication Education 5234 (2003) 212ndash29

Brandl-Risi Bettina ldquoGetting Together and Falling Apart Applauding Audiencesrdquo PerformanceResearch A Journal of the Performing Arts 163 (2011) 12ndash18

Brown Helen A and Harry J Heltman Choral Reading for Worship and Inspiration PhiladelphiaPA Westminster P 1954

Bull Peter and Merel Noordhuizen ldquoThe Mistiming of Applause in Political Speechesrdquo Journal ofLanguage and Social Psychology 193 (2000) 275ndash94

Burke Kenneth Counter-Statement Berkeley U of California P 1968Butler Judith Giving an Account of Oneself New York Fordham UP 2005mdashmdashmdash ldquoPerformativity Precarity and Sexual Politicsrdquo AIBR (Revista de Antropologiacutea Iberoamer-

icana) 43 (2009) indashxiiiButler Paul ldquoStyle in the Diaspora of Composition Studiesrdquo Rhetoric Review 261 (2007) 5ndash24ldquoCamp Couragerdquo Handout Camp Courage training Washington DC 10 Oct 2009Conrad Ryan Donrsquot Ask to Fight Their Wars Lewiston ME Against Equality 2011mdashmdashmdash Prisons Will Not Protect You Lewiston ME Against Equality 2012mdashmdashmdash Queer Critiques of Gay Marriage Lewiston ME Against Equality 2010Consuela Julia ldquoThe Claprdquo Weapon of Class Instruction 28 Mar 2006 Blog 4 Jan 2013ldquoCourage Campaign to Host Camp Courage on Eve of National Equality March in Washington

DCrdquo Press Release Courage Campaign 9 Oct 2009 Web 25 May 2010ldquoCourage Comes in All Formsrdquo Flier Camp Courage training Washington DC 10 Oct 2009Cram Emily Dianne ldquolsquoAngie Was Our Sisterrsquo Witnessing the Trans-Formation of Disgust in the

Citizenry of Photographyrdquo Quarterly Journal of Speech 984 (2012) 411ndash38Cyphert Dale ldquoLearning to lsquoYorsquo Synchronicity and Rhythm in the Creation of a Public Sphererdquo

American Communication Journal 42 (2001) lthttpac-journalorgjournalvol4iss2arti-clescypherthtmgt

Deflem Mathieu ldquoRitual Anti-Structure and Religion A Discussion of Victor TurnerrsquosProcessual Symbolic Analysisrdquo Journal for the Scientific Study of Religion 301 (1991) 1ndash25

Dolan Jill ldquoPerformance Utopia and the lsquoUtopian Performativersquordquo Theatre Journal 533 (2001) 455ndash79Durkheim Emile The Elementary Forms of Religious Life Trans Karen E Fields New York Free P

1995Equality Across America ldquoCongressional District Action Team Organizers Toolkit 1rdquo Handout

Camp Courage training Washington DC 10 Oct 2009Ganz Marshall ldquoOrganizing Notes Motivation Story and Celebrationrdquo Organizing 2006 Web 2

Jan 2013 lthttpisitesharvardedufsdocsicbtopic115996files4_0pdfgt


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Griffin Christine ldquoChoral ReadingmdashA New Userdquo Todayrsquos Speech 113 (1963) 14ndash30Hahner Leslie ldquoPractical Patriotism Camp Fire Girls Girl Scouts and Americanizationrdquo

Communication and CriticalCultural Studies 52 (2008) 113ndash34Hawhee Debra Bodily Arts Rhetoric and Athletics in Ancient Greece Austin U of Texas P 2004Hoy Mikita ldquoJoyful Mayhem Bakhtin Football Songs and the Carnivalesquerdquo Text and

Performance Quarterly 144 (1994) 289ndash304Hurner Sheryl ldquoDiscursive Identity Formation of Suffrage Women Reframing the lsquoCult of True

Womanhoodrsquo through Songrdquo Western Journal of Communication 703 (2006) 234ndash60Knight Jeff Parker ldquoLiterature as Equipment for Killing Performance as Rhetoric in Military

Training Campsrdquo Text and Performance Quarterly 102 (1990) 157ndash68Kochman Thomas ldquoForce Fields in Black and White CommunicationrdquoCultural Communication

and Intercultural Contact Ed Donal A Carbaugh Hillsdale NJ Lawrence Erlbaum 1990193ndash224

Langellier Kristin M ldquoPersonal Narrative Performance Performativity Two or Three Things IKnow for Surerdquo Text and Performance Quarterly 192 (1999) 125ndash44

Larson Valentine K ldquoThe Art of Choral Speakingrdquo Communication 31 (1974) 1ndash20linfar ldquoCamp Couragerdquo MyDD 20 Apr 2009 Web 4 Jan 2013 lthttpmyddcomuserslinfar

postscamp-couragegtLong Chester C ldquoThe Poemrsquos Text as a Technique of Performance in Public Group Readings of

Poetryrdquo Western Speech 311 (1967) 16ndash29Lumsden Joanne et al ldquoWho Syncs Social Motives and Interpersonal Coordinationrdquo Journal of

Experimental Social Psychology 483 (2012) 746ndash51Meader Emma Grant ldquoChoral Speaking and Its Valuesrdquo Quarterly Journal of Speech 222 (1936)

235ndash45Miles Lynden K Louise K Nind and C Neil Macrae ldquoThe Rhythm of Rapport Interpersonal

Synchrony and Social Perceptionrdquo Journal of Experimental Social Psychology 453 (2009)585ndash89

Muntildeoz Joseacute Esteban Cruising Utopia The Then and There of Queer Futurity New YorkNew York UP 2009

Myers Misha ldquoNow Everybody Sing The Voicing of Dissensus in New Choral PerformancerdquoPerformance Research A Journal of the Performing Arts 163 (2011) 62ndash66

Nancy Jean-Luc Being Singular Plural Trans Robert D Richardson and Anne E OrsquoByrneStanford CA Stanford UP 2000

Nelson Stephanie ldquoChoric Communication The Case of a Togolese Womenrsquos MusicalOrganizationrdquo Text and Performance Quarterly 203 (2000) 268ndash89

Obama Barack ldquoObama lsquoFired Up Ready to Gorsquordquo YouTube Campaign speech Manassas VA 3Nov 2008 Web 25 May 2010 lthttpwwwyoutubecomwatchv=BjA2nUUsGxwgt

Osborn Torie ldquoToward Commonality Thoughts on Diversity in a New Era of Changerdquo NationalCivic Review 983 (2009) 25ndash29

Peters John Durham ldquoWitnessingrdquo Media Culture amp Society 236 (2001) 707ndash23Pezzullo Phaedra C ldquoTouring lsquoCancer Alleyrsquo Louisiana Performances of Community and

Memory for Environmental Justicerdquo Text and Performance Quarterly 233 (2003) 226ndash52Presta John ldquoPresident Obama Tells Story of Edith Childs Who Inspired lsquoFire Up Ready to Gorsquordquo

Examinercom Examinercom 6 Nov 2012 Web 2 Jan 2013Rosin Hannah ldquoPeople Poweredrdquo Washington Post 9 Dec 2003 Health sec C1Sanger Kerran L ldquoSlave Resistance and Rhetorical Self-Definition Spirituals as a Strategyrdquo

Western Journal of Communication 593 (1995) 177ndash92Schmidt R C et al ldquoMeasuring the Dynamics of Interactional Synchronyrdquo Journal of Nonverbal

Behavior 364 (2012) 263ndash79ldquoSilva Rhetoricaeligrdquo The Forest of Rhetoric Web 4 Jan 2013

50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Sowards Stacey ldquoRhetorical Agency as Haciendo Caras and Differential Consciousness throughLens of Gender Race Ethnicity and Class An Examination of Dolores Huertarsquos RhetoricrdquoCommunication Theory 202 (2010) 223ndash47

Spurlock Cindy M ldquoPerforming and Sustaining (Agri)Culture and Place The Cultivation ofEnvironmental Subjectivity on the Piedmont Farm Tourrdquo Text and Performance Quarterly291 (2009) 5ndash21

Stewart Kathleen Ordinary Affects Durham NC Duke UP 2007ldquoStory of Us Building Leadership Teamsrdquo Handout Camp Courage training Washington DC 10

Oct 2009Turner Victor The Ritual Process Structure and Anti-Structure New York Aldine de

Gruyter 1969Willson Michele A ldquoBeing-Together Thinking through Technologically Mediated Sociality and

Communityrdquo Communication and CriticalCultural Studies 93 (2012) 279ndash97Wiltermuth Scott S and Chip Heath ldquoSynchrony and Cooperationrdquo Psychological Science 201

(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited

ldquoWhat One Voice Can Dordquo CivicPedagogy and Choric Collectivity atCamp CourageErin J Rand

Camp Courage exemplifies the indivisibility of rhetoric and performance in practices ofcivic education and the production of choric collectivity Designed to mobilizegrassroots support for lesbian gay bisexual and transgender equality this activisttraining session is based on Marshall Ganzrsquos Camp Obama organizing model Byutilizing three specific techniques of choric communicationmdashstorytelling chanting andcall and response and applausemdashCamp Courage seeks to foster a community ofactivists that is based on synchronized action rather than shared identities Theseharmonious bodily practices I contend physically enact participantsrsquo membership in agroup and constitute a temporary but powerful collectivity

Keywords LGBT activism Collectivity Choric communication Affect Embodiment

hellipby transforming ourselves into courageous actors and members of a courageousgroup we also transform our world (Ganz 19)

On October 11 2009 an estimated 200000 people convened in Washington DC forthe National Equality March united around a single revolutionary demand ldquoEqualprotection for lesbian gay bisexual and transgender people in all matters governedby civil law in all 50 statesrdquo (Equality Across America)1 The National Equality March(NEM) scheduled to coincide with National Coming Out Day was catalyzed in partby the conflicting emotions wrought by the November 2008 election The sense ofhope and possibility of Barack Obamarsquos victory was dampened by the crushingdisappointment of the passage of Proposition 8 which rescinded the right to legal

Erin J Rand is Assistant Professor in the Department of Communication and Rhetorical Studies at SyracuseUniversity The author thanks Mindy Fenske Dustin Bradley Goltz and the two anonymous reviewers for theircomments on an earlier version of this essay She is also grateful for the opportunity to think through questionsof collectivity performativity and affect with the graduate students in Communication and CosmopolitanismCorrespondence to Erin J Rand Department of Communication and Rhetorical Studies 100 Sims HallBuilding V Syracuse University Syracuse NY 13244 USA Email ejrandsyredu

Text and Performance QuarterlyVol 34 No 1 January 2014 pp 28ndash51

ISSN 1046-2937 (print)ISSN 1479-5760 (online) copy 2014 National Communication Associationhttpdxdoiorg101080104629372013853825

Dow

nloa

ded

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Dr

Eri

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d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




30 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






32 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




30 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






32 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited




30 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






32 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






32 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited






32 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited


Storytelling





34 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited




36 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited








Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited






38 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited





Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited





40 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited





Applause



Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited



42 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited





44 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited







Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited





46 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited





Notes






Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited










48 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited



Works Cited


















Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited

























50 E J Rand

Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited







(2009) 1ndash5


Dow

nloa

ded

by [

Dr

Eri

n J

Ran

d] a

t 07

13 1

2 D

ecem

ber

2013

Abstract


Storytelling


Applause


Notes

Works Cited

“What One Voice Can Do”: Civic Pedagogy and Choric Collectivity at Camp Courage

Documents

Transcript of “What One Voice Can Do”: Civic Pedagogy and Choric Collectivity at Camp Courage