Faculty Focus: Chuck Banaszewski

October 23, 2019 / by / 0 Comment
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CHUCK BANASZEWSKI

College of Doctoral Studies

Chuck Banaszewski and his family

Title: Assistant Professor

Years at GCU: 8 years (7 years with the College of Doctoral Studies)

Academic degrees: Ph.D. in Theatre from Arizona State University; B.A. in Theatre from Coastal Carolina University

Faculty scholarship:

Dissertation Title:

● “Adult Theatre of the Oppressed Facilitators’ Perceptions of Questions, Roles, and Rules When Using Theatre of the Oppressed with Adolescents”

Latest Publications:

● Kelly, S. & Banaszewski. C. (2018). “Using screen recording platforms to increase instructor presence in an online classroom.” eLearn Magazine. https://doi.org/10.1145/3236715

● Banaszewski, C. (2014). “Becoming a researcher scholar.” In A. DiVincenzo (Ed.), “Find your purpose: The path to a successful doctoral experience.” Available from http://lc.gcumedia.com/res811/finding-your-purpose-the-path-to-a-successful-doctoral-experience/v1.1/

Some Dated Publications:

● Banaszewski, C. (2006, Spring). “There is something in nothing.” Stage of the Art, American Alliance for Theatre & Education.

● Banaszewski, C. (2001, Fall). “Invisible Theatre: Lunch Period Drama.” Stage of the Art, American Alliance for Theatre & Education.

Subject Matter Expert:

● Intro to Advance Graduate Studies and Scholarship Course (RES-811) and Digital Storytelling Course (DFP-311).

University Committee Membership:

● Member: Curriculum Development Committee for the College of Doctoral Studies

● Member: Program Standards and Evaluation Committee Member

Recent Scholarly Presentations:

● MCCCD: Arizona Assessment Conference, March 2019, “Using Screen Recording Platforms to Enhance Feedback

And Instructor Presence in an Online Classroom”

● MCCCD: Contemplating Holistic Learning Dialogue Day, November 2018, “Staying the Course: Integrating Contemplative Practice in the

Online Classroom”

American Association for Teaching & Curriculum, October 2017

● Panel Session: “Faculty Connectedness among Doctoral Online, Full-Time Faculty in Their Daily Instructional Activities Using An Open, Onsite Office Environment”

Some Dated Conference Presentations:

● Pedagogy/Theatre of the Oppressed Conference, Chapel Hill, N.C., May 2006: “We Find the Road by Talking: A Dialogue among Researchers Interested in TO with Adolescents”

● Pedagogy/Theatre of the Oppressed Conference, Omaha, Neb., May 2004: “The Universal Protest Sign”

● Graduate Student Theatre Symposium, Madison, Wis., Feb. 2004: Paper Presentation: “There is Something in Nothing”

● Pedagogy/Theatre of the Oppressed Conference, Milwaukee, May 2003: “Addressing Race Relations in Higher Education through Newspaper Theatre and Forum Theatre”

● Global to Local Justice Conference, Tempe, February 2002: “SOS: How an Art Collective Creates Social Change”

● Pedagogy/Theatre of the Oppressed Conference, Toledo, Ohio, April 2002: “Curricula for Teaching University Courses in Theatre for Social Change”

● Pedagogy/Theatre of the Oppressed Conference, Toledo, Ohio, April 2002: “Art, Activism, and Technology: The End of Privacy”

● Advances in Qualitative Methods, Edmonton, Alberta, Canada, February 2001: “Deconstructing Harry: Reflections on Finding my Place: ‘The Brad Trilogy’ as Ethnodrama”

● Advances in Qualitative Methods, Edmonton, Alberta, Canada, February 2001: “Performance: Finding My Place: ‘The Brad Trilogy'”

● Global to Local Justice Conference, Tempe, Ariz., February 2001: “Creating Street Theater”

● American Alliance for Theatre & Education Conference, Washington, D.C., June 2000: “Picture This: Using Picture Books to Explore Drama”

● American Alliance for Theatre & Education Conference, Chicago, July 1999: “Teaching Diversity and Social Justice”

● Pedagogy/Theatre of the Oppressed Conference, New York, June 1999: “Experiments with Invisible Theatre: Alternative Formats and Venues”

Notable research in your field:

In December 2009, I completed my doctoral dissertation, “Adult Theatre of the Oppressed Facilitators’ Perceptions of Questions, Roles, and Rules When Using Theatre of the Oppressed with Adolescents,” in the Arizona State University (ASU) Department of Theatre. My study interrogated Augusto Boal’s understanding of “revolution” and examined how it is used as part of Theatre of the Oppressed’s (TO) discourse in North America where jokers perceive institutions and ideologies related to education, media, parents, age and police dominating the cultural, social and political landscape with youth. The purpose of this study was to provide TO facilitators, jokers, educators, theatre artists, and activists, profiles of different ideologies and power structures operant with TO facilitators using TO with adolescents.

Notable employment in your field:

I have loved working for Grand Canyon University for the past eight years. Watching the school and its programs grow in leaps and bounds has been very exciting. Everyone is so dedicated to the success of the students as well as the university as whole being a leader in higher education. I have also taught as an adjunct instructor for Humanities and Fine Arts courses for the Maricopa Community College System for 11 years.  

What are you most passionate about in your field?

I believe my responsibility as an educator is to inspire students to engage with the learning material in a way that will transform their viewpoints and lead to a positive impact in their personal and professional lives. Pedagogy is a transformative art that has the capacity to offer students alternative perspectives of the world and to challenge them to become agents for positive social change. As an educator, I am dedicated to providing learning opportunities for students that promotes critical thinking and higher meta-cognitive abilities, in order for them to share these learned experiences with their communities. I encourage students to go beyond the borders of the classroom and become advocates in leadership, education, politics and the arts.

What aspect of your teaching style is the most distinctive and/or memorable?

My teaching and aesthetic philosophies are deeply rooted in critical pedagogy. I attempt to apply the concepts of praxis, reflection, dialogue, questions, action, experience, listening, transfer, experimentation, collaboration and fun in every aspect of my teaching and coursework. It does not matter if it is a traditional classroom or the online environment because I employ a variety of teaching methodologies to keep students engaged with the material and inspire them to ask questions in a public forum about the research process. I encourage my classes to learn from one another with the hopes of the students developing a sense of ownership and independence as well as accountability in the classroom.

Most people would say that I am my harshest critic when it comes to reflecting upon my work. I am always looking for ways to build upon my success while at the same time learn from my mistakes so I can best serve my students. Teaching online is a dynamic experience that requires constant attention and a strong work ethic because students look to me in their moments of fear and trepidation when it comes to completing their assignments and allowing themselves to receive constructive feedback from someone they have not formally met. I primarily teach the first course in the doctoral program at GCU, so I have had the privilege to help students get a solid foundation for the program ahead of them as well as guide them in a direction that inspires them to become great in their chosen field of study.

What do you like to do for fun in your spare time?

For the past 11 years, I have enjoy training, traveling and participating in triathlons. I race regularly throughout the year all over the country in various distances and disciplines. For example, this year I completed three half Ironman races in California, Quebec, and Colorado and will finish the season in November with a full Ironman distance race in Tempe, only to be followed up with 2 half Ironman races in California and Connecticut next spring.

I also volunteer to be a pace runner for local races as well as dedicate my time to various Valley-based charities, such as 2Gether We Live, Phoenix Children’s Hospital, Feed My Starving Children and Habitat for Humanity.

What is something interesting about you that most people don’t know?

My three children (two girls and a boy) are named after authors: Emerson, Marlowe and Hawthorne.

Professionally I had the unique opportunity to use my theatre expertise in the business world. While attending ASU, I was hired by two successful corporations Giorgio Armani (three years) and Mark Ecko (six months) to design, facilitate and implement many of their Human Behavior/Development Programs using theatre exercises to help workshop participants (employees) gain a better understanding of workplace issues important to the corporations. I conducted more than 150 two-hour, theatre-based workshops in 3 1/2 years. I also have served as a supporter of the arts in the community by curating art shows and working with local artists regularly.

 


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