About the Author
- Page ID
- 313601
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)About the Author
Stephanie Anderson began her academic journey at De Anza College as a student, where she attended from 2003 to 2006 and earned an Associate of Arts degree in Communication Studies. She then transferred to San José State University, where she completed a double major, earning a Bachelor of Fine Arts in Dance and a Bachelor of Arts in Communication Studies. Continuing her dedication to scholarship and performance, she went on to earn a Master’s degree in Communication Studies with an emphasis in Performance Studies. Her graduate thesis, A Dancing Paradox: Oral Histories of Dance Pedagogy, explored the intersection of performance, movement, oral histories, and pedagogy, and she was honored as the Outstanding Graduate Student in 2013.
After graduating from San José State University, she began teaching lower-division performance studies courses at the university. She also served as a coach for the university’s Forensics (speech and debate) team, further developing her passion for performance, public speaking, and oral interpretation. During her time at San José State, she led a faculty-led study abroad program to Finland, where students engaged in immersive international learning and cultural exchange as part of the university’s global education offerings.
In addition to her academic accomplishments, she has been a dedicated dance educator for over 25 years, teaching students of all ages and backgrounds. Her long-standing commitment to dance education has deeply influenced her teaching philosophy and her understanding of performance as both an artistic and communicative practice.
In 2015, she returned to De Anza College as an adjunct professor, bringing her enthusiasm for communication and performance into the classroom. In 2017, she was hired as a full-time faculty member, and in 2021 she was granted tenure in recognition of her commitment to teaching excellence and student success. From 2023 to 2026, she served as Chair of the Communication Studies Department at De Anza College, providing leadership in curriculum development, faculty collaboration, and student-centered initiatives.
At De Anza College, she actively contributes to campus life through service on the Technology Committee and through her work teaching courses for the Pride Learning Community and the Social Justice Certificate. She is particularly passionate about creating inclusive, dynamic learning environments that empower students to explore identity, voice, and community through communication.
Driven by her dedication to performance and pedagogy, she enthusiastically developed a Performance Studies course at De Anza College, which was first offered to students in Winter 2026. Her academic and professional work centers on performance studies, dance, and critical communication studies. These perspectives deeply inform the ideas, approaches, and commitments reflected throughout this book.