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1.
What are possible overlaps between arts practice and school pedagogy? How is teacher subjectivity and pedagogy affected when teachers engage with arts practice, in particular, theatre practices? We draw on research conducted into the Learning Performance Network (LPN), a project that involved school teachers working with the Royal Shakespeare Company and the University of Warwick. The aim of the commissioned research was to look at the effects on teacher development, focusing on the active rehearsal room pedagogic techniques and ensemble methods of exploring Shakespearean text and performance. The practices of working as an ensemble through rehearsal room pedagogy were central to the LPN. Our interest is in looking for possible shifts in teachers’ subjectivity, their self-perception. What affordances, limitations, accommodations and tensions are experienced by the teachers in transposing work from the rehearsal room to the classroom? We draw on a range of cultural theories that provide complementary perspectives on aspects of subjectivity; these include Vygotskian approaches to the psychology of art and acting. Raymond Williams’s work on the ‘dramatized society’ and Jacques Rancière’s work on spectatorship and pedagogy. Data in the form of excerpts from field notes, taken in an introductory workshop where teachers worked with theatre practitioners, and from transcribed interviews with participants in the project are used to provide evidence of shifts in perspective, self-perception and pedagogic practice.  相似文献   

2.
Book reviews     
Jacques Rancière remains neglected within educational debates. In this paper I examine the potential of his philosophies for enacting critical interventions in relation to contemporary (higher) educational concerns. Rancière argues against the progressive temporality of pedagogic relations and provides an alternative thesis that equality is a point of departure for social and pedagogic encounters. He also emphasises the importance of aesthetics and the ‘distribution of the sensible’ as a mechanism for understanding who is un/able to be seen, speak and produce knowledge. These arguments are examined through an analysis of two research-based art installations: Sociologists Talking (2008, 2009) and The Idea of a University (2010). I consider the potential for ‘alternative’ forms of knowledge production and communication to enact different pedagogic methods and re/distribute the sensory spaces in which research and teaching take place.  相似文献   

3.
This article troubles constructions of ‘at-risk students.’ Utilizing Rancière's discussion of dissensus, the author first argues that what is at risk are not students but contemporary common sense notions of schooling. From this perspective, students' labeled as ‘at risk’ ways of knowing and being that interrupt ideas and ideals about the purpose and function of schooling. In order to make this argument, the author links Rancière and others' discussions of the importance of dissensus to questions of sense-making, the dangers of resonance in consensus, and the possibilities in the dissonance of dissensus. These assertions are then further complicated by the assertion that education is a necessarily risky endeavor and that all students should be placed at risk of learning. Understanding all students as at risk is significant as it simultaneously provides a space for students' complex constellations of identity to be treated with dignity in learning experiences and creates a less punitive context in which differences are less likely to be conceptualized as deficits.  相似文献   

4.
This article examines the salience of collective ‘memory’ and ‘remembering’ among a group of students in Hip‐Hop Lit, a hip‐hop centered English literature course that I co‐taught at ‘Howard High School,’ an urban high school in the Northeastern United States. Specifically, this article examines the memory work that occurred within Hip‐Hop Lit in response to the students’ interactions with one of the course texts, Things Done Changed by rapper Notorious B.I.G. From this and other classroom texts, students were able to construct, contest, and reinscribe memories about the past. Through these memories, students were able to reaffirm and challenge particular social identities that informed and reflected their lived experiences.  相似文献   

5.
Abstract

This article examines the significance of Jacques Rancière’s work on pedagogy, and argues that to make sense of Rancière’s ‘lesson on the lesson’ one must do more but also less than merely explicate Rancière’s texts. It steadfastly refuses to draw out the lessons of Rancière’s writings in the manner of a series of morals, precepts or rules. Rather, it is committed to thinking through the ‘lessons’ of Rancière in another sense. Above all, Rancière wants to ‘teach’ his readers something absolutely crucial about teaching. In making this claim the article emphasizes the extent to which Rancière advocates an utterly radical pedagogy, one that completely reconceives all the central elements of ‘schooling’, including teacher, student, intelligence and knowledge. Rancière thinks it possible to teach without knowing; he believes that the best schoolmasters can operate not on the assumption of their expertise, but on the equality of intelligence; and this means ultimately that Rancière contends that we can ‘teach what we do not know’. The best schoolmasters are ignorant schoolmasters. Rancière’s radical pedagogy depends upon, just as it consistently advances, a thoroughgoing resistance to a certain form of epistemological and ontological mastery. The rejection of mastery—of schoolmasters who would know it all, and convey this knowing to their students—forms the very backbone of all of Rancière’s writings and critical investigations. This is the chief reason why Rancière is, in a way, always talking about pedagogy, even when his subject matter appears to be something else entirely.  相似文献   

6.
This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.  相似文献   

7.
In this article I re‐examine the role that aesthetics play in Paulo Freire's pedagogy of the oppressed. As opposed to the vast majority of scholarship in this area, I suggest that aesthetics play a more centralised role in pedagogy above and beyond arts‐based curricula. To help clarify Freire's position, I will argue that underlying the linguistic resolution of the student/teacher dialectic in the problem‐posing classroom is an accompanying shift in the very aesthetics of recognition. In order to demonstrate the always already aesthetic nature of all education, I will turn to the aesthetic philosophy of Jacques Rancière. Through Rancière we can begin to understand how the pedagogy of the oppressed is predicated on an aesthetic redistribution of the sensible, of what can be seen and what can be heard. As Rancière will confirm, if we truly want to understand the aesthetics of pedagogy, we cannot simply see aesthetics as external to teaching and learning. Rather, education as an aesthetic event has to be taken seriously, and aesthetics should regain primacy in discussions of critical pedagogy.  相似文献   

8.
This essay explores aesthetics, affect, and educational politics through the thought of Gilles Deleuze and Jacques Rancière. It contextualizes and contrasts the theoretical valences of their ethical and democratic projects through their shared critique of Kant. It then puts Rancière's notion of dissensus to work by exploring it in relation to a social movement and hunger strike organized for educational justice in Chicago's Little Village neighborhood. This serves as a context for understanding how educational provisions are linked to the aesthetic distribution of perception within the neoliberal city. It also serves as a powerful example of how these orders of perception are resisted and subverted at the local level by aesthetic and affective means. Through the Little Village hunger strike the essay argues that while Rancière allows us to recognize the aesthetic dimensions of the political, he falls short in addressing tactical and/or affective considerations. The essay concludes by seeking to extend the critical efficacy of Rancière's dissensus through a rendering of tactical affect within Deleuzian metaphysics.  相似文献   

9.
ABSTRACT

This paper revisits The Salamanca Statement and Framework for Action through Jacques Rancière’s writing about the distribution of the sensible. It questions the supports provided within the Maltese state education system and asks readers to ‘think again’ by asking what has been left out. The Salamanca Statement is seen as reflected within the Maltese education system, both of which, however, position people and services in particular spaces. As systems, they have a totalising quality, which disables thought or any possibility outside that which is given. They also make assumptions about equality that is achieved, whereas Rancière writes about equality as a starting point and a presupposition. This is what gives democracy and politics a possibility, two values that are at the heart of inclusion.  相似文献   

10.
This is a case study of a one‐year arts educational project ‘I – from dreams to reality’ in which artists worked at school with teachers and learning at the school was planned through arts‐based, co‐operative teamwork during one extra school year of 10th grade students in Finnish basic education. The theme of the year was ‘I’, and so the project was designed to highlight everyone's own way of thinking and expressing art. The research task was to determine whether long‐term holistic arts pedagogy and artist co‐operation at school have any significant connection to students’ self‐efficacy and social skills. Data has been collected through students’ self‐evaluations before and after the school year. Altogether 40 students from 10th grade participated in this case study. Half of the pupils participated in an arts educational project called ‘I – from dreams to reality’ and half formed the control group. Artists worked with the test group weekly during a period of one school year (altogether nine months). Students’ self‐evaluations concerning their self‐efficacy and social behaviour were collected by e‐questionnaire. The measures used were Likert‐based evaluation scores of pupils’ self‐assessment of their self‐efficacy and social behaviour in everyday situations at school. According to the results, artist–teacher co‐operation and learning through the arts can be worthwhile experiences to develop students’ self‐efficacy and social skills.  相似文献   

11.
The article presents a case of community art education in Leuven, Belgium. Participants who belong to disenfranchised groups of the local community were invited to engage in artistic actions and performances aiming at familiarising them with modern art practices. Such experiments are often disqualified as being irrelevant to the life‐conditions of these families in poverty, and hence as non‐emancipatory. In this article, the emancipatory quality of such initiatives is explored with reference to the art practices of the Belgian/Mexican artist Francis Alÿs and the reflections on emancipation by the French philosopher Jacques Rancière. These reflections help to shed a new light on the emancipatory dimension of community art practices and to consider theoretical concepts such as ‘poor pedagogy’.  相似文献   

12.
In this article I discuss how Jacques Rancière’s thought invites us to re-conceptualize the education–emancipation nexus. The primary goal of traditional approaches to emancipatory and anti-oppressive education has been to empower the oppressed so that the latter can (re)gain their voice and transform their situations. Building on Rancière’s ideas, I argue that the processes of empowering the oppressed imply that one has the power to empower the other, and thus start with an assumption of inequality. I conclude the article with a call for a pedagogy of ignorance. Grounded in Rancière’s thought, this pedagogy is ignorant of any division and hierarchy of intelligence.  相似文献   

13.
In a case study of an undergraduate course in art education, modes of mastery learning and propositions of intellectual emancipation were explored as interventions in curriculum design. By adopting Rancière’s framework of a ‘will to will’ relationship between instructor and students, the core assignment—a visual journal—became a site of student positionality through mastery methods, rather than information gathering. The visual journal provided a record of the event of knowledge and served as a forum to verify that acts of student thinking were done with attention, congruent with Rancière’s perspective that learning generates greater consciousness, feeling and action. Requiring both qualitative and quantitative criteria within the parameters of the visual journal functioned as a means to experiment with the potential convergences of mastery and emancipatory approaches. The visual journal then operated as a third space where ongoing, consistent engagement demonstrated the capacity of students to encounter more equitable relations with the instructor and with the content in ways that have implications for knowledge creation in teaching and learning.  相似文献   

14.
How is art education being put to use today? To explore this provocation, I read between the lines of teaching for civic literacy through visual arts education in the United States as mandated by the Partnership for 21st Century Skills. I consider an art education of social practice's utility within this mandate. In order to accomplish this, I describe artist Rick Lowe's Trans.lation: Vickery Meadow social sculpture project and then analyse this through a service aesthetics’ lens and neoliberal motives. In the process of overlaying social practice within the Partnership for 21st Century Skills as a model for visual arts and citizenship education toward globally competent graduates, I articulate the possible limitations of such micro‐utopian ventures for art education that amount to NGO‐esque art, making the case that these efforts, while facilitating a feeling of civic engagement, only further intensify the depoliticisation of art education acting as a form of Rancière's better police in reasserting the neoliberal status quo. I sound a cautionary note about such a pragmatic turn risking the exacerbation of our collective interpassivity through aligning art education too closely to our apparent use value for late capitalism.  相似文献   

15.
In recent years, conversations about posthumanism have been gradually moving into the field of education. This article contributes to the growing efforts to develop a posthumanist theory of education. The theoretical inspiration for the article comes from the writings of Jacques Rancière and Gregory Bateson. In both thinkers, the figure of the liberal humanist subject gives way to a deeper and more provocative sense of inter-subjectivity, indeed, intra-subjectivity. Taken together, Rancière’s and Bateson’s ideas hit a blind spot in contemporary educational discourse, particularly in relation to the rise of personalisation as a popular concept in practice and policy. This article juxtaposes the personalised learning movement with the increasingly common image of the vulnerable self/student to highlight the complexity of defining and locating the source of subjectivity, or one’s ‘will to learn’. Rancière’s and Bateson’s ideas are put into conversation to generate alternative approaches to the current conceptions of student-centred pedagogy.  相似文献   

16.
Abstract

In this article, I critically engage with a vital assumption behind the work of Paulo Freire, and more generally behind any critical pedagogy, viz. the belief that education is fundamentally about emancipation. My main goal is to conceive of a contemporary critical pedagogy which stays true to the original inspiration of Freire’s work, but which at the same time takes it in a new direction. More precisely, I confront Freire with Jacques Rancière. Not only is the latter’s work on education fully predicated on the idea of emancipation. For both Freire and Rancière, literacy initiation practice can be seen as an archetypical model for understanding the emancipatory moment in education. For both, educational practices are never neutral, as they decide to a great extent on the fate of our common world. Reflecting on similarities and differences in both their positions, I will propose to conceive of critical pedagogy in terms of a thing-centred pedagogy. As such, I take a clear position in the discussion between teacher- and student-centred approaches. According to Rancière, it is the full devotion to a ‘thing’, i.e. to a subject matter we study, which makes emancipation possible. Over and against Freire’s defense of emancipatory education, I highlight with Rancière the importance of educational emancipation.  相似文献   

17.
Abstract

This article argues that the concept and practice of ‘self-organized learning’, as pioneered by Sugata Mitra (and his team) in the ‘Hole-in-the-Wall’ experiments (1999–2005) that inspired the novel Q & A (2006) and the resulting movie, Slumdog millionaire (2008) bear direct, but not uncritical comparison with Jacques Rancière’s account of ‘universal teaching’ discovered by maverick nineteenth century French pedagogue Joseph Jacotot. In both cases, it is argued, there is a deliberate dissociation of two functions of ‘teaching’ that are often conflated: knowledge and mastery. Mitra’s development of computer-mediated learning among the supposedly ‘ignorant’ of India’s slums, and Rancière’s insistence on equality as a presupposition rather than a goal, both emphasize the agency of the student at the centre of learning, but in ways that displace both established pedagogical methods of ‘explication’ and the neoliberal ideology of ‘schooling’ as the harmonizing of individual and social functions of education.  相似文献   

18.
In this paper, I look into the papers of Fannia Cohn, an immigrant labour organizer, who served the Education Department of the International Ladies' Garment Workers' Union (ILGWU) between 1918 and 1962 and became one of its few women vice-presidents. As an internationally recognized figure in the history of workers' education, Cohn left a rich body of labour literature, wherein art is central in the ways she conceptualized, designed and organized women workers' educational programmes and curricula, as well as cultural activities for more than 50 years. For Cohn, however, art and politics were tightly interwoven in what I have called the artpolitics assemblage of women garment workers' life and work. It is entanglements between ethics, aesthetics and politics, considered in the light of the Rancièrian notion of ‘the distribution of the sensible’, that I discuss in this paper.  相似文献   

19.
What happens to art education when the national school curriculum in Israel follows a ‘core subjects’ policy? Allocating only two hours for all five art subjects (visual arts, music, drama, dance and cinematic arts) that remain outside the core curriculum increases the social‐economic gap between children whose parents can fund their art education privately and children whose parents cannot afford this. This also has worrying consequences for art teachers (most of them women) deprived of job security.  相似文献   

20.
The Government is urging teachers to engage more closely with families and is promoting the concept of the ‘extended’ school. This article reports on the literacy strand of the Home School Knowledge Exchange (HSKE) project, directed by Professor Martin Hughes at the University of Bristol. A selection of literacy activities developed during this project is discussed – activities that enabled teachers and parents to share their knowledge about children in order to enhance their learning. These included ‘school‐to‐home’ activities where the direction of knowledge was primarily from teachers to families and ‘home‐to‐school’ activities where families' knowledge of children impacted on school learning. Practical aspects of planning and conducting home–school knowledge exchange activities are discussed, and challenges are explored. The approaches presented in this article provide examples that could be considered and adapted by schools interested in extending their provision for families. This article draws on the recently published Improving Primary Literacy: Linking Home and School ( Feiler et al., 2007 ).  相似文献   

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