Recent Article Abstracts
New media literacies as social action: The centrality of pedagogy in the politics of knowledge production
In this article, the author illustrates the blurring lines of youth cultural production and participatory politics from the perspective of new media literacies. Drawing on design-based action research, the author discusses pedagogical considerations in the conceptualization of new media literacies in a semester-long course that culminated in inquiry-based social action projects created by university students in the urban Midwest. Noteworthy in the course was an emerging ethos developed through collaboration, participation, and distributed expertise leading to the production of video documentaries and interactive websites. New media literacies served as core cultural competencies and social skills in a new media landscape, but more importantly emerged as key practices toward youth cultural production and participatory politics. The latter offers insights into the centrality of pedagogy in the politics of knowledge production.
Public pedagogy in the creative strike: Destabilizing boundaries and re-imagining resistance in the University of Puerto Rico
In this article, I examine key symbols and strategies mobilized by students during the first system-wide strike in the University of Puerto Rico's history. I argue that these acts of creative cultural production not only supported the growth of participatory politics within the mobilization but that they also were tools for enacting public pedagogy. In particular, I examine the spatial dimensions of these practices, showing how strikers disrupted the normative boundaries between protest space/public space, and actor/spectator by engaging police officers in innovative ways. I suggest that by performing this spatial reconfiguration, pedagogues were implicated in the process of transformation as much as their targeted learners/spectators. In the conclusion, I reflect on the ethical implications of public pedagogy, arguing that artistic expressions facilitate a flexible and dynamic mode for becoming otherwise in ways that cannot be anticipated.
Educating for cultural citizenship: Reframing the goals of arts education
Paul J. Kuttner
Arts education does more than transfer the skills and knowledge needed to create artistic works. It also helps to shape young people's orientations towards participation in the cultural life of their communities. In this article, Paul Kuttner argues for reframing arts education as a process of developing cultural citizenship. Cultural citizenship, a concept from political theory and cultural studies, is concerned with the development of diverse cultural practices and identities alongside full participation in cultural and political life. Using this lens, we can look at different forms of arts education and ask, “What types of cultural citizens are these programs developing?” Building on the work of civic education scholars Westheimer and Kahne (2004), Kuttner suggests a few initial types before delving into a fuller description of what he calls the “justice-oriented cultural citizen.” This concept is illustrated with data from an ethnographic case study of one arts organization that is developing such citizens: Project HIP-HOP, a Boston-based youth organization that trains young artists as cultural organizers who can use their art to catalyze change in their communities. This reframing of arts education as a form of civic education helps to situate artistic practices in their larger socio-political contexts, while contributing to an ongoing dialogue about the role of arts education in supporting participatory democracy and social change.
The art of youth rebellion
Nathalia E. Jaramillo
In this essay, the author examines the art of rebellion in the context of the 2014 Venezuelan student uprising. Utilizing the lens of Latin American decolonial thought and examining the processes of developing popular power among youth, the author looks into the various ways that youth produce art to communicate and enforce the ideas and values that circumscribe their collective identities. It is necessary, the author argues, for educators to consider the historical, economic and political forces that shape youth's cultural production and to engage decolonial thought in art pedagogy.
Shooting back in the occupied territories: An anti-colonial participatory politics
In this article I argue that Palestinians, in particular Palestinian youth engage in forms of cultural resistance such as filming, video production and dissemination in their everyday lives as a way to re-configure place, space, law, knowledge and violence, through a critical race, feminist, anti-colonial theoretical analysis. Recently, interest in forms of youth political engagement has surfaced in scholarly discussions. The concept of “participatory politics” has been used to frame discussions and analysis on youth engagement. I argue that the current conceptualization of participatory politics is limited when applied to colonial and occupation contexts, particular because political participation is premised on the recognition of citizens. I argue that this conceptualization of participatory politics needs to be extended, by taking into consideration the politics of refusal and revolutionary violence. I offer the concept of an anti-colonial participatory politics that considers these aspects as central to politics and political participation by analysing youth testimonies, video's and films produced by B'Tselem volunteers, Youth Against the Settlements and Emad Burnat (director of 5 Broken Cameras). I demonstrate how Palestinians are not merely reduced to bare life, but underscore how they actively resist their colonization. Additionally, drawing on Willis' (1990) notion of symbolic creativity, I suggest that through the symbolic work of shooting back (filming and video production) in their everyday lives, Palestinian youth enact public pedagogy, whereby cultural production becomes a site of teaching, learning and conscientization which could open up possibilities for social change.
Glyphing decolonial love through urban flash mobbing and Walking with our Sisters
This article contributes to understanding multi-plexed Indigenous resistance through examining spatial tags. As symbolic, moving critiques, spatial tagging intervenes normative structures of settler colonialism and provides the space through which radical decolonial love can emerge. This discussion of the production of spatial glyphs has implications for new ways of thinking about the processes of solidarity building, social activism and the generation of new pedagogical practices of resistance. An analysis of Christi Belcourt's walking with our sisters commemorative art installation (2013–2019) and the urban flash mob round dance at the intersection of Yonge and Dundas streets in downtown Toronto, reveals how spatial tagging formulates Indigenous acts of creative solidarity. This article contributes to an analysis of Indigenous resistance strategies through focusing on the interstitial passageways as generative sites of knowledge production and possibilities for new ways of being in the world.