scholarly journals Talking Back to Scripted Curricula: A Critical Performance Ethnography with Teachers' Collective Narratives

2010 ◽  
Vol 2 (2) ◽  
pp. 183-196
Author(s):  
Katherine R. Evans ◽  
Jessica Lester ◽  
Amy D. Broemmel
Keyword(s):  
Performance Ethnography ◽  
Collective Narratives ◽  
Scripted Curricula

Narratives in teaching and research for justice and human rights

2011 ◽  
Vol 6 (3) ◽  
pp. 223-235 ◽  
Author(s):  
Audrey Osler ◽  
Juanjuan Zhu
Keyword(s):  
Human Rights ◽  
Social Justice ◽  
Life History ◽  
Multiple Identities ◽  
Common Humanity ◽  
Pedagogical Tools ◽  
Overlapping Communities ◽  
Theory Of Justice ◽  
Collective Narratives ◽  
Living Together

Throughout history individual and collective narratives have been used in struggles for justice. We draw on Sen’s theory of justice to examine the potential of narratives in teaching and researching for social justice. Human rights are presented as powerful ethical claims that can be critically examined by learners to consider their rights and responsibilities to others, at scales from the local to the global. One life history is used as an illustrative example to examine the Universal Declaration of Human Rights 1948 and its possible meanings for learners in China and globally. This article discusses the strengths and limitations of narratives as research and pedagogical tools in understanding justice, human rights and inequalities; in stimulating solidarity and our common humanity; and in enabling learners to explore their multiple identities. We conclude by making the case for human rights as principles for learning and living together in overlapping communities of fate.

Teach-ins as Performance Ethnography

2016 ◽  
Vol 9 (4) ◽  
pp. 489-514 ◽  
Author(s):  
Nancy E. Spencer ◽  
Matt Adamson ◽  
Sasha Allgayer ◽  
Yvette Castaneda ◽  
Matt Haugen ◽  
...  
Keyword(s):  
Performance Ethnography

scholarly journals Art, Age & Health: A Research Journey about Developing Reminiscence Theatre in an Age-Exchange Project

2013 ◽  
Vol 2 (2) ◽  
Author(s):  
Rikke Gürgens Gjærum
Keyword(s):  
Focus Group ◽  
Life Stories ◽  
Research Practice ◽  
Performance Ethnography ◽  
Focus Group Interviews ◽  
Science And Art ◽  
Theatre Production ◽  
Art Based Research ◽  
Group Interviews ◽  
Artistic Research

In this article, the researcher studies how it is possible to develop a reminiscence theatre production in an age-exchange project, created with life stories from pensioners, and how the audience experiences the performance. The article is based on six focus group interviews with nine pensioners, a theatre production and a “reminiscence café” between the audience and the actors, arranged after the performance. The researcher designed the study, “The aged as a resource”, based on guidelines for performance ethnography, art-based research, practice-led research and artistic research, in order to combine science and art, which could be said to represent two different epistemological traditions.

scholarly journals An Autoethnographic Performance: The Researcher’s Story of Hysterectomy and Menopause as Act of Resistance and Activism

2021 ◽  
pp. 194084472110428
Author(s):  
Grace O' Grady
Keyword(s):  
Large Scale ◽  
Medical Discourse ◽  
Private Life ◽  
Visual Images ◽  
Performance Ethnography ◽  
Early Menopause ◽  
Human Voice ◽  
One Year ◽  
Relations Of Power ◽  
The Voice

One year after beginning a large-scale research inquiry into how young people construct their identities I became ill and subsequently underwent abdominal surgery which triggered an early menopause. The process which was experienced as creatively bruising called to be written as “Artful Autoethnography” using visual images and poetry to tell a “vulnerable, evocative and therapeutic” story of illness, menopause, and their subject positions in intersecting relations of power. The process which was experienced as disempowering called to be performed as an act of resistance and activism. This performance ethnography is in line with the call for qualitative inquirers to move beyond strict methodological boundaries. In particular, the voice of activism in this performance is in the space between data (human voice and visual art pieces) and theory. To this end, and in resisting stratifying institutional/medical discourse, the performance attempts to create a space for a merger of ethnography and activism in public/private life.

scholarly journals Asking for Narratives to be Recognized: The Moral of Histories

2011 ◽  
Vol 2 (1) ◽  
pp. 70-83 ◽  
Author(s):  
Silvia Pierosara
Keyword(s):  
Paul Ricoeur ◽  
Human Being ◽  
Collective Narratives ◽  
Paul Ricœur ◽  
The Subject

This paper demonstrates an implicit connection between narrativity and recognition in the work of Paul Ricœur. This view is developed in three steps. First, it shows that the subject who calls for recognition demands that his or her own narrative be recognized. In order to be recognized, a story must be measured with history, particularly that of the victims. Second, from this perspective, the role of collective narratives is fundamental, because they represent the possibility to connect the intrinsic teleology of every human being to the collective attribution of significance. Finally, with the help of a little known essay by Ricœur, the metaphorical power of narrativity to configure meaning will be compared to the power of architecture to construct and to organize space. Both these fields give stories visibility and an ability to be recognized. 

Challenging Scripted Curricula With Adaptive Teaching

2021 ◽  
pp. 0013189X2110657
Author(s):  
Margaret Vaughn ◽  
Seth A. Parsons ◽  
Melissa A. Gallagher
Keyword(s):  
United States ◽  
The United States ◽  
Teacher Professionalism ◽  
Policy And Practice ◽  
High Profile ◽  
Diverse Student ◽  
Adaptive Teaching ◽  
Instructional Needs ◽  
Support Teacher ◽  
Scripted Curricula

Although adaptive teaching is considered a cornerstone of effective instruction, there remains a lack of focus on teacher adaptability in policy, professional practice, and teacher education in the United States. High-profile educational reform efforts have pressured districts and states across the nation to rely on prescriptive curricula that fail to meet the linguistic, cultural, and instructional needs of the nation’s diverse student population. In this article, we describe the development of the Adaptive Teaching Inventory and present validity evidence from our administration in the United States. These findings provide insight into the potential for widespread implementation of adaptability and its focus to support teacher professionalism and decision-making. The discussion centers on moving adaptability to the forefront of policy and practice efforts to counter the prevailing emphasis on restrictive curricula that has stymied teachers in their efforts to support students for far too long. Implications for administrators, policymakers, and researchers are discussed.

Suspect stories: William Trevor’s portrayals of the Irish in London during the Troubles

2016 ◽  
Author(s):  
Tony Murray
Keyword(s):  
Short Stories ◽  
Subject Matter ◽  
The Political ◽  
Contact Zones ◽  
Political Situation ◽  
The Troubles ◽  
Collective Narratives ◽  
Post Conflict ◽  
Irish People ◽  
Valuable Role

This chapter explores how three short stories by William Trevor portray the way in which Irish people in London were affected by the Troubles. For a writer who had established a reputation for his empathetic portrayal of the anomalous position of the Anglo-Irish in Ireland, the political situation of the Irish in London in the 1970s and 1980s provided Trevor with similar subject matter, but in a wholly new context. His stories provide an important corrective to some of the more pervasive stereotypes found in the popular genre of Troubles fiction. They reveal how, during the Troubles, the neighbourhood and the home became heightened political ‘contact zones’ between migrant and host communities. With attention to AvtarBrah’s notion of ‘diaspora space’, I demonstrate how fiction, and the personal and collective narratives contained therein, has a valuable role to play in mediating memories of the Troubles in Britain. This, in turn, can inform the wider discussion of British-Irish relations and contribute to post-conflict understanding.

Performing Theatre and Democracy

2021 ◽  
pp. 87-98
Author(s):  
Leila Henriques
Keyword(s):  
South Africa ◽  
South African ◽  
Research Methodology ◽  
Embodied Experience ◽  
Performance Ethnography ◽  
Theatre History ◽  
Political Narrative ◽  
The Many ◽  
The Individual ◽  
Individual Perspective

This collection of performances that is linked to this chapter was created as part of the MA exchange project between NTNU and DFL (Drama for Life). Students used performance ethnography as a method for generating performance material in answer to the challenge of building democracy through theatre. South Africa has a rich theatre history that has always engaged with the South African political narrative. Through developing an understanding of the many theatre-making processes that created this unique history, as well as through exploring other contemporary South African performances, students created and tracked their own research methodology so that they were able to hold up a mirror to the world around them. While each performance captured the individual perspective of the performer, they also engaged directly and indirectly with broader South African realities. The course consisted of four components, each shaped by the individual’s journey into their own research methodology. These were: generating material, interpreting the material, rehearsing the material and performing the material. This submission consists of a framing statement written by the lecturer as well as a collection of ten performances that include a short framing statement from each performer. Permission was obtained from all the students to showcase their work apart from one student who has submitted it under a pseudonym. Out of this exploration and through a practical laboratory, students created an embodied experience that addressed the notion of democracy. The value of the work was to gain a fresh embodied perspective of democracy in South Africa. It spoke to our unique South African theatre-making legacy, but also challenged and disrupted our understanding of what democracy is and how it might be performed.

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