Recent contributions to urban geography have considered state space by innovatively focusing on specific cases of the city built environment. Examples could include here Karl Schlögel’s slicing through the spaces of state power in Moscow 1937 or Yuri Slezkine’s methodological cue to read the saga of the Russian Revolution across time in The House of Government. This article adds to the methodological insights of urban researchers by honing in on the Monument to the Revolution in Mexico City, in order to consider its role as a socially produced, conflictual and dynamically changing site in the struggle over public space and its memorialization. Since its opening in 1938, the Monument to the Revolution at Plaza de la República has been a pivotal fulcrum of state power in abetting the changing geography of state space. Equally, the site has experienced contradictions and differences stemming from socially produced space across time, in the form of periods of state crisis and, most recently, state ‘rollback’ and ‘rollout’ under neo-liberalization. This article addresses both neo-liberalizing and differential structures of feeling as they bear on the space at the Monument to the Revolution. It does so by situating the Monument to the Revolution within the urban question and how neo-liberalization has unlocked local and aesthetic meanings that have become commodified, not least through the extraction of monopoly rents. Further, the article spotlights simultaneous contemporary contestations of state power and impulses of socio-spatial struggle over difference articulated in and around Plaza de la República at the monument. In so doing, the article contributes an important pedagogical focus on both homogenizing and differential structures of feeling inscribed in spaces of capitalism in the twenty-first century.
最近对城市地理学的贡献通过创新地关注城市建筑环境的具体案例来考虑状态空间。例子可以包括卡尔Schlögel在1937年莫斯科的国家权力空间的切割，或者尤里·斯雷兹金的方法提示，在政府的议院中阅读俄国革命的传奇。本文通过对墨西哥城革命纪念碑的研究，增加了城市研究人员的方法论见解，以考虑其在公共空间及其纪念斗争中作为社会生产，冲突和动态变化的场所的作用。自1938年开放以来，位于Plaza de la República的革命纪念碑一直是国家权力的关键支点，以教唆性地改变国家空间的地理位置。同样，该网站也经历了矛盾和差异，这些矛盾和差异源于跨越时间的社会生产空间，以国家危机时期的形式，以及最近在新自由化下的国家“回滚”和“推出”。这篇文章讨论了新自由主义和不同的感觉结构，因为它们对革命纪念碑的空间有影响。它通过将革命纪念碑置于城市问题中，以及新自由化如何释放已经商品化的地方和美学意义来实现这一点，尤其是通过榨取垄断租金。此外，这篇文章同时强调了国家权力的当代争论和社会空间斗争的冲动，在纪念碑的Plaza de la República及其周围表达了差异。在这样做的过程中，这篇文章对21世纪资本主义空间中情感的同质化和差异结构做出了重要的教学关注。
{"title":"Memorializing monuments: State space and state rollback under neo-liberalization in Mexico","authors":"A. Morton","doi":"10.1386/aps_00059_1","DOIUrl":"https://doi.org/10.1386/aps_00059_1","url":null,"abstract":"Recent contributions to urban geography have considered state space by innovatively focusing on specific cases of the city built environment. Examples could include here Karl Schlögel’s slicing through the spaces of state power in Moscow 1937 or Yuri Slezkine’s methodological cue to read the saga of the Russian Revolution across time in The House of Government. This article adds to the methodological insights of urban researchers by honing in on the Monument to the Revolution in Mexico City, in order to consider its role as a socially produced, conflictual and dynamically changing site in the struggle over public space and its memorialization. Since its opening in 1938, the Monument to the Revolution at Plaza de la República has been a pivotal fulcrum of state power in abetting the changing geography of state space. Equally, the site has experienced contradictions and differences stemming from socially produced space across time, in the form of periods of state crisis and, most recently, state ‘rollback’ and ‘rollout’ under neo-liberalization. This article addresses both neo-liberalizing and differential structures of feeling as they bear on the space at the Monument to the Revolution. It does so by situating the Monument to the Revolution within the urban question and how neo-liberalization has unlocked local and aesthetic meanings that have become commodified, not least through the extraction of monopoly rents. Further, the article spotlights simultaneous contemporary contestations of state power and impulses of socio-spatial struggle over difference articulated in and around Plaza de la República at the monument. In so doing, the article contributes an important pedagogical focus on both homogenizing and differential structures of feeling inscribed in spaces of capitalism in the twenty-first century.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131322084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The political question of who can produce knowledge and how we delineate epistemological standards without reproducing epistemic marginalization is central to critical pedagogy in international relations (IR) scholarship. While critical pedagogies often attempt to enact an emancipatory agenda, they largely rely on the educator as knowledge (re)producer and student as passive consumer, with little to say on what it means to be emancipated, the oppressions at stake or the means of enacting this project. Drawing on Simon Bronner’s definition of folklore, this article explores folklore as a creative practice allowing us to explore who the ‘folk’ are in the process of teaching and how we constitute disciplinary ‘lore’ to incite students to revise and reflect on disciplinary boundaries. The article focuses on IR pedagogy as a creative practice, arguing that deploying a folklore lens allows us to challenge the uncritical reproduction of disciplinary boundaries.
{"title":"The case for creative folklore in pedagogical practice","authors":"Kathryn Starnes","doi":"10.1386/aps_00061_1","DOIUrl":"https://doi.org/10.1386/aps_00061_1","url":null,"abstract":"The political question of who can produce knowledge and how we delineate epistemological standards without reproducing epistemic marginalization is central to critical pedagogy in international relations (IR) scholarship. While critical pedagogies often attempt to enact an emancipatory agenda, they largely rely on the educator as knowledge (re)producer and student as passive consumer, with little to say on what it means to be emancipated, the oppressions at stake or the means of enacting this project. Drawing on Simon Bronner’s definition of folklore, this article explores folklore as a creative practice allowing us to explore who the ‘folk’ are in the process of teaching and how we constitute disciplinary ‘lore’ to incite students to revise and reflect on disciplinary boundaries. The article focuses on IR pedagogy as a creative practice, arguing that deploying a folklore lens allows us to challenge the uncritical reproduction of disciplinary boundaries.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117332076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article addresses the themes animating the Special Issue from the other side of the coin, namely the notion of aestheticizing political pedagogies. This reflects the direction of travel in some sections of politics and international relations scholarship, where there has been an upsurge of interest in aesthetics and especially popular culture. While there have been valuable contributions on teaching within such work, there has been a lack of sustained reflection on how, for example, a more aesthetically informed pedagogical practice can help us encourage students to think critically in creative ways. There has also been a rather bloodless account of aesthetics, diverting attention away from its visceral essence. Taking inspiration from the writings of Matt Davies on aesthetics, Jennifer Mason on the sensory and Cynthia Enloe on curiosity and surprise, the article explores the potential for aestheticizing political pedagogies to be mobilized in purposeful, strategic ways for enhancing the capacity of students to think critically and creatively. More specifically, I discuss how sensorily-oriented modes of teaching can disrupt entanglements between students’ ways of knowing and experiencing the world and their ‘objective’ understandings of politics, society, culture and so on. Three examples from my own teaching practice are discussed, all rooted in my utilization of extreme metal music with the aim of cultivating curiosity among students about their topics.
{"title":"Allowing ourselves to follow our bodies: Cultivating student curiosity via sensorily-oriented modes of teaching","authors":"Ian Bruff","doi":"10.1386/aps_00062_1","DOIUrl":"https://doi.org/10.1386/aps_00062_1","url":null,"abstract":"This article addresses the themes animating the Special Issue from the other side of the coin, namely the notion of aestheticizing political pedagogies. This reflects the direction of travel in some sections of politics and international relations scholarship, where there has been an upsurge of interest in aesthetics and especially popular culture. While there have been valuable contributions on teaching within such work, there has been a lack of sustained reflection on how, for example, a more aesthetically informed pedagogical practice can help us encourage students to think critically in creative ways. There has also been a rather bloodless account of aesthetics, diverting attention away from its visceral essence. Taking inspiration from the writings of Matt Davies on aesthetics, Jennifer Mason on the sensory and Cynthia Enloe on curiosity and surprise, the article explores the potential for aestheticizing political pedagogies to be mobilized in purposeful, strategic ways for enhancing the capacity of students to think critically and creatively. More specifically, I discuss how sensorily-oriented modes of teaching can disrupt entanglements between students’ ways of knowing and experiencing the world and their ‘objective’ understandings of politics, society, culture and so on. Three examples from my own teaching practice are discussed, all rooted in my utilization of extreme metal music with the aim of cultivating curiosity among students about their topics.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128588632","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article is a critical reflection on our forays in the curatorial practice and exposition in March 2018 for a map art exhibit called Faces Places: Mapping Embodiments held at the University of the Philippines campus in Diliman. The exhibit was an exposition of different and alternative forms of mapping through the works of three Filipino artists: Mideo Cruz, Cian Dayrit and Mark Salvatus. We analysed their interventions in making visible the progressive geographies inherent in the everyday lifeworlds of Filipinos. Drawing from Nancy Fraser’s subaltern counterpublics, we argue that their artistic outputs are forms of counter-mapping vignettes that allow the possibility to illuminate the voices and habitus of the sifted and the excluded as new cartographical interventions intended for critical reflection and pedagogy. The art maps and countermaps of the artists evoked different responses that broadened and expanded understanding beyond what maps are, which allowed us to further interrogate the power structures that define world order through time. The production of new knowledges was derived not only from analysing the textual and symbolic aspects of the artistic countermaps but also with the processual aspect of art-making as emancipatory politics.
{"title":"Faces places: Countermapping art, subalternities and counterpublics","authors":"Maria Simeona Martinez, Joseph Palis","doi":"10.1386/aps_00058_1","DOIUrl":"https://doi.org/10.1386/aps_00058_1","url":null,"abstract":"This article is a critical reflection on our forays in the curatorial practice and exposition in March 2018 for a map art exhibit called Faces Places: Mapping Embodiments held at the University of the Philippines campus in Diliman. The exhibit was an exposition of different and alternative forms of mapping through the works of three Filipino artists: Mideo Cruz, Cian Dayrit and Mark Salvatus. We analysed their interventions in making visible the progressive geographies inherent in the everyday lifeworlds of Filipinos. Drawing from Nancy Fraser’s subaltern counterpublics, we argue that their artistic outputs are forms of counter-mapping vignettes that allow the possibility to illuminate the voices and habitus of the sifted and the excluded as new cartographical interventions intended for critical reflection and pedagogy. The art maps and countermaps of the artists evoked different responses that broadened and expanded understanding beyond what maps are, which allowed us to further interrogate the power structures that define world order through time. The production of new knowledges was derived not only from analysing the textual and symbolic aspects of the artistic countermaps but also with the processual aspect of art-making as emancipatory politics.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128909452","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores teaching international politics, international political economy (IPE) and urbanism through a reading of China Miéville’s novel, Perdido Street Station. The novel as an artefact of popular culture affords a critical encounter with the production of space for students of international politics and IPE. Departing from prevailing approaches to understanding the urban in relation to the international that tend to focus on networks and circulation, the article offers a reading of the novel as demonstrating the production of space. The article links a critique of the hierarchical relations between teacher and student to critiques of the subordination of labour to design and planning, both of which render invisible the work of producing knowledge and space. Through an analysis of the political struggles over the formal and real subsumption of labour in Perdido Street Station, the article argues that studying the politics of urbanism in relation to the international through artefacts of popular culture can disrupt the invisibility of work.
{"title":"Teaching urban spaces and world politics: Perdido Street Station and pedagogies of production","authors":"M. Davies","doi":"10.1386/aps_00060_1","DOIUrl":"https://doi.org/10.1386/aps_00060_1","url":null,"abstract":"This article explores teaching international politics, international political economy (IPE) and urbanism through a reading of China Miéville’s novel, Perdido Street Station. The novel as an artefact of popular culture affords a critical encounter with the production of space for students of international politics and IPE. Departing from prevailing approaches to understanding the urban in relation to the international that tend to focus on networks and circulation, the article offers a reading of the novel as demonstrating the production of space. The article links a critique of the hierarchical relations between teacher and student to critiques of the subordination of labour to design and planning, both of which render invisible the work of producing knowledge and space. Through an analysis of the political struggles over the formal and real subsumption of labour in Perdido Street Station, the article argues that studying the politics of urbanism in relation to the international through artefacts of popular culture can disrupt the invisibility of work.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123844753","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Without a permit, a masterplan, or corporate or public funding, artists have evaded conventional norms to accomplish a feat: the urban and socio-economic revitalization of abandoned or depressed cities worldwide. In Rio’s favelas and America’s impoverished suburbs, artists are the political force that promotes local economies, defines collective identities, gives people a sense of belonging, while covering the land with beauty. To act at the city’s scale, artists teach their craft to the locals and use art to empower the community, and unveil needed urban policies, bringing economic development, expertise and collaborative action. As a result, public art becomes instrumental for infusing new life in marginalized neighbourhoods, and the city becomes the ideal canvas for free expression without bureaucracy. This article is a bird’s eye view of two public art interventions that have highlighted the political and pedagogical implications of a citizen-design approach to urban renewal. Ultimately, it is a call for artists to activate as impactful makers of urban transformations.
{"title":"Guerrilla art in the city: Urban and social revitalization","authors":"Enrica Lovaglio, Manuel Scortichini","doi":"10.1386/aps_00057_1","DOIUrl":"https://doi.org/10.1386/aps_00057_1","url":null,"abstract":"Without a permit, a masterplan, or corporate or public funding, artists have evaded conventional norms to accomplish a feat: the urban and socio-economic revitalization of abandoned or depressed cities worldwide. In Rio’s favelas and America’s impoverished suburbs, artists are the political force that promotes local economies, defines collective identities, gives people a sense of belonging, while covering the land with beauty. To act at the city’s scale, artists teach their craft to the locals and use art to empower the community, and unveil needed urban policies, bringing economic development, expertise and collaborative action. As a result, public art becomes instrumental for infusing new life in marginalized neighbourhoods, and the city becomes the ideal canvas for free expression without bureaucracy. This article is a bird’s eye view of two public art interventions that have highlighted the political and pedagogical implications of a citizen-design approach to urban renewal. Ultimately, it is a call for artists to activate as impactful makers of urban transformations.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131793930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Agonistics (2013), Chantal Mouffe highlights sociability and notes its potential for artists in devising agonistic counter-hegemonic performances. However, sociability as an isolated factor is unlikely to produce politicized dissent. Instead, therefore, a politicized form of conflictual sociability is created by applying Mouffe’s notion of a ‘conflictual consensus’ (an agreement between opponents to disagree) to art practice. By applying paradoxical thinking to the performance of dissent in the public realm, the article argues for sociability in service of politicized critique. The potential of conflictual sociability is examined through guerrilla street theatre performances, an artform with the capacity to generate unauthorized and participatory incursions into the urban public realm. Firstly, via autoethnographic reflections upon a practice-based research project, The Wizard of Oz (2015) performed in London, United Kingdom; and secondly, in analysis of Dread Scott’s Money to Burn (2010) performance in Wall Street, New York, United States. Conflictual sociability offers a novel methods-led process of engaging agonistically with passers-by (publics) and transforming them into activated participants. Because it is engaging, conflictual sociability creates spaces of public dialogue that antagonistic conflict potentially shuts down. This reveals an effective pedagogy for facilitating agonistic politicized dissent through performative practices in the public realm.
在《对抗论》(2013)中，Chantal Mouffe强调了社交性，并指出了它在设计对抗反霸权表演方面对艺术家的潜力。然而，社交作为一个孤立的因素不太可能产生政治化的异议。因此，通过将墨菲的“冲突共识”(反对者之间的不同意)概念应用于艺术实践，创造了一种政治化形式的冲突社交。通过将悖论思维应用于公共领域的异议表现，本文论证了为政治化批评服务的社交性。通过游击街头戏剧表演，一种能够产生未经授权和参与性入侵城市公共领域的艺术形式，检查了冲突社交的潜力。首先，通过对一个基于实践的研究项目的自我民族志反思，《绿野仙踪》(2015)在英国伦敦演出;其次，分析Dread Scott的《Money to Burn》(2010)在美国纽约华尔街的表现。冲突性社交提供了一种新颖的方法主导的过程，与路人(公众)积极接触，并将他们转化为活跃的参与者。因为它是迷人的，冲突的社交创造了公共对话的空间，而对抗性冲突可能会关闭。这揭示了一种有效的教学方法，通过公共领域的表演实践来促进敌对的政治化异议。
{"title":"Conflictual sociability? A paradoxical approach to politicized street theatre","authors":"Antoinette Burchill","doi":"10.1386/aps_00056_1","DOIUrl":"https://doi.org/10.1386/aps_00056_1","url":null,"abstract":"In Agonistics (2013), Chantal Mouffe highlights sociability and notes its potential for artists in devising agonistic counter-hegemonic performances. However, sociability as an isolated factor is unlikely to produce politicized dissent. Instead, therefore, a politicized form of conflictual sociability is created by applying Mouffe’s notion of a ‘conflictual consensus’ (an agreement between opponents to disagree) to art practice. By applying paradoxical thinking to the performance of dissent in the public realm, the article argues for sociability in service of politicized critique. The potential of conflictual sociability is examined through guerrilla street theatre performances, an artform with the capacity to generate unauthorized and participatory incursions into the urban public realm. Firstly, via autoethnographic reflections upon a practice-based research project, The Wizard of Oz (2015) performed in London, United Kingdom; and secondly, in analysis of Dread Scott’s Money to Burn (2010) performance in Wall Street, New York, United States. Conflictual sociability offers a novel methods-led process of engaging agonistically with passers-by (publics) and transforming them into activated participants. Because it is engaging, conflictual sociability creates spaces of public dialogue that antagonistic conflict potentially shuts down. This reveals an effective pedagogy for facilitating agonistic politicized dissent through performative practices in the public realm.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128380051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
By exploring some of the challenges of teaching a radical politics in the neo-liberal university, the article looks to the writings of radical pedagogues like Freire and Giroux to position hope as an important resource for critical pedagogy for teachers. Drawing on Coole’s work on Merleau-Ponty, the article examines the potential of a critical pedagogy that taps into the body, rather than a mind, as a vessel for capturing hope and thus as a way of opening up a new resource for linking hope to educational practice. These resources are discussed in relation to debates concerning the politics of artistic practices, particularly with regard to how an embodied pedagogy might work around the constraints imposed by neo-liberal universities. Three themes are identified as warranting further discussion for an embodied pedagogy and their implications are reflected upon. These relate to how we view the student as embodying hope, how we view the classroom as a place of rich connections and how we capture learning through richness and reflection. The United Kingdom is the focus of the article, but there is a wider relevance given ongoing global trends in and debates about higher education.
{"title":"Feeling political","authors":"C. Dannreuther","doi":"10.1386/aps_00063_1","DOIUrl":"https://doi.org/10.1386/aps_00063_1","url":null,"abstract":"By exploring some of the challenges of teaching a radical politics in the neo-liberal university, the article looks to the writings of radical pedagogues like Freire and Giroux to position hope as an important resource for critical pedagogy for teachers. Drawing on Coole’s work on Merleau-Ponty, the article examines the potential of a critical pedagogy that taps into the body, rather than a mind, as a vessel for capturing hope and thus as a way of opening up a new resource for linking hope to educational practice. These resources are discussed in relation to debates concerning the politics of artistic practices, particularly with regard to how an embodied pedagogy might work around the constraints imposed by neo-liberal universities. Three themes are identified as warranting further discussion for an embodied pedagogy and their implications are reflected upon. These relate to how we view the student as embodying hope, how we view the classroom as a place of rich connections and how we capture learning through richness and reflection. The United Kingdom is the focus of the article, but there is a wider relevance given ongoing global trends in and debates about higher education.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134348838","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Maja Zonjić, Caitlin Baker-Wanhalla, S. Cooper, Olivia Dobbs, Romy Gellen, Charlotte Hawkins
Period poverty is a significant issue in Aotearoa/New Zealand, yet public discourses around menstruation are rare, marked by social stigma, and kept outside of university classrooms. Simultaneously, student activism is on the rise, as are critical pedagogical approaches that resist hierarchical education models and value community engagement. In this article, we draw on shared lecturer/student experiences of taking part in COMS305: Media and Social Change, a course at the University of Canterbury in 2020, during which five students started a menstrual item donation drive benefitting two local charities. Together, we reflect on the initiative and wrestle with a number of questions arising from it before offering future recommendations.
{"title":"Paying it forward to end period poverty in Aotearoa/New Zealand: Pedagogies and politics of care, community, and academic activism","authors":"Maja Zonjić, Caitlin Baker-Wanhalla, S. Cooper, Olivia Dobbs, Romy Gellen, Charlotte Hawkins","doi":"10.1386/aps_00055_1","DOIUrl":"https://doi.org/10.1386/aps_00055_1","url":null,"abstract":"Period poverty is a significant issue in Aotearoa/New Zealand, yet public discourses around menstruation are rare, marked by social stigma, and kept outside of university classrooms. Simultaneously, student activism is on the rise, as are critical pedagogical approaches that resist hierarchical education models and value community engagement. In this article, we draw on shared lecturer/student experiences of taking part in COMS305: Media and Social Change, a course at the University of Canterbury in 2020, during which five students started a menstrual item donation drive benefitting two local charities. Together, we reflect on the initiative and wrestle with a number of questions arising from it before offering future recommendations.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"252 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123749194","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this opening essay we explain the rationale for the Special Issue, the first of two on the theme of ‘politicizing artistic pedagogies’. In doing so, we outline the connections between this collection of articles and those in the next issue of Art & the Public Sphere while also stressing the distinctive, societal scope of the present issue. The article considers some themes of particular relevance for this edited collection. For example, we discuss our understanding of art, politics and pedagogy and draw on Juliet Hooker’s work on juxtaposition to advocate the benefits of discomfiting yet welcome disruptions to our more established ways of thinking and practising. This is often narrated in a biographical style, which enables us to highlight how we, from rather different backgrounds, came to collaborate at various points over the last decade and how this manifested in a noteworthy and instructive teaching experience for Ian when invited to deliver two seminar sessions for Mel’s students. Overall, we promote a pluralistic and inclusive approach to the notion of ‘politicizing artistic pedagogies’ but make sure, in the process, to outline where we depart from more established positions (such as on pedagogy and on art’s function). Finally, we briefly introduce the articles that comprise the Special Issue.
{"title":"Art, politics, pedagogy: Juxtaposing, discomfiting, disrupting","authors":"Ian Bruff, M. Jordan","doi":"10.1386/aps_00054_1","DOIUrl":"https://doi.org/10.1386/aps_00054_1","url":null,"abstract":"In this opening essay we explain the rationale for the Special Issue, the first of two on the theme of ‘politicizing artistic pedagogies’. In doing so, we outline the connections between this collection of articles and those in the next issue of Art & the Public Sphere while also stressing the distinctive, societal scope of the present issue. The article considers some themes of particular relevance for this edited collection. For example, we discuss our understanding of art, politics and pedagogy and draw on Juliet Hooker’s work on juxtaposition to advocate the benefits of discomfiting yet welcome disruptions to our more established ways of thinking and practising. This is often narrated in a biographical style, which enables us to highlight how we, from rather different backgrounds, came to collaborate at various points over the last decade and how this manifested in a noteworthy and instructive teaching experience for Ian when invited to deliver two seminar sessions for Mel’s students. Overall, we promote a pluralistic and inclusive approach to the notion of ‘politicizing artistic pedagogies’ but make sure, in the process, to outline where we depart from more established positions (such as on pedagogy and on art’s function). Finally, we briefly introduce the articles that comprise the Special Issue.","PeriodicalId":311280,"journal":{"name":"Art & the Public Sphere","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114988439","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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