Pub Date : 2021-06-07DOI: 10.1177/20436106211022757
Daan Keij
This new volume in Lexington’s Philosophy of Childhood series aims at a philosophical, political and educational exploration of childhood. The editors write in the introduction that ‘childhood is not seen as a developmental stage that needs to be overcome, but rather [as] an existential state of being human and a possibility for other beings’ (p. 1).1 Childhood is therefore, paradoxically, not limited to children. The aim of this approach is to foster a responsiveness to the otherness of the child and of childhood as such. This book thus provides a great overview of the current discussions in philosophy of childhood and education, including issues concerning decolonialization and the Antropocene.2 The book is divided in two parts: phenomenological approaches and poststructuralist approaches (including posthumanism and postcolonialism). Phenomenologically, ‘there are many possibilities to make sense of what we experience, and childhood stands as an experience that is no less meaningful than adulthood’ (p. 2). For the poststructuralists, childhood is ‘conceptualized beyond the limits of an individual human experience’ (p. 2). I will not discuss each contribution in its own right, since the editors already do this in their introduction. Rather, I will discuss the three main topics of the book: thinking, childhood, and time. The notions of time play a major role in many contributions to articulate a novel concept of childhood. This novel understanding of childhood allows for a re-evaluation of what thinking is and should do. I will therefore begin with what this volume teaches about time, before continuing on to childhood and thinking.
{"title":"Book review: Walter Omar Kohan and Barbara Weber (Eds.), Thinking, childhood, and time: Contemporary perspectives on the politics of education","authors":"Daan Keij","doi":"10.1177/20436106211022757","DOIUrl":"https://doi.org/10.1177/20436106211022757","url":null,"abstract":"This new volume in Lexington’s Philosophy of Childhood series aims at a philosophical, political and educational exploration of childhood. The editors write in the introduction that ‘childhood is not seen as a developmental stage that needs to be overcome, but rather [as] an existential state of being human and a possibility for other beings’ (p. 1).1 Childhood is therefore, paradoxically, not limited to children. The aim of this approach is to foster a responsiveness to the otherness of the child and of childhood as such. This book thus provides a great overview of the current discussions in philosophy of childhood and education, including issues concerning decolonialization and the Antropocene.2 The book is divided in two parts: phenomenological approaches and poststructuralist approaches (including posthumanism and postcolonialism). Phenomenologically, ‘there are many possibilities to make sense of what we experience, and childhood stands as an experience that is no less meaningful than adulthood’ (p. 2). For the poststructuralists, childhood is ‘conceptualized beyond the limits of an individual human experience’ (p. 2). I will not discuss each contribution in its own right, since the editors already do this in their introduction. Rather, I will discuss the three main topics of the book: thinking, childhood, and time. The notions of time play a major role in many contributions to articulate a novel concept of childhood. This novel understanding of childhood allows for a re-evaluation of what thinking is and should do. I will therefore begin with what this volume teaches about time, before continuing on to childhood and thinking.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"290 - 295"},"PeriodicalIF":0.0,"publicationDate":"2021-06-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/20436106211022757","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45479924","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}
Pub Date : 2021-06-01DOI: 10.1177/20436106211023509
Yolanda Chávez Leyva
“Deep visual listening and children’s art during times of crisis” explores a way to understand children’s art created amidst crisis as well as the meanings we can discern from it through the lens of the “Uncaged Art Tornillo Detention Center” exhibit. In 2018, the U.S. government opened a detention center to hold youth who either crossed the border by themselves or were separated from their families through Trump’s Zero Tolerance policy. The youth were from Central America and came seeking asylum. Fleeing profound poverty and violence, they came to save their lives. To deter asylum-seekers through a series of cruel policies, the United States detained the youth in militarized camps where they were under constant surveillance. They did not know when or if they would be released and experienced depression and trauma. An art project at the detention center resulted in their creating approximately 400 pieces, of which 30 survived. “Uncaged Art” exhibited these works in 2019. This article answers the question “What can we learn about the children, the anonymous artists who created the works, through visual listening?” Visual listening is a process that involves all our senses. Listening requires conscious action, unlike hearing which is automatic and is one of the first senses we develop while still in our mother’s womb. This methodology allows us to engage with children’s art in times of crisis more profoundly than simply seeing the artwork. There are two parts to this practice: deep listening and visual listening. Combined, they provide a powerful way to listen to the stories, the histories, the memories, and the emotions embodied by the art and brought to life by our reflections and understanding
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Pub Date : 2021-06-01DOI: 10.1177/20436106211023510
A. Kendrick
Children’s drawings hold a contested place in archives of war. Often portrayed as unfiltered records of psychological impact on innocent young civilians, the same drawings are also sophisticated testimonies of agency. With child-artists creating their work within classrooms, families, and communities, this article offers an alternative reading of their historical significance. Children’s art offers not simply a firsthand view of conflict but also a critical view onto the alliances and ideologies of the adults who guided their creation. Before and after the Spanish Civil War (1936–1939), after which Spain entered into several decades of National-Catholic dictatorship, psychologists and teachers used children’s drawings to further educational projects toward both progressive and conservative ends. Across key nodes of conflict and postwar quietude, I ask how advocacy of children’s art allowed teachers to practice what I call a form of pedagogical postmemory. Centering on Francoist-era education and the artists who created new openings for individual expression, the essay focuses on two educators, namely the artist Ángel Ferrant (1890–1961) and the novelist Josefina Aldecoa (1926–2011). Contrasting their paired views of children’s art as a liberating, imaginative activity with that of the Francoist pedagogue Josefina Álvarez de Cánovas (1898–?), this study exposes how the same fundamental rhetoric of imagination and freedom could result in vastly different archives of children’s drawings under dictatorship. Understanding children’s art as bound up in wider social and political processes, it posits the seemingly neutral sphere of postwar art education as a key vehicle for pedagogical memory and historical recovery.
儿童绘画在战争档案中占有有争议的地位。这些画通常被描绘成未经过滤的对无辜年轻平民心理影响的记录，也是机构的复杂证词。随着儿童艺术家在课堂、家庭和社区中创作他们的作品，这篇文章为他们的历史意义提供了另一种解读。儿童艺术不仅提供了对冲突的第一手看法，还提供了对指导他们创作的成年人的联盟和意识形态的批判性看法。在西班牙内战（1936–1939）前后，西班牙进入了几十年的国家天主教独裁统治，心理学家和教师利用儿童绘画来推动教育项目，达到进步和保守的目的。在冲突和战后平静的关键节点上，我问对儿童艺术的倡导是如何让教师实践我所说的一种教学后记忆形式的。本文以法语时代的教育和为个人表达创造新机会的艺术家为中心，重点关注两位教育工作者，即艺术家安吉尔·费兰特（1890–1961）和小说家Josefina Aldecoa（1926–2011）。将他们将儿童艺术视为一种解放、富有想象力的活动的观点与法语教育家JosefinaÁlvarez de Cánovas（1898–？）的观点进行对比，这项研究揭示了在独裁统治下，同样的想象力和自由的基本修辞如何会导致截然不同的儿童绘画档案。它将儿童艺术与更广泛的社会和政治进程联系在一起，将战后艺术教育的看似中立的领域视为教学记忆和历史恢复的关键载体。
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Pub Date : 2021-06-01DOI: 10.1177/20436106211024456
Hannah Dyer, M. E. Patterson
{"title":"Editorial","authors":"Hannah Dyer, M. E. Patterson","doi":"10.1177/20436106211024456","DOIUrl":"https://doi.org/10.1177/20436106211024456","url":null,"abstract":"","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"121 - 122"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/20436106211024456","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46142156","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}
Pub Date : 2021-06-01DOI: 10.1177/2043610620970959
Antonia Canosa
{"title":"Book review: Noam Peleg, The child’s right to development","authors":"Antonia Canosa","doi":"10.1177/2043610620970959","DOIUrl":"https://doi.org/10.1177/2043610620970959","url":null,"abstract":"","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"213 - 215"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610620970959","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66154306","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}
Pub Date : 2021-06-01DOI: 10.1177/20436106211022752
Casey Mecija
This article examines Diane Paragas’ film Yellow Rose (2019) for its capacity to offer important insights into the reparative utility of music for a child separated from a parent due to deportation. While the film depicts the brutality of contemporary U.S. migration policies, Yellow Rose is also a story about the role of aesthetic expression in childhood’s diasporic imaginaries. The film teaches us about the agentic potential of music as a mode of dealing with the trauma of forced separation. In particular, the genre of American country music is affectively instrumentalized by the film’s young, Filipinx protagonist. In deepening my argument, I work with the film to explain that the kinship between Rose and a genre of music that is hegemonically associated with whiteness produces a “queer sonic” that serves as conduit for the emergence of contingent networks of care and methods of survival. I propose that queer sonic expression, or the unassimilable qualities of sound and genre, is a site where we can broaden racialized imaginings of Filipinx childhood, as it offers an opportunity for reparation.
{"title":"“The desert’s no home for a rose”: Filipinx childhood and music as aesthetic experience","authors":"Casey Mecija","doi":"10.1177/20436106211022752","DOIUrl":"https://doi.org/10.1177/20436106211022752","url":null,"abstract":"This article examines Diane Paragas’ film Yellow Rose (2019) for its capacity to offer important insights into the reparative utility of music for a child separated from a parent due to deportation. While the film depicts the brutality of contemporary U.S. migration policies, Yellow Rose is also a story about the role of aesthetic expression in childhood’s diasporic imaginaries. The film teaches us about the agentic potential of music as a mode of dealing with the trauma of forced separation. In particular, the genre of American country music is affectively instrumentalized by the film’s young, Filipinx protagonist. In deepening my argument, I work with the film to explain that the kinship between Rose and a genre of music that is hegemonically associated with whiteness produces a “queer sonic” that serves as conduit for the emergence of contingent networks of care and methods of survival. I propose that queer sonic expression, or the unassimilable qualities of sound and genre, is a site where we can broaden racialized imaginings of Filipinx childhood, as it offers an opportunity for reparation.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"164 - 178"},"PeriodicalIF":0.0,"publicationDate":"2021-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/20436106211022752","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48207457","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}
Pub Date : 2021-05-25DOI: 10.1177/20436106211015694
Carolyn Kay
My article considers German wartime propaganda and pedagogy from 1914 to 1916, which influenced young schoolchildren (aged 5–14) to create drawings and paintings of Germany’s military in World War I. In this art, the children drew bodies of German soldiers as tough, heroic, on the move, armed with powerful weapons, and part of a superior military movement; their enemies (French, Russian, British soldiers) embodied disorder, backwardness, ineptitude, and deadly weakness. The artwork by these schoolchildren thus reveals the intense propaganda of the war years, and the children’s tendency to see the German military as the most accomplished combatant in the war. During the first two years of the war, in the primary schools of the nation, many children did such art under the supervision of teachers who passionately embraced the nation and the war cause. Within the classroom, teachers directed students to imagine the war by drawing scenes of battles, including the sinking of the Lusitania. Some of these teachers had been influenced by the Kunsterziehungsbewegung (the arts’ education movement) and thus encouraged children’s creativity in art of the war years. In this pedagogical wartime environment the young student became actively engaged in creative learning and study about the war, expressing romantic ideas of the indomitable German soldier and sailor. My research has involved analysis of over 250 school drawings done by children aged 10–14 in a school in Wilhelmsburg, near Hamburg, in 1915. I analyze the depiction of the German forces in six of these sources and also consider the history of art instruction in German schools. Furthermore, I address the ways in which historians can analyze children’s art as a historical document for understanding the child’s experience.
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Pub Date : 2021-05-18DOI: 10.1177/20436106211015997
Francisco Albarello, Ángela Novoa, Mariángeles Castro Sánchez, Adriana Velasco, María Victoria Novaro Hueyo, Francisco Narbais
The popularity of multiplayer online videogames (MOVs) in the lives of young people has become a recurrent area of interest for parents and researchers. The use of these platforms has generated concerns regarding the potential negative effects on children’s personal and social development. Additionally, the ways in which players socialize through these games has raised questions concerning what are regarded as the most effective approaches to promote a constructive articulation of virtual and physical worlds. Fortnite, was created by Epic Games in 2017. It can be characterized as a social survival gaming experience and has the most remarkable use on a worldwide scale. The study reported here is a qualitative case study that explores the social dimension of the use of Fortnite and how it impacts on children’s and their parents’ perceptions regarding its use. A total of 82 in-depth interviews were conducted in 2019 with Argentinian and Chilean children between 9 and 18 years of age and their parents. Findings reveal that parents and children have diverging perspectives regarding the social dimension of the game’s immersive experience. The topic developed in this article is of particular relevance to parents and researchers given the current events and widescale use of online platforms due to the Covid-19 pandemic.
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Pub Date : 2021-05-06DOI: 10.1177/20436106211014903
Julio-César Mateus
Becoming a critical user of media is a premise for citizenship in contemporary times. The use of critical thinking skills in mediatized scenarios demands developing the ability to interact with media, not only in being able to use devices, but also for understanding their socio-cultural effects. Our recent pandemic and political circumstances have raised our levels of awareness about fake news and biased media opinions. Here, I contend that we need to consider three basic arguments that should be taken into account when thinking about media literacy: Access to the internet constitutes a human right, though that is not enough, as we must develop critical media literacy skills as well; media policies should focus on the empowerment of citizens; and media literacy education policies must address the initial and continued professional learning of teachers to ensure its success.
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Pub Date : 2021-04-15DOI: 10.1177/20436106211008647
A. Wright, Jurhamuti José Velázquez Morales
This article analyzes visual art and radio broadcasting as semiotic practices that serve as crucial sites of child and youth participation in Indigenous social movements. Looking specifically at a movement against organized crime, political corruption, and environmental exploitation that emerged in 2011 among the Purépechan people of Cherán, Michoacán, México, we show how young people’s creative practices present a significant challenge to hegemonic models of adult- directed political socialization and participation, although they do not result in a total flattening of age-based hierarchies. Drawing on multimodal ethnographic fieldwork and personal experience in the movement, we show how the creative practices of youth activists facilitate the production and circulation of visual and sonic content that conveys historical and onto-epistemological frameworks which guide the movement. We also show how the circulation of this content generates the potential to influence those who come into contact with it, including both Purépechans and non-Purépechans who reside well beyond the borders of Cherán. In doing so, we demonstrate that multimodal ethnographic attention to the ways in which young people’s diverse semiotic repertoires are deployed in contexts of political activism can provide valuable insights about political socialization, intergenerational relationships, and the entanglement of a variety of politically charged semiotic forms in everyday life.
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