Pub Date : 2021-03-12DOI: 10.1177/20436106211000759
Mariana Lima Becker, Gabrielle Oliveira, Virginia Alex
Drawing from a 3-year ethnographic project in one elementary school in the United States, this article examines how a group of 43 first graders perceived and constructed Brazil and the U.S. during a drawing and writing activity in their bilingual (Portuguese-English) classroom. The majority of the participating children (81.4%) either migrated from Brazil to the U.S. or were born in the U.S. of Brazilian parents. Data analysis reveals that Brazil was frequently portrayed as an idyllic landscape that included several relatives and friends and a range of activities with loved ones, while the U.S. involved immediate family members, material goods, and places for leisure. Grounded in a relational understanding of place and placemaking, we argue that the children engaged in a range of place-based moves to construct Brazil and the United States during the activity. These acts of placemaking included evocations of transnational memories, ongoing activities and aspirations, social relationships, and local institutional expectations, particularly the school curriculum and teachers’ discourse about Brazil. The findings suggest that immigrant children’s construction of place is multifaceted, dynamic, and situated.
{"title":"Brazil is my cousin, the U.S. has parks: Children’s construction of Brazil and the United States in a bilingual education program","authors":"Mariana Lima Becker, Gabrielle Oliveira, Virginia Alex","doi":"10.1177/20436106211000759","DOIUrl":"https://doi.org/10.1177/20436106211000759","url":null,"abstract":"Drawing from a 3-year ethnographic project in one elementary school in the United States, this article examines how a group of 43 first graders perceived and constructed Brazil and the U.S. during a drawing and writing activity in their bilingual (Portuguese-English) classroom. The majority of the participating children (81.4%) either migrated from Brazil to the U.S. or were born in the U.S. of Brazilian parents. Data analysis reveals that Brazil was frequently portrayed as an idyllic landscape that included several relatives and friends and a range of activities with loved ones, while the U.S. involved immediate family members, material goods, and places for leisure. Grounded in a relational understanding of place and placemaking, we argue that the children engaged in a range of place-based moves to construct Brazil and the United States during the activity. These acts of placemaking included evocations of transnational memories, ongoing activities and aspirations, social relationships, and local institutional expectations, particularly the school curriculum and teachers’ discourse about Brazil. The findings suggest that immigrant children’s construction of place is multifaceted, dynamic, and situated.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"13 1","pages":"16 - 33"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/20436106211000759","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48339683","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 : 2021-03-01DOI: 10.1177/2043610621998132
Hannah Dyer, M. E. Patterson
This special double issue of Global Studies of Childhood emerges from a shared desire to celebrate the impact of children’s art and its ability to deepen understandings of the origins and effects of social crises. Child studies scholars, psychologists, educators, clinicians, and curators have long held that making art helps children process and socialize difficult experience. In this vein, the articles compiled here offer an interdisciplinary exploration of the affective, aesthetic, and sociopolitical processes involved in producing and engaging with children’s art. Not faithful to one method or theoretical framework, this collection provokes the field of child studies to consider the urgency of aesthetic expression and the complicated processes involved in being called to witness children’s creativity. Children’s art harnesses considerable affective power and as a result is and has historically been mobilized and reproduced by non-profit and political organizations for fundraising purposes, PR maneuvers, and neo-liberal campaigns. Its affective capacities, though, can also galvanize its audiences toward new ethical feelings about and responses to injustice. Because, as the field of childhood studies has rightly shown, discourses of innocence can harmfully impact children’s subject formation (Bernstein, 2011; Kincaid, 1998; Meiners, 2016), making art can remind others of their enmeshed relationship to “difficult knowledge” (Britzman and Pitt, 2004). In their own thinking about the relationship between art and conflict, Farley et al. (2012) write, “When considering aesthetics, what often comes to mind are questions about the nature of creativity, of beauty, and the sublime, and the transformative effects of creative expression. But there are also the more painful dimensions of human experience, such as melancholy, dread, and perhaps even terror” (p. 2). In asking how making, curating, and witnessing children’s art helps to register children’s affective intensities and socio-political insights, the scholarship compiled in this issue holds open the question of what it means to experience art, and in so doing, consider the long and tangled histories of childhood. This issue offers a contribution to the building of a conceptual, transhistorical, and qualitative framework with which to describe the power of children’s art to shift what we know about ourselves and the social relations to which we must be accountable. From various geographies, traditions, historical periods, and disciplines, the authors offer commentary on the entanglements between moments of political crises, conceptualizations of childhood, and children’s inner worlds, all the while complicating the very notion of development itself.
{"title":"Editorial","authors":"Hannah Dyer, M. E. Patterson","doi":"10.1177/2043610621998132","DOIUrl":"https://doi.org/10.1177/2043610621998132","url":null,"abstract":"This special double issue of Global Studies of Childhood emerges from a shared desire to celebrate the impact of children’s art and its ability to deepen understandings of the origins and effects of social crises. Child studies scholars, psychologists, educators, clinicians, and curators have long held that making art helps children process and socialize difficult experience. In this vein, the articles compiled here offer an interdisciplinary exploration of the affective, aesthetic, and sociopolitical processes involved in producing and engaging with children’s art. Not faithful to one method or theoretical framework, this collection provokes the field of child studies to consider the urgency of aesthetic expression and the complicated processes involved in being called to witness children’s creativity. Children’s art harnesses considerable affective power and as a result is and has historically been mobilized and reproduced by non-profit and political organizations for fundraising purposes, PR maneuvers, and neo-liberal campaigns. Its affective capacities, though, can also galvanize its audiences toward new ethical feelings about and responses to injustice. Because, as the field of childhood studies has rightly shown, discourses of innocence can harmfully impact children’s subject formation (Bernstein, 2011; Kincaid, 1998; Meiners, 2016), making art can remind others of their enmeshed relationship to “difficult knowledge” (Britzman and Pitt, 2004). In their own thinking about the relationship between art and conflict, Farley et al. (2012) write, “When considering aesthetics, what often comes to mind are questions about the nature of creativity, of beauty, and the sublime, and the transformative effects of creative expression. But there are also the more painful dimensions of human experience, such as melancholy, dread, and perhaps even terror” (p. 2). In asking how making, curating, and witnessing children’s art helps to register children’s affective intensities and socio-political insights, the scholarship compiled in this issue holds open the question of what it means to experience art, and in so doing, consider the long and tangled histories of childhood. This issue offers a contribution to the building of a conceptual, transhistorical, and qualitative framework with which to describe the power of children’s art to shift what we know about ourselves and the social relations to which we must be accountable. From various geographies, traditions, historical periods, and disciplines, the authors offer commentary on the entanglements between moments of political crises, conceptualizations of childhood, and children’s inner worlds, all the while complicating the very notion of development itself.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"3 - 6"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621998132","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43926363","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 : 2021-03-01DOI: 10.1177/2043610621995838
M. Selfridge, J. Robinson, Lisa M. Mitchell
This article details the transformation of an empty store into a gallery honouring youth and others who have passed away from overdoses, and the creation of extensive harm reduction and grief support programming that accompanied the display of artwork. The outpouring of community interest, participation, and emotion that surfaced around heART space clearly shows how art, exhibitions and creative programming can help foster communities of care during times of crisis. Drawing from research into practices of care from harm reduction work, grief studies and participatory arts and curatorial studies, the authors explore how heART space comforted youth and others with direct experiences with overdose and disenfranchised grief while creating dialogues with visitors about the stigma of drug use and homelessness. The authors argue curating heART space produced an opportunity for community healing while nuancing and humanizing the way we see people who use drugs. As such, this youth-driven community project created a safe space to share stories, collaborate, honour trauma and transform grief into action.
{"title":"heART space: Curating community grief from overdose","authors":"M. Selfridge, J. Robinson, Lisa M. Mitchell","doi":"10.1177/2043610621995838","DOIUrl":"https://doi.org/10.1177/2043610621995838","url":null,"abstract":"This article details the transformation of an empty store into a gallery honouring youth and others who have passed away from overdoses, and the creation of extensive harm reduction and grief support programming that accompanied the display of artwork. The outpouring of community interest, participation, and emotion that surfaced around heART space clearly shows how art, exhibitions and creative programming can help foster communities of care during times of crisis. Drawing from research into practices of care from harm reduction work, grief studies and participatory arts and curatorial studies, the authors explore how heART space comforted youth and others with direct experiences with overdose and disenfranchised grief while creating dialogues with visitors about the stigma of drug use and homelessness. The authors argue curating heART space produced an opportunity for community healing while nuancing and humanizing the way we see people who use drugs. As such, this youth-driven community project created a safe space to share stories, collaborate, honour trauma and transform grief into action.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"69 - 90"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621995838","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44077691","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 : 2021-03-01DOI: 10.1177/2043610621995820
G. Clacherty
Artbooks, which are a combined form of picture and story book created using mixed media, can be a simple yet powerful way of supporting children affected by war and displacement to tell their stories. They allow children to work through the creative arts, which protects them from being overwhelmed by difficult memories. They also allow, even very young children, to show us how they cope with past violence and present injustice by recalling and representing the small everyday overcomings of their lives – a garden they planted in DRC, a mother who walks them across a busy Johannesburg street, a curtain blowing in the door of their new home – just as it did in their old home. The books allow them to witness to the injustice of xenophobic violence by neighbours and the immoveable bureaucracy attached to accessing documents, through representing the small details of their lives in crayons and paint. Making artbooks also allows for some measure of meaning-making in the chaos of the everyday in a hostile city where their parents struggle to maintain a normal life for them. Books are also a powerful way for children to safely share their stories and advocate for changed attitudes, laws and policies in the increasingly migrant-hostile South African society. The article will tell the story of a book-making project run over a number of years at a community counselling centre that works with families on the move in Johannesburg South Africa. It will also describe how some of the children’s books have become a powerful advocacy tool through their inclusion in the digital library of the African Storybook project. The article will explore some of the practical details of the project and the theory around the power of the representation of the everyday which we are beginning to derive from the work.
{"title":"Artbooks as witness of everyday resistance: Using art with displaced children living in Johannesburg, South Africa","authors":"G. Clacherty","doi":"10.1177/2043610621995820","DOIUrl":"https://doi.org/10.1177/2043610621995820","url":null,"abstract":"Artbooks, which are a combined form of picture and story book created using mixed media, can be a simple yet powerful way of supporting children affected by war and displacement to tell their stories. They allow children to work through the creative arts, which protects them from being overwhelmed by difficult memories. They also allow, even very young children, to show us how they cope with past violence and present injustice by recalling and representing the small everyday overcomings of their lives – a garden they planted in DRC, a mother who walks them across a busy Johannesburg street, a curtain blowing in the door of their new home – just as it did in their old home. The books allow them to witness to the injustice of xenophobic violence by neighbours and the immoveable bureaucracy attached to accessing documents, through representing the small details of their lives in crayons and paint. Making artbooks also allows for some measure of meaning-making in the chaos of the everyday in a hostile city where their parents struggle to maintain a normal life for them. Books are also a powerful way for children to safely share their stories and advocate for changed attitudes, laws and policies in the increasingly migrant-hostile South African society. The article will tell the story of a book-making project run over a number of years at a community counselling centre that works with families on the move in Johannesburg South Africa. It will also describe how some of the children’s books have become a powerful advocacy tool through their inclusion in the digital library of the African Storybook project. The article will explore some of the practical details of the project and the theory around the power of the representation of the everyday which we are beginning to derive from the work.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"7 - 20"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621995820","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45231048","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 : 2021-03-01DOI: 10.1177/2043610621995821
Christopher M Schulte
This article introduces and explores the concept of the deficit aesthetic. Particular attention is given to how the deficit aesthetic was made and the extent to which it continues to be sustained in early art education, especially in the United States. For many children, particularly at this time, the deficit aesthetic factors as yet another lingering obstacle to negotiate, one that re-centers the assumption of childhood drawing as a neutral practice for a natural child. As an interpretive frame, the deficit aesthetic distorts the experience of drawing by disempowering the child, decontextualizing their drawing, and re-prioritizing white Western and middle-class subjectivities.
{"title":"Childhood drawing: The making of a deficit aesthetic","authors":"Christopher M Schulte","doi":"10.1177/2043610621995821","DOIUrl":"https://doi.org/10.1177/2043610621995821","url":null,"abstract":"This article introduces and explores the concept of the deficit aesthetic. Particular attention is given to how the deficit aesthetic was made and the extent to which it continues to be sustained in early art education, especially in the United States. For many children, particularly at this time, the deficit aesthetic factors as yet another lingering obstacle to negotiate, one that re-centers the assumption of childhood drawing as a neutral practice for a natural child. As an interpretive frame, the deficit aesthetic distorts the experience of drawing by disempowering the child, decontextualizing their drawing, and re-prioritizing white Western and middle-class subjectivities.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"54 - 68"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621995821","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43977347","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 : 2021-03-01DOI: 10.1177/2043610621995823
A. S. Ribeiro, I. Silva
In the aftermath of catastrophes, art based participatory research has proven to be a useful tool for evoking emotions and knowledge in affected children, as well as for informing risk education and recovery psychology practices. Framed by disaster risk reduction and environmental philosophy, this article analyses a sample of drawings produced by schoolchildren aged 6–10 years old affected by the wildfires of October 2017 in the central inland region of Portugal, obtained using a ‘draw and write’ technique. The children’s narratives expressed concerns for their own safety and that of others, as well as concern for ecological damage. Emotional distress was also reported. The verbal statements accompanying the drawings helped the children to express their narratives carefully, allowing them to become active participants in their own process of thinking about the phenomena. We argue that children’s drawings constitute a valuable methodology to access children’s experiences after a disaster, as their visual richness reaches more than humans worlds. We recommend training for professionals, age-appropriate levels of informational support and a children’s disaster intervention model.
{"title":"Fierce flames: Evoking wildfire disaster emotions through children’s drawings","authors":"A. S. Ribeiro, I. Silva","doi":"10.1177/2043610621995823","DOIUrl":"https://doi.org/10.1177/2043610621995823","url":null,"abstract":"In the aftermath of catastrophes, art based participatory research has proven to be a useful tool for evoking emotions and knowledge in affected children, as well as for informing risk education and recovery psychology practices. Framed by disaster risk reduction and environmental philosophy, this article analyses a sample of drawings produced by schoolchildren aged 6–10 years old affected by the wildfires of October 2017 in the central inland region of Portugal, obtained using a ‘draw and write’ technique. The children’s narratives expressed concerns for their own safety and that of others, as well as concern for ecological damage. Emotional distress was also reported. The verbal statements accompanying the drawings helped the children to express their narratives carefully, allowing them to become active participants in their own process of thinking about the phenomena. We argue that children’s drawings constitute a valuable methodology to access children’s experiences after a disaster, as their visual richness reaches more than humans worlds. We recommend training for professionals, age-appropriate levels of informational support and a children’s disaster intervention model.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"91 - 104"},"PeriodicalIF":0.0,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621995823","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48845463","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 : 2021-02-25eCollection Date: 2021-03-01DOI: 10.1177/2043610621995830
Myriam Denov, Meaghan C Shevell
Given the tragedy of war and genocide, words often cannot adequately capture the complexity of war-related experiences. Researchers are increasingly utilizing the arts to enable multiple forms of expression, as well as for its therapeutic and empowering qualities. This paper outlines the use of the "river of life," an arts-based autobiographical mapping tool, conducted with 60 youth born of rape during the genocide against Tutsi in Rwanda who continue to live with this intergenerational legacy of sexual violence. The article begins with a review of current arts-based methods and their relevance for war-affected populations and an overview of the genocide, sexual violence, and the lived realities of children born of rape. We then outline the "river of life" mapping tool, where participants drew their life histories using the metaphor of a river, addressing the ebbs and flows of their lives and the obstacles and opportunities they encountered. Developed in collaboration with local researchers, participants were invited to share the meaning of their drawing with researchers, explaining key events throughout their life course, utilizing metaphors, and symbolism to convey their experiences. The article highlights how the "the river of life" facilitated key insights into the post-genocide experiences of children born of rape, and the long-term impacts at the family, community and societal levels, and proved to be especially helpful in enabling youth participants to process and communicate their histories of genocide and experiences of stigma and discrimination. The "river of life" was also reported by participants as having unintended positive effects, including closure and clarity in navigating their past and their futures. While not without limitations, we argue that this mapping tool represents an important addition to arts-based methods that can be used with populations who have experienced profound forms of violence and marginalization.
{"title":"An arts-based approach with youth born of genocidal rape in Rwanda: The river of life as an autobiographical mapping tool.","authors":"Myriam Denov, Meaghan C Shevell","doi":"10.1177/2043610621995830","DOIUrl":"https://doi.org/10.1177/2043610621995830","url":null,"abstract":"<p><p>Given the tragedy of war and genocide, words often cannot adequately capture the complexity of war-related experiences. Researchers are increasingly utilizing the arts to enable multiple forms of expression, as well as for its therapeutic and empowering qualities. This paper outlines the use of the \"river of life,\" an arts-based autobiographical mapping tool, conducted with 60 youth born of rape during the genocide against Tutsi in Rwanda who continue to live with this intergenerational legacy of sexual violence. The article begins with a review of current arts-based methods and their relevance for war-affected populations and an overview of the genocide, sexual violence, and the lived realities of children born of rape. We then outline the \"river of life\" mapping tool, where participants drew their life histories using the metaphor of a river, addressing the ebbs and flows of their lives and the obstacles and opportunities they encountered. Developed in collaboration with local researchers, participants were invited to share the meaning of their drawing with researchers, explaining key events throughout their life course, utilizing metaphors, and symbolism to convey their experiences. The article highlights how the \"the river of life\" facilitated key insights into the post-genocide experiences of children born of rape, and the long-term impacts at the family, community and societal levels, and proved to be especially helpful in enabling youth participants to process and communicate their histories of genocide and experiences of stigma and discrimination. The \"river of life\" was also reported by participants as having unintended positive effects, including closure and clarity in navigating their past and their futures. While not without limitations, we argue that this mapping tool represents an important addition to arts-based methods that can be used with populations who have experienced profound forms of violence and marginalization.</p>","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"21-39"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621995830","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"38886425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"OA","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-23DOI: 10.1177/2043610621995837
Thaís Ramos de Carvalho
In Andean countries, the pishtaco is understood as a White-looking man that steals Indigenous people’s organs for money. In contemporary Amazonia, the Shipibo-Konibo people describe the pishtaco as a high-tech murderer, equipped with a sophisticated laser gun that injects electricity inside a victim’s body. This paper looks at this dystopia through Shipibo-Konibo children’s drawings, presenting composite sketches of the pishtaco and maps of the village before and after an attack. Children portrayed White men with syringes and electric guns as weaponry, while discussing whether organ traffickers could also be mestizos nowadays. Meanwhile, the comparison of children’s maps before and after the attack reveals that lit lampposts are paradoxically perceived as a protection at night. The paper examines changing features of pishtacos and the dual capacity of electricity present in children’s drawings. It argues that children know about shifting racial dynamics in the village’s history and recognise development’s oxymoron: the same electricity that can be a weapon is also used as a shield.
{"title":"White men and electric guns: Analysing the Amazonian dystopia through Shipibo-Konibo children’s drawings","authors":"Thaís Ramos de Carvalho","doi":"10.1177/2043610621995837","DOIUrl":"https://doi.org/10.1177/2043610621995837","url":null,"abstract":"In Andean countries, the pishtaco is understood as a White-looking man that steals Indigenous people’s organs for money. In contemporary Amazonia, the Shipibo-Konibo people describe the pishtaco as a high-tech murderer, equipped with a sophisticated laser gun that injects electricity inside a victim’s body. This paper looks at this dystopia through Shipibo-Konibo children’s drawings, presenting composite sketches of the pishtaco and maps of the village before and after an attack. Children portrayed White men with syringes and electric guns as weaponry, while discussing whether organ traffickers could also be mestizos nowadays. Meanwhile, the comparison of children’s maps before and after the attack reveals that lit lampposts are paradoxically perceived as a protection at night. The paper examines changing features of pishtacos and the dual capacity of electricity present in children’s drawings. It argues that children know about shifting racial dynamics in the village’s history and recognise development’s oxymoron: the same electricity that can be a weapon is also used as a shield.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"11 1","pages":"40 - 53"},"PeriodicalIF":0.0,"publicationDate":"2021-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621995837","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44108889","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 : 2021-01-28DOI: 10.1177/2043610621990393
Juliana Siqueira de Lara, L. R. D. Castro
This article discusses children’s responsibility in care practices from a relational perspective. The aim is to understand how responsible action takes place and is experienced in the lives of children who reside in a community in the city of Rio de Janeiro, Brazil. We interrogate the universalist sense of the notion of responsibility regarded as a juridical duty to be met in order that children’s citizenship can be validated. An ethnographic research project with children from 4 to 12 years of age was carried out over a period of 5 months. The results show that children’s actions address moral issues referring back on what they judge to be valuable to secure in relevant relationships rather than on learnt prescribed rules of behavior. The analysis points to the importance of foregrounding the affective and relation dimension of children’s citizenship illustrated here as caring practices in processes of interdependence.
{"title":"Children’s responsibilities in a Brazilian community: Citizenship as care practices","authors":"Juliana Siqueira de Lara, L. R. D. Castro","doi":"10.1177/2043610621990393","DOIUrl":"https://doi.org/10.1177/2043610621990393","url":null,"abstract":"This article discusses children’s responsibility in care practices from a relational perspective. The aim is to understand how responsible action takes place and is experienced in the lives of children who reside in a community in the city of Rio de Janeiro, Brazil. We interrogate the universalist sense of the notion of responsibility regarded as a juridical duty to be met in order that children’s citizenship can be validated. An ethnographic research project with children from 4 to 12 years of age was carried out over a period of 5 months. The results show that children’s actions address moral issues referring back on what they judge to be valuable to secure in relevant relationships rather than on learnt prescribed rules of behavior. The analysis points to the importance of foregrounding the affective and relation dimension of children’s citizenship illustrated here as caring practices in processes of interdependence.","PeriodicalId":37143,"journal":{"name":"Global Studies of Childhood","volume":"13 1","pages":"5 - 15"},"PeriodicalIF":0.0,"publicationDate":"2021-01-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/2043610621990393","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43017266","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 : 2020-12-28DOI: 10.1177/2043610620983590
A. Myrstad, Abigail Hackett, Pernille Bartnæs
This paper explores what place means for early childhood education at a time of global environmental precarity. We draw on fieldwork in Arctic Norway, where kindergarten children spend time with snow for more than half of the year. Children’s movement attunes to the nuances and diversity of the snow, as seasons, temperature, light, wind and weather change the consistency of snow and the possibilities for what can occur. The paper presents data of children walking in deep snow during an ice-fishing trip, a practice known as ‘grynne’, asking what we can learn both about the moment-by-moment attunement between child, snow and place necessary to grynne, and the paths of movement left behind in the snow afterwards. We draw on Manning’s work in order to trace the major and minor gestures running through grynne, as an analytic starting point for educators considering the role early years pedagogy might play in planetary sustainability.Thinking beyond the notion of humans as masterfully in control of environment, Ingold’s notion of correspondence offers a counter, advocating for a ‘lifetime of intimate gestural and sensory engagement’ as a way of learning to attune more deeply to place and take seriously the way in which place and humans mutually shape each other. In a place where seasonal temporality matters, in extreme ways that change how children’s bodies can move, we consider what children’s entanglement with snow can teach us, educators as well as researchers, about education for sustainability.
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