{"title":"Poem: Alice Days","authors":"Brian Walter","doi":"10.25159/1947-9417/8797","DOIUrl":"https://doi.org/10.25159/1947-9417/8797","url":null,"abstract":"<jats:p>Poem</jats:p>","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48285333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article reports on and discusses the experience of a contrapuntal approach to teaching poetry, explored during 2016 and 2017 in a series of introductory poetry lectures in the English 1 course at the University of Johannesburg. Drawing together two poems—Warsan Shire’s “Home” and W.H. Auden’s “Refugee Blues”—in a week of teaching in each year provided an opportunity for a comparison that encouraged students’ observations on poetic voice, racial identity, transhistorical and transcultural human experience, trauma and empathy. It also provided an opportunity to reflect on teaching practice within the context of decoloniality and to acknowledge the need for ongoing change and review in relation to it. In describing the contrapuntal teaching and study of these poems, and the different methods employed in the respective years of teaching them, I tentatively suggest that canonical Western and contemporary postcolonial poems may reflect on each other in unique and transformative ways. I further posit that poets and poems that engage students may open the way into initially “less relevant” yet ultimately rewarding poems, while remaining important objects of study in themselves.
{"title":"Refining Contrapuntal Pedagogy: Reflections on Teaching Warsan Shire’s “Home” and W.H. Auden’s “Refugee Blues” to First-Year Students","authors":"Bridget Grogan","doi":"10.25159/1947-9417/7506","DOIUrl":"https://doi.org/10.25159/1947-9417/7506","url":null,"abstract":"This article reports on and discusses the experience of a contrapuntal approach to teaching poetry, explored during 2016 and 2017 in a series of introductory poetry lectures in the English 1 course at the University of Johannesburg. Drawing together two poems—Warsan Shire’s “Home” and W.H. Auden’s “Refugee Blues”—in a week of teaching in each year provided an opportunity for a comparison that encouraged students’ observations on poetic voice, racial identity, transhistorical and transcultural human experience, trauma and empathy. It also provided an opportunity to reflect on teaching practice within the context of decoloniality and to acknowledge the need for ongoing change and review in relation to it. In describing the contrapuntal teaching and study of these poems, and the different methods employed in the respective years of teaching them, I tentatively suggest that canonical Western and contemporary postcolonial poems may reflect on each other in unique and transformative ways. I further posit that poets and poems that engage students may open the way into initially “less relevant” yet ultimately rewarding poems, while remaining important objects of study in themselves.","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44112846","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article uses feminist perspectives on decoloniality as a lens for analysing selected poems from Francine Simon’s début collection, Thungachi (2017). Simon is a South African Indian woman poet from Durban, raised by Catholic parents of Tamil linguistic heritage. Her poetry collection, while feminist and experimental, deeply captures the experiences of dispossession and loss that define the large majority of South African Indians, with particular focus on the women whose voices remain marginalised in the South African literary canon. Framed by decolonial theory, this study serves the interests of decolonising research praxis, and thereby the nature of the knowledge produced. I conducted in-depth interviews with Simon and use them as a supplementary device in executing a literary analysis of two poems: “Betel Nut”, and “Tamil Familiars”. These poems emphasise the use of South African Indian English and the role that South African Indian women occupy as custodians of the cultural archive in maintaining fragments of precolonial ontologies. This article finds that it is necessary to critique Simon’s poetry within a decolonial, feminist framework in order to uncover its cultural complexities and contributions to counter-discourse against the Western, objectivist knowledge paradigm.
{"title":"South African Indian Women as Custodians of Subversive Knowledge: A Decolonial Reading of Francine Simon’s Poetry","authors":"Arushani Govender","doi":"10.25159/1947-9417/7956","DOIUrl":"https://doi.org/10.25159/1947-9417/7956","url":null,"abstract":"This article uses feminist perspectives on decoloniality as a lens for analysing selected poems from Francine Simon’s début collection, Thungachi (2017). Simon is a South African Indian woman poet from Durban, raised by Catholic parents of Tamil linguistic heritage. Her poetry collection, while feminist and experimental, deeply captures the experiences of dispossession and loss that define the large majority of South African Indians, with particular focus on the women whose voices remain marginalised in the South African literary canon. Framed by decolonial theory, this study serves the interests of decolonising research praxis, and thereby the nature of the knowledge produced. I conducted in-depth interviews with Simon and use them as a supplementary device in executing a literary analysis of two poems: “Betel Nut”, and “Tamil Familiars”. These poems emphasise the use of South African Indian English and the role that South African Indian women occupy as custodians of the cultural archive in maintaining fragments of precolonial ontologies. This article finds that it is necessary to critique Simon’s poetry within a decolonial, feminist framework in order to uncover its cultural complexities and contributions to counter-discourse against the Western, objectivist knowledge paradigm.","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45421231","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article concerns ZAPP (the South African Poetry Project), which is a community of poets, scholars (including the authors), teachers and students, established in 2013 to promote, in educational systems, the work of contemporary South African poets. For the past three years (2017–2019), we have attempted through outreach and research to contribute to decolonising South African education by paying attention to indigenous poetic traditions and practices. Our research has focused on content, pedagogy and institutional practice. The article outlines and attempts to assess three interrelated components of ZAPP’s research into the decolonisation of poetry and education: our research into the transformation of teaching and learning in EFAL (English First Additional Language) poetry classrooms, our ongoing research into what constitutes indigenous South African poetry today, and our research into institutional practices concerning the production and dissemination of knowledge about poetry. We draw on various conceptual frameworks to explore ZAPP’s research, namely, South African poetry scholarship, decolonial theory, theories of indigeneity, theories of multimodality, posthumanism and new materialisms. The article shows both the achievements and challenges of our research efforts in the three areas of content, pedagogy and institutional practice. Its final claim is that these three areas are crucial sites of intervention in attempts at decolonising poetry in existing disciplines in research and education.
{"title":"Towards Decolonising Poetry in Education: The ZAPP Project","authors":"Denise Newfield, D. Byrne","doi":"10.25159/1947-9417/7723","DOIUrl":"https://doi.org/10.25159/1947-9417/7723","url":null,"abstract":"This article concerns ZAPP (the South African Poetry Project), which is a community of poets, scholars (including the authors), teachers and students, established in 2013 to promote, in educational systems, the work of contemporary South African poets. For the past three years (2017–2019), we have attempted through outreach and research to contribute to decolonising South African education by paying attention to indigenous poetic traditions and practices. Our research has focused on content, pedagogy and institutional practice. The article outlines and attempts to assess three interrelated components of ZAPP’s research into the decolonisation of poetry and education: our research into the transformation of teaching and learning in EFAL (English First Additional Language) poetry classrooms, our ongoing research into what constitutes indigenous South African poetry today, and our research into institutional practices concerning the production and dissemination of knowledge about poetry. We draw on various conceptual frameworks to explore ZAPP’s research, namely, South African poetry scholarship, decolonial theory, theories of indigeneity, theories of multimodality, posthumanism and new materialisms. The article shows both the achievements and challenges of our research efforts in the three areas of content, pedagogy and institutional practice. Its final claim is that these three areas are crucial sites of intervention in attempts at decolonising poetry in existing disciplines in research and education.","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47036132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Swami Vivekananda was an influential Indian saint, poet, philosopher and political revolutionary. His work can be seen as a conduit for South African Hindus who are part of the Indian diaspora, allowing them to connect with their historical, cultural and spiritual roots in the religious and conceptual world of India. The first step to decolonising those who have been subjected to colonial hegemony is to (re)connect them with their intellectual and spiritual roots, and it is argued here that this is precisely the zeitgeist behind Vivekananda’s life and mission in general. His poetry is particularly valuable because he wrote in English, instead of his native Bengali, and was thereby able to reach English-speaking Hindus all over the world. In 1936 Indians in South Africa decided to adopt English as a lingua franca, both as a language of teaching and learning, and as a home language. This article focuses on one of these poems, “My Play Is Done”, which Vivekananda composed in 1895 in New York. The poem presents the human condition from a Hindu perspective, which differs substantially from the Western way of thinking. This article explores these concepts within the framework of conceptual metaphor theory. With reference to metaphors used in the poem, various aspects of Hindu philosophical thought will be explored, showing how Oriental conceptual reality differs from Western thought. This provides a link to an ancient precolonial way of thinking, accessible to diasporas around the world.
{"title":"Reflections on Decoloniality from a South African Indian Perspective: Conceptual Metaphors in Vivekananda’s Poem “My Play Is Done”","authors":"Suren Naicker","doi":"10.25159/1947-9417/7819","DOIUrl":"https://doi.org/10.25159/1947-9417/7819","url":null,"abstract":"Swami Vivekananda was an influential Indian saint, poet, philosopher and political revolutionary. His work can be seen as a conduit for South African Hindus who are part of the Indian diaspora, allowing them to connect with their historical, cultural and spiritual roots in the religious and conceptual world of India. The first step to decolonising those who have been subjected to colonial hegemony is to (re)connect them with their intellectual and spiritual roots, and it is argued here that this is precisely the zeitgeist behind Vivekananda’s life and mission in general. His poetry is particularly valuable because he wrote in English, instead of his native Bengali, and was thereby able to reach English-speaking Hindus all over the world. In 1936 Indians in South Africa decided to adopt English as a lingua franca, both as a language of teaching and learning, and as a home language. This article focuses on one of these poems, “My Play Is Done”, which Vivekananda composed in 1895 in New York. The poem presents the human condition from a Hindu perspective, which differs substantially from the Western way of thinking. This article explores these concepts within the framework of conceptual metaphor theory. With reference to metaphors used in the poem, various aspects of Hindu philosophical thought will be explored, showing how Oriental conceptual reality differs from Western thought. This provides a link to an ancient precolonial way of thinking, accessible to diasporas around the world. ","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42674929","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poem: New Land","authors":"Kobus Moolman","doi":"10.25159/1947-9417/8790","DOIUrl":"https://doi.org/10.25159/1947-9417/8790","url":null,"abstract":"<jats:p>Poem</jats:p>","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41458861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poem: My Poetry Wants Women","authors":"Kirsten Deane","doi":"10.25159/1947-9417/8794","DOIUrl":"https://doi.org/10.25159/1947-9417/8794","url":null,"abstract":"<jats:p>Poem</jats:p>","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48219990","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
C. Manathunga, Shelley Davidow, P. Williams, Kathryn Gilbey, Tracey Bunda, M. Raciti, S. Stanton
The impetus to decolonise high schools and universities has been gaining momentum in Southern locations such as South Africa and Australia. In this article, we use a polyvocal approach, juxtaposing different creative and scholarly voices, to argue that poetry offers a range of generative possibilities for the decolonisation of high school and university curricula. Australian First Nations’ poetry has been at the forefront of the Indigenous political protest movement for land rights, recognition, justice and Treaty since the British settlement/invasion. Poetry has provided Aboriginal and Torres Strait Islander peoples with a powerful vehicle for speaking back to colonial power. In this article, a team of Indigenous and non-Indigenous researchers argue that poetry can be a powerful vehicle for Indigenous voices and Knowledges. We suggest that poetry can create spaces for deep listening (dadirri), and that listening with the heart can promote truth-telling and build connections between First Nations and white settler communities. These decolonising efforts underpin the “Wandiny (gathering together)—Listen with the Heart: Uniting Nations through Poetry” research that we discuss in this article. We model our call-and-response methodology by including the poetry of our co-author and Aboriginal Elder of the Kungarakan people in the Northern Territory, Aunty Sue Stanton, with poetic responses by some of her co-authors.
{"title":"Decolonisation through Poetry: Building First Nations’ Voice and Promoting Truth-Telling","authors":"C. Manathunga, Shelley Davidow, P. Williams, Kathryn Gilbey, Tracey Bunda, M. Raciti, S. Stanton","doi":"10.25159/1947-9417/7765","DOIUrl":"https://doi.org/10.25159/1947-9417/7765","url":null,"abstract":"The impetus to decolonise high schools and universities has been gaining momentum in Southern locations such as South Africa and Australia. In this article, we use a polyvocal approach, juxtaposing different creative and scholarly voices, to argue that poetry offers a range of generative possibilities for the decolonisation of high school and university curricula. Australian First Nations’ poetry has been at the forefront of the Indigenous political protest movement for land rights, recognition, justice and Treaty since the British settlement/invasion. Poetry has provided Aboriginal and Torres Strait Islander peoples with a powerful vehicle for speaking back to colonial power. In this article, a team of Indigenous and non-Indigenous researchers argue that poetry can be a powerful vehicle for Indigenous voices and Knowledges. We suggest that poetry can create spaces for deep listening (dadirri), and that listening with the heart can promote truth-telling and build connections between First Nations and white settler communities. These decolonising efforts underpin the “Wandiny (gathering together)—Listen with the Heart: Uniting Nations through Poetry” research that we discuss in this article. We model our call-and-response methodology by including the poetry of our co-author and Aboriginal Elder of the Kungarakan people in the Northern Territory, Aunty Sue Stanton, with poetic responses by some of her co-authors.","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46952260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Angifi Dladla’s poetry and teaching doctrines are considered tools for consciousness raising, healing and popular education for decoloniality. Through ku femba, an age-old practice that serves as a channel to cast away evil spells in a society bedevilled by violence, Dladla displays the relationship between man, ancestors and the otherworldly as a vehicle for decoloniality. His feisty narrative poems, “I Failed My Children” and “Marikana Chorus”, explore the spiritual dimension and infinite possibilities of experience rooted in oral and written tradition. Dladla’s Femba Writing Project, based on his philosophy of teaching poetry, affirms that poetry rooted in decoloniality reflects not only the poet’s political convictions, but a shared communal experience of those on the edges of existence who are capable enough to challenge the master’s voice (the voice of the Western canon) that often defines quality in poetry. Dladla is steeped in direct knowledge of the precarious life in South African townships; he draws on his accrued knowledge and on the complexities of history and memory to create and teach compelling poetry that resonates with the ordinary without falling into the trap of ghettoising his experience. Dladla’s poetry and teaching philosophy challenge the colonising practices that have shaped and continue to influence the teaching of poetry in South Africa. They form part of a wider agenda of defining African selfhood in a decolonial context.
{"title":"Angifi Dladla (1950–2020): An Embodiment of Ku Femba as a Poetry Teaching Philosophy for Renewal","authors":"V. Bila, Olufemi J. Abodunrin","doi":"10.25159/1947-9417/8194","DOIUrl":"https://doi.org/10.25159/1947-9417/8194","url":null,"abstract":"Angifi Dladla’s poetry and teaching doctrines are considered tools for consciousness raising, healing and popular education for decoloniality. Through ku femba, an age-old practice that serves as a channel to cast away evil spells in a society bedevilled by violence, Dladla displays the relationship between man, ancestors and the otherworldly as a vehicle for decoloniality. His feisty narrative poems, “I Failed My Children” and “Marikana Chorus”, explore the spiritual dimension and infinite possibilities of experience rooted in oral and written tradition. Dladla’s Femba Writing Project, based on his philosophy of teaching poetry, affirms that poetry rooted in decoloniality reflects not only the poet’s political convictions, but a shared communal experience of those on the edges of existence who are capable enough to challenge the master’s voice (the voice of the Western canon) that often defines quality in poetry. Dladla is steeped in direct knowledge of the precarious life in South African townships; he draws on his accrued knowledge and on the complexities of history and memory to create and teach compelling poetry that resonates with the ordinary without falling into the trap of ghettoising his experience. Dladla’s poetry and teaching philosophy challenge the colonising practices that have shaped and continue to influence the teaching of poetry in South Africa. They form part of a wider agenda of defining African selfhood in a decolonial context.","PeriodicalId":44983,"journal":{"name":"Education As Change","volume":" ","pages":""},"PeriodicalIF":0.5,"publicationDate":"2020-12-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43039124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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