Listening to First Generation College Students in Engineering: Implications for Libraries & Information Literacy

First-generation college students (FGCS) in engineering bring a wealth of knowledge to their academic and social experiences in higher education, in contrast to deficit-based narratives that students are underprepared. By listening to FGCS’ own experiences navigating higher education and using information literacy in their project-based work, librarians and educators can better understand students’ funds of knowledge, social capital, and identities, as well as the institutional barriers that must be removed. This paper shares interview findings with (n = 11) FGCS and suggests implications for professional practice that are relevant to information literacy for design, project-based, or practitioner focused disciplines

Living the Experience of Learning: Embodied Reflexivity as Pedagogical Process

As theatre practitioners we constantly 'do', acting, speaking and moving. But where does this 'doing' come from? How might we develop an approach to pedagogy that recognises the primacy of relationships and the braiding of language, and the shifting emotional states that are associated with our behaviour? how do we live and experience these relationships in a way that enables learning processes to occur both for ourselves and those we teach? These are the questions that we explore in this paper, using our experiences and research. We identify how principles based on the Indigenous concept of 4Rs relevance, responsibility, respect and reciprocity) that underpin embodied reflexivity could open up the possibility for new ways of knowing and understanding. We do this through presenting two research projects, one in Canada on using theatre games to explore well-being with Indigenous youth and one in Scotland on story and re-storying using an approach with educational professionals to develop embodied reflexive practice. Embodied reflexive processes as ollective experience become opportunities for complex learning to occur where participants gain potentially transformational insights into practice through their symbiotic interaction with others

Spectacular bodies, unsettling objects: material performance as intervention in stereotypes of refugees

The body of Palestinian refugee puppetry artist Husam Abed co-exists in Dafa Puppet Theatre’s 'The Smooth Life' as spectator, puppeteer, and performer as he manipulates pieces of wood, cardboard, photographs, and grains of rice to construct his story of growing up in a refugee camp. Given the recent attention to how material and technological intersections with human bodies reconstruct stereotypes in liberatory ways in performance, this analysis explores the ways in which material performance practice can intervene in stereotyped media-driven representations of refugee bodies. Refugee bodies in such representations are fixed outside of agentive possibility: mediated, materially absent, unmournable. These stereotyped bodies circulate in multiple media narratives that represent the refugee body on a spectrum from threat/contamination to pitiable/victim, narratives that provoke affective responses while foreclosing meaningful intervention. Through analysing the puppetry/object theatre piece 'The Smooth Life', Purcell-Gates explores how these material performance practices unsettle and disrupt this spectrum of stereotypes

Learning at the Interstices; Locating Practical Philosophies for Understanding Physical/virtual Inter-spaces

Virtual worlds are relatively recent developments, and so it is tempting to believe that they need to be understood through newly developed theories and philosophies. However, humans have long thought about the nature of reality and what it means to be “real.” This paper examines the three persistent philosophical concepts of Metaxis, Liminality and Space that have evolved across more than 2000 years of meditation, contemplation and reflection. Our particular focus here is on the nature of the interface between the virtual and the physical: at the interstices, and how the nature of transactions and transitions across those interfaces may impact upon learning. This may, at first, appear to be an esoteric pursuit, but we ground our arguments in primary and secondary data from research studies in higher education

Embodied reflexivity: discerning ethical practice through the six-part story method

Early reflective practice drew on the work of John Dewey and the concept of learning-by-doing involving individual reflection on, and in, action. More recently the practice of reflection has also been taken into a more socially constructed, and emergent, sense of knowing where the individual ‘reflexes’ in, and through, experiences as felt ways of knowing. This concept forms the basis of this article. We will explore a process of learning called the Six-Part Story Method (6PSM). Originally created in the field of dramatherapy as a diagnostic tool to enable child victims of trauma to be supported, Elinor further developed it in 2017 to support education professionals and leaders to enhance their reflective practice and create new opportunities to develop greater self-awareness. Warren then utilized it in teaching a course on ethical practice in a graduate programme; the course’s epistemological underpinning is the concept of ‘ethical know-how’. We then include the work of Helen, a student in the programme, as she explores the story she developed through the 6PSM and then analyzes the effect of it on herself one year later

Radical Democratic Theatre

The aim of this article is to interrogate the emergence of a form of participatory theatre that I shall call ‘radical democratic theatre’. The term ‘radical democracy’ derives in the first instance from the political theory of Ernesto Laclau and Chantal Mouffe, but in terms of its application to theatre and performance practices, it might well be drawn in relation to Augusto Boal’s Theatre of the Oppressed. Consequently, one useful starting point in grasping what is at stake when speaking of a radical democratic theatre is to trace the limits of Boalian thought by revisiting some of the theoretical assumptions upon which it stands. Two fundamental assumptions of specific concern have to do with (1) the nature of the theatre ‘subject’, as conceived by Boal, and (2) its relation to the political task of emancipation. Boal expresses this task in the following terms: ‘In order to understand the poetics of the oppressed one must keep in mind its main objective: to change the people – “spectators,” passive beings in the theatrical phenomenon – into subjects, into actors, transformers of the dramatic action’ (Boal, 2000: 122). To begin to approach the limits of this task, and probe what is implicated in its basic presuppositions, I want to focus on what will emerge as a significant theoretical difference over the way in which we might understand the nature and ambition of the strategy of ‘transformation’ – specifically, by drawing a distinction between the underlying aims of the Theatre of the Oppressed and the project of radical democratic theatre, as it might be conceived today. While Boal thinks the emancipatory potential of theatre predominantly in terms of freedom from oppression, by contrast, I will argue that the fundamental strategic aim of radical democratic theatre is not ‘liberation’ per se, but the destabilisation of the relational space in which political identities are first configured. Radical democratic theatre cannot ‘liberate’ anyone but it can destabilise the matrices of a given political distribution and in particular release thereby what politics has suppressed – first, antagonism and dissent, and second, forms of reciprocal action and empathic identification on which new forms of sociality might be based. The shift in perspective marked here can be thought as a move away from the classical focus of the left on emancipation from oppression to the problem of what Iris Marion Young calls ‘domination’, which suppresses, not freedom, but rather equality at the level of political engagement. Domination, she tells us, ‘consists in institutional conditions which inhibit or prevent people from participating in determining their actions or the conditions of their actions’ (Young, 1990: 38). Placing the emphasis on equality, rather than freedom, by no means entails the denial of oppression. Rather, it signals the attempt to think emancipation beyond the classical rhetoric of revolutionary praxis. I will describe the possibility for this kind of strategic intervention, with reference to Michel Foucault, as necessitating, instead, the practice of the arraignment of power. It is this kind of idea that Randy Martin has in mind when, defending Boal’s legislative theatre from its critics, he describes how Boal was able to awaken a recalcitrant public to a consciousness of itself as the primal scene of the political, in which the ‘law can be interrupted, reversed, challenged’ (Martin 2006: 28). It is also, however, precisely here, where oppositional politics encounters the law, that the limits of this form of participatory theatre are disclosed. This is because it is precisely at the point where opposition moves from resistance to direct engagement with the structures and institutions of power that the democratic moment is most at risk of assimilation and co-option by the forces of the status quo. The reasons for this are complex and unnerving – as Laclau and Mouffe have demonstrated through their astute critique of 20th century Marxism: ‘[there is] no subject’ they write, ‘which is absolutely radical and irrecuperable by the dominant order, and which constitutes an absolutely guaranteed point of departure for a total transformation’ (Laclau and Mouffe 2001: 169). I shall call this profound instability, which is constitutive of political identities, the ‘democratic limitation’. The democratic limitation refers to both the inherent volatility of political identities and to the impossibility of reconciling those social antagonisms, constitutive of the political field, according to a universal political settlement. Through this concept we will be able to discern, not just what makes radical democratic theatre and performance possible; we will also be able to specify in what sense it can be called radical insofar as it reveals the precariousness of every essentialist political discourse