Posts Tagged ‘critical pedagogy’
Shannon, Ananya Chatterjea, Hui Nui Wilcox, and Omise’eke Natasha Tinsley wrote a creative and critical essay together, about dance as labor, as an expression of the truth of women of color’s lives, in the new anthology CRITICAL TRANSNATIONAL FEMINIST PRAXIS, edited by Amanda Lock Swarr and Richa Nagar (SUNY Press, 2010).
The essay is titled, “So Much to Remind Us We Are Dancing on Other Peoples’ Blood: Moving Towards Artistic Excellence, Moving from Silence, Moving in Water, with Ananya Dance Theatre,” and features sections in multiple voices about our experiences carving out a safe and productive space for women of color to explore differences and similarities, learn each other’s cultural histories, and build something larger than ourselves.
Check it out, and/or buy a copy here.
We will also be presenting and discussing this piece in a panel at the upcoming NWSA (National Women’s Studies) Conference, November 11-14, in Denver.
Learn more about Ananya Dance Theatre here.
My colleagues and I gave this presentation at a recent conference, and also at our faculty development day at MCTC. We’re going to continue taking it on the road, to get the word out.
MnCUEW (Minnesota Colleges and Universities English and Writing) Conference
April 3-4, 2009
Calling up a Tsunami: Arresting White Privilege with Critical Literacy and Arts Activism in the Basic Writing Classroom
Participants: Kathleen DeVore, Valerie Deus, and Shannon Gibney
Urban Basic Writing classrooms are increasingly predominantly students of color, while English faculties remain largely if not exclusively white. This should serve to heighten our awareness of BW as work that does not address cognitive deficits, but cultural divides within Higher Ed. and the broader community. Our work is not mere error correction to the standard, but cultural brokerage – making the cultures and genres valued in academic discourse intelligible to those coming from far outside that culture: usually people from across racial, ethnic, and class cultural divides from their BW teachers.
This panel of BW instructors from one urban Two Year College in a large Midwestern city have been exploring the use of critical literacy, which Shor defines as: “Critical literacy begins in questioning power relations, discourses, and identities in a world not yet finished, just, or humane” (What is Critical Literacy, 1999). Exposing some of the “power lines” in academic discourse allows us to work through with students the systemic privileging of dominant discourse, which they then can begin to strategically adopt, while continuing to hold tight to home discourses that have and will continue to sustain them.
One sentence description: This session will explore strategies for engaging basic writing communities of color through critical literacy and arts activism.