Journal of the Canadian Association for Curriculum Studies (JCACS)
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Reflexive Graffiti Remixing: Curriculum, Corsican Language, and Critical Pedagogy
Get PDFCorsica is an island covered in graffiti. These painted messages devastate/decorate the walls of cities, towns, schools and homes. They have also spread to natural sites that include rocks, trees and mountains. A number of curricular questions arise in regards to graffiti as literacy and in particular regarding the corsican endangered language: Is graffiti a performance of the aesthetics of vulnerability of a minority language? Could graffitied symbols represent a linguistic affirmation of Coriscan identity? And what could engaging with these graffiti bring to canadian curricular studies regarding minority languages? The following auto/ethno/graphy attemps to answer these curricular questions as it (de)constructs a bricolage of personal photographs taken of Corsican graffiti as well as my narrative as a Canadian doctoral candidate studying in Corsica. It begins by tracing the a/r/to- and auto/ethno- graphic research framework that shapes my research and analysis. Subsequently, this paper explores various methods of researching graffiti which include reading graffiti as praxis, marginalia and empowerment. I also discuss students’ possible roles in (re)reading graffiti as an opportunity to remix and as an opening for developing critical literacy skills. In order to share my ongoing reflexive process as a researcher, my personal narrative is included throughout the paper. I have chosen to relate this narrative in French – my mother tongue and one of two minoritized languages that are at the heart of my research. This paper therefore (re)mixes English, French and Corsican throughout with as little translation possible to engage readers in a plurilingual reading experience
A Response to “Provoking the very ‘Idea’ of Canadian Curriculum Studies as a Counterpointed Composition”
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Our Curricular Oath
No full textWhat is curriculum? What unites curriculum theorists, disciplinary practitioners from wide-‐‑ranging subjects, constructs and practices? How might we be historically minded as we face the present and anticipate the past? Are discursive communities with diverse interests representing classroom practice, theory, teacher education, history, policy, and development, able to converse with each other? Are our conversations intelligible and open to the public at large? If they are not, why bother at all?
We began to pose these questions in our last editorial. We continue to probe at them here. As the editors of JCACS, we are committed to characterizing the multivocal and interdisciplinary nature of the complicated conversation that is curriculum
Book Review: Tarc, P. (2013). International education in global times: Engaging the pedagogic. New York: Peter Lang
Get PDFNot “As Canadian as Possible Under the Circumstances”: The Struggle to be Visible in Canadian Curriculum Studies
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Provoking the very “Idea” of Canadian Curriculum Studies as a Counterpointed Compositioni
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Complicating the Curricular Conversation with Antonin Artaud and Maxine Greene
Get PDF…if I and other teachers truly want to provoke our students to break through the limits of the conventional and taken for granted, we ourselves have to experience breaks with what has been established in our own lives; we have to keep arousing ourselves to begin again. (Greene, 1995, p. 109)
One purpose of a/r/tography is to open up conversations and relationships instead of informing others about what has been learned. Another purpose is to open up possibilities for a/r/tographers as they give their attention to what is seen and known and what is not seen and not known. Openings are not necessarily passive holes through which one can see easily. Openings are often like cuts, tears, ruptures or cracks that resist predictability, comfort and safety (Springgay, Irwin, Leggo & Gouzouasis, 2008).
For the past few months I have been ruminating deeply on the ideas Maxine Greene discusses in the above quotation while simultaneously giving myself multiple excuses for resisting acknowledging the ways that the breaks she describes haunt me. I perceive myself as living in contradiction because I appear to myself to embrace the purposes and renderings of a/r/tography, all the while wishing for comfort and safety and to some extent predictability. A/r/tography is an arts based research method in which ones identity and work as an artist, teacher and researcher impact and inform one another in multiple and emergent ways (Carter, 2012; Carter, 2013; Carter, Beare, Belliveau & Irwin, 2011). Part of the nature of living and working a/r/tographically is to embrace the uncertainty of the in between and so the conundrum is thus: How can I encourage my arts education students to dwell with/in ambiguity, represent their thoughts in multiple kinds of texts and feel their worlds in body, mind and spirit, if I am hesitant to be seen living these ways by them and by myself? The short answer to this question is that I can’t.
And so, as a way to arouse myself to begin again I have chosen to discuss some of Antonin Artaud’s key theoretical concepts alongside selected curriculum theories as a way of tuning into and articulating what curricular openings are and might mean
