Arts, Pedagogy and Cultural Resistance brings cultural studies’ perspectives to bear on Arts practices. Each contribution synthesizes creative approaches to philosophy and new materialist understanding of practice to show how human-nonhuman interaction at the core of Arts practice is a critical post human pedagogy. Across fine art, dance, gallery education, film and philosophy, the book contends that certain kinds of Arts practice can be a critical pedagogy in which tactical engagements with community, space, place and materiality become means of not only disrupting dominant discourse but also of making new discourses come to matter. It demonstrates how embodied, located acts of making can materially disrupt cultural hegemony and suggest different ways the world might materialize. It argues that the practice of Arts making is a post human cultural pedagogy in which people become part of a broader assemblage of matter, and all aspects of this network are solidified in objects or processes that are themselves pedagogical. In doing so the book offers a fresh and theoretically engaged perspective on arts as pedagogy.

Teaching Resistance is a collection of the voices of activist educators from around the world who engage inside and outside the classroom from pre-kindergarten to university and emphasize teaching radical practice from the field. Written in accessible language, this book is for anyone who wants to explore new ways to subvert educational systems and institutions, collectively transform educational spaces, and empower students and other teachers to fight for genuine change. Topics include community self-defense, Black Lives Matter and critical race theory, intersections between punk/DIY subculture and teaching, ESL, anarchist education, Palestinian resistance, trauma, working-class education, prison teaching, the resurgence of (and resistance to) the Far Right, special education, antifascist pedagogies, and more. Edited by social studies teacher, author, and punk musician John Mink, the book features expanded entries from the monthly column in the politically insurgent punk magazine Maximum Rocknroll, plus new works and extensive interviews with subversive educators. Contributing teachers include Michelle Cruz Gonzales, Dwayne Dixon, Martín Sorrondeguy, Alice Bag, Miriam Klein Stahl, Ron Scapp, Kadijah Means, Mimi Nguyen, Murad Tamini, Yvette Felarca, Jessica Mills, and others, all of whom are unified against oppression and readily use their classrooms to fight for human liberation, social justice, systemic change, and true equality. Royalties will be donated to Teachers 4 Social Justice: t4sj.org

Performing Pedagogy examines the theory and practice of performance art as an art of politics. It discusses the different ways in which performance artists use memory and cultural history to critique dominant cultural assumptions, to construct identity, and to attain political agency. In doing so, Garoian argues, performance artists like Rachel Rosenthal, Guillermo Gómez-Peña, Robbie McCauley, Suzanne Lacy, and the performance art collective Goat Island engage in the practice of critical citizenship and radical forms of democracy that have significant implications for teaching in the schools. Finally, Garoian contextualizes performance art pedagogy within his own cultural work to illustrate how his own memory and cultural history have informed his production of performance art works and his classroom teaching practices.

Young Children, Pedagogy and the Arts is an innovative text that describes practices and research that cross all five strands of the arts—visual, drama, music, dance, and media—and illuminates ways of understanding children and their arts practices that go beyond the common traditions. The book: - Offers practical and rich illustrations of teachers’ and children’s work based on international research that integrates theory with practice; - Brings a critical lens to arts education; - Includes summaries, reflective questions, and recommended further readings with every chapter. Young Children, Pedagogy and the Arts provides a more nuanced understanding of the arts through an exploration of specific instances in which committed teachers and researchers are discovering what contemporary multimodal tools offer to young children. Chapters contain examples of ‘doing’ the arts in the early years, new ways of teaching, and how to use emerging technologies to develop multiliteracies, equity, agency, social and cultural capital, and enhance the learning and engagement of marginalized children.

The diverse range of critical pedagogues presented in this book comes from a variety of backgrounds with respect to race, gender, and ethnicity, from various geographic places and eras, and from an array of complex political, historical, religious, theological, social, cultural, and educational circumstances which necessitated their leadership and resistance. How each pedagogue uniquely lives in that tension of dealing with pain and struggle, while concurrently fostering a pedagogy that is humanizing, is deeply influenced by their individual autobiographical lens of reality, the conceptual thought that enlightened them, the circumstances that surrounded them, and the conviction that drove them. To be sure, people of justice, people who resist, are framed by a vision that embraces an inclusive, tolerant, more loving community that passionately calls for a more democratic citizenship. That is just what the 34 critical pedagogues represented in this text heroically do. Through the highlighting of their lives and work, this book is not only an excellent resource to serve as a springboard to engage us in dialogue about pivotal issues and concerns related to justice, equality, and opportunity, but also to prompt us to further explore deeper into the lives and thought of some extraordinary people. A Critical Pedagogy of Resistance: 34 Pedagogues We Need to Know is an ambitious undertaking. Kirylo’s narrative enterprise, which seeks to chronicle the lives of transformative pedagogues, is a project whose time has come. This text is an excellent resource for all those interested in the aesthetic that, as Kierkegaard believed, exercised power for the common good. Luis Mirón

The first edition of Acts of Resistance: Subversive Teaching in the English Language Arts (ELA) Classroom won the 2021 Society of Professors of Education's Outstanding Book Award and garnered other nominations. The second edition includes a foreword by Ashley Hope Pérez, author of the young adult literature novel Out of Darkness, one of the most frequently banned books across U.S. classrooms. Four new chapters reflect sociopolitical changes since the book's publication, including a widespread, coordinated uptick in the banning of books centering authors and characters from marginalized communities; the COVID-19 pandemic and with it, increased acts of violence against folks identifying as Asian, Asian American, and Pacific Islander; the murders of George Floyd, Breonna Taylor, and countless other victims of police brutality; the January 6th insurrection; the closing of the Trump era; the passing of anti-CRT and anti-LGBTQIA+ legislation; and a "school choice" movement that defunds public schools, deprofessionalizes educators, and places democracy in peril. Chapters specifically illustrate the storied practices of subversive teachers across the 6-12 ELA context. They provide educators with instructional ideas on how to do anti-oppressive work while also meeting traditional ELA disciplinary elements.

The Routledge International Handbook of Ethnographic Film and Video is a state-of-the-art book which encompasses the breadth and depth of the field of ethnographic film and video-based research. With more and more researchers turning to film and video as a key element of their projects, and as research video production becomes more practical due to technological advances as well as the growing acceptance of video in everyday life, this critical book supports young researchers looking to develop the skills necessary to produce meaningful ethnographic films and videos, and serves as a comprehensive resource for social scientists looking to better understand and appreciate the unique ways in which film and video can serve as ways of knowing and as tools of knowledge mobilization. Comprised of 31 chapters authored by some of the world’s leading experts in their respective fields, the book’s contributors synthesize existing literature, introduce the historical and conceptual dimensions of the field, illustrate innovative methodologies and techniques, survey traditional and new technologies, reflect on ethics and moral imperatives, outline ways to work with people, objects, and tools, and shape the future agenda of the field. With a particular focus on making ethnographic film and video, as opposed to analyzing or critiquing it, from a variety of methodological approaches and styles, the Handbook provides both a comprehensive introduction and up-to-date survey of the field for a vast variety of audiovisual researchers, such as scholars and students in sociology, anthropology, geography, communication and media studies, education, cultural studies, film studies, visual arts, and related social science and humanities. As such, it will appeal to a multidisciplinary and international audience, and features a dynamic, forward-thinking, innovative, and contemporary focus oriented toward the very latest developments in the field, as well as future possibilities.

We live in an era of experimentation – both if we look at the broader social world of politics, media and art and at the narrower context of academic knowledge production. This collection consists of 14 chapters by leading scholars in affect studies. They explore the affective dimensions of experimental practices related to, for example, activism, the COVID-19 pandemic, populism, sustainability, patient communities, music streaming, Jamaican dancehall, gangs, leadership, tourism and minority youth cultures. Experiments are understood as intentionally crafted milieus aimed at (re)presenting unnoticed aspects of the world, as non-linear processes with unpredictable outcomes, and as ways of giving the future a provisional form. The collection responds to a pressing need to understand the intersection between affect, experimentation and sociocultural change by offering empirical strategies to explore how, and with what consequences, experimentation is affective.

Arts education research in Canada has increased significantly since the beginning of this century. New forms of arts-based research, such as ethnodrama and a/r/t/ography, have arisen and made significant contributions to the literature. Researchers in departments/schools/faculties of dance, drama, music, visual arts, media studies, cultural studies and education have been successful in acquiring peer-reviewed grants from the Social Sciences and Humanities Research Council to undertake large-scale projects and disseminate the findings internationally. The purpose of this edited collection, entitled Perspectives on Arts Education Research in Canada, Volume 2: Issues and Directions, is to provide an overview of the current research undertaken across the country, thereby providing a valuable resource for students, professors and research associates working in the arts disciplines, media studies, education, and cultural studies. Contributors are: Bernard W. Andrews, Kathy Browning, Ranya Essmat Saad, Maia Giesbrecht, Shelley M. Griffin, Rita Irwin, Glenys McQueen-Fuentes, Laura Nemoy, Lori Lynn Penny, Jennifer Roswell, Michelle Searle, Alison Shields, Anita Sinner, Darlene St. Georges, Peter Vietgen, John L. Vitale, Jennifer Wicks, Kari-Lynn Winters, and Thibault Zimmer.

Phenomenological approaches to Management and Organization Studies offer a means to problematize 'appearances' in the field, allowing us to 'see' things in a different light and uncover what is hidden from our consideration by our theoretical or ideological assumptions. This handbook aims at showing the unexpected richness and diversity of phenomenological and post-phenomenological thinkers such as Husserl, Heidegger, Merleau-Ponty, Arendt, or Scheler, as well as others belonging to the French new phenomenology (Marion, Henry) or the German neo-phenomenology (Schmitz). It also details the contributions of thinkers like Bachelard, Deleuze, or Foucault whose inscription and departures from phenomenology are illuminated. In this process, phenomenologies are historically, critically, and openly discussed by leading scholars while highlighting the interweaving between phenomenologies and other streams such as process studies or critical perspectives. Beyond a theoretical description, the chapters also show how phenomenologies and post-phenomenologies can help management and organization scholars and students to understand a huge variety of contemporary phenomena such as distributed collective activity, artificial intelligence, digitalization of organizational processes, remote work, financial markets and financial instruments, entrepreneurial events, cinematographic organizing of social media, issues of place and emplacement, commons and communalization processes and questions of embodiment and disembodiment at work.