In response to a trend in public schools toward zero-tolerance discipline policies, restorative justice practitioners employ “circle processes” to support youth in schools and surrounding communities who have experienced harm, as well as those who caused the harm, in a restorative dialogue.
Circle process versus zero-tolerance brings students into the process of setting standards of behaviors.
heater arts as a way to reintroduce themselves to family, peers, and society, I also learned how theater arts builds community and supports marginalized youth as they build and sustain literate identities.
We have to recognize the arts as pathways to literacy and liberation.
in Writing Instruction in the Culturally Relevant Classroom is the lack of a more nuanced discussion of what Paris ( 2012 ) refers to as a “culturally sustaining” pedagogy or a pedagogical stance that seeks to value a multiethnic and multilingual experience
Something interesting here. Could be the classroom is part of the problem and teachers are fearful to critique the system that pays them.
These student poets used the Power Writing circle to build com- munity while reading original compositions aloud in an open mic format, much like the venues I observed in Northern California, and engaging in giving and receiving feedback. In the con- text of these literacy communities, Poppa Joe and his guest teachers taught by modeling.
Gets back to the sense of community of writers.
Gutierrez’s ( 2008 ) concept of “sociocritical literacy”—that is a “historicizing literacy” that privileges the lived experiences and legacies of participants—provided the much needed space to analyze the activities of both classes against the backdrop of a history of Black poets and writers.
Gutierrez's work has recently tried to reframe relevance and rigor in educational research to align with these goals.
The Black Arts Movement unapologetically sought to incorporate a Black aesthetic into visual and performing arts along side the Black Power Movement, which advocated self-determination and self-definition among Black Americans
Purpose and interest driven, liberation based pedagogies and practices.
ADPLCs, as literacy or literary-centered events outside of school and work communities that combined oral, aural, and written traditions through an exchange of words, sounds, and movements that privileged a Black aesthetic
Key definition: I like the term black aesthetic but I wonder if hip hop culture is not a better fit.
I introduced the educational research community to the phenomenon of exchanging writing and voices at open mic events using ethnographic research methods and in-depth interviews with an inter- generational community of poets, writers, and event organizers in the aforementioned venues.
Pretty bold statement, maybe in the contect of Africa Diaspora Participatory Literacy Communities but there must have been other studies of poetry before this moment.
Like other open mics, POSA, is an invitation to both novice and seasoned poets to share their writing in a space that promotes reading, writing, thinking, and activism, as well as collabo- ration among elders and children. V.S. Chochezi and Staajabu, the mother daughter poetry duo also known as Straight Out Scribes (SOS), begin with saying “hello,” in several languages punctuated with a decidedly urbanized “What’s up!”
Speaks to the sense of belonging to a much larger discourse and community.
they along with conscientious teachers have forged a collective “third space” to present their literate selves and cultivate their literate identities.
The sense of the third space here is almost as if the students seek refuge of the dominant narrative in public education.
performing literacy” in particular (Fishman, Lunsford, McGregor, & Otuteye, 2005 )
I need to go and read this. Can literacy be literacy without production?
beyond school settings?
Here Winn is making a clear distinction between out of school and in school inquiry.
democratizing technology and authoritarian technology.
I wonder how tool is separated from technology. Is technology different from a tool or is every tool a new technology? And i f we mean that is the case does that mean every tool we have ever touched either has a democratizing technology or an authoritarian technology?
And if is every tool we have touched is the tendency in the tool or is us?
but they are instead examining how it developed in a give context.
Reaffirming a tool is used is defined by affordances, agent, and context.