contributes to the system’s deepening divide into a narrow tier of elite institutions primarily serving the rich and a vast landscape of glorified trade schools for everyone else.

But here we’ve peeled back the outer skin of the onion (competition) only to reveal more noxious layers beneath:  extrinsic motivation, numerical ratings, the tendency to promote achievement at the expense of learning.

enable students to develop a comprehensive vision of society that extends beyond single issues.

What is often lost by many educators and progressives is that popular culture is a powerful form of education for many young people, and yet it is rarely addressed as a serious source of knowledge.

What is crucial to recognize here is that it is not enough to teach students to be able to interrogate critically screen culture and other forms of aural, video and visual representation.

Education is never innocent: It is always implicated in relations of power and specific visions of the present and future. This suggests the need for educators to rethink the cultural and ideological baggage they bring to each educational encounte

These are pedagogies that are largely disciplinary and have little regard for contexts, history, making knowledge meaningful, or expanding what it means for students to be critically engaged agents. Of course, the ongoing corporatization of the university is driven by modes of assessment that often undercut teacher autonomy and treat knowledge as a commodity and students as customers, imposing brutalizing structures of governance on higher education.

educational system

Unfortunately, it is also absent from much of the discussion on the current status of academic labor.

critical pedagogy forges an expanded notion of politics and agency through a language of skepticism and possibility, and a culture of openness, debate, and engagement – all those elements now at risk because of the current and most dangerous attacks on higher education.

, there is little interest in understanding the pedagogical foundation of higher education as a deeply civic, political, and moral practice – that is, pedagogy as a practice for freedom.

Critical pedagogy attempts to understand how power works through the production, distribution, and consumption of knowledge within particular institutional contexts and seeks to constitute students as informed subjects and social agents.

That means that teachers must be actively committed to a process of self-actualization that promotes their own well­being if they are to teach in a manner that empowers students.

More than any other class I had taught, this one compelled me to abandon the sense that the professor could, by sheer strength of will and desire, make the classroom an exciting, learning community.

As a classroom community, our capacity to generate excitement is deeply affected by our inter­est in one another, in hearing one another’s voices, in recog­nizing one another’s presence.

The idea that learning should be exciting, sometimes even “fun,” was the subject of critical discussion by educators writing about pedagogical practices in grade schools, and sometimes even high schools.

My reaction to this stress and to the ever-present boredom and apathy that pervaded my classes was to imagine ways that teaching and the learning experience could be different

Within the context of this study, OER refer to free, open textbooks, which replaced previously adopted expensive, traditional, commercial textb

Like the art industry, art history has not done enough to diversify its student and faculty demography. Few students of colour earn the doctoral degrees now expected by most museums for entry-level curatorial positions.

The power of that scene in Black Panther lies in its critique of Western museums as symbols and products of colonialism and repositories of empire’s loot.

once the argument congealed around the question of a white woman being appointed to tell the story of African people, it ceased to be about curatorial diversity, and turned into a battle for African heritage, about ancestral claims.

2015 Andrew W. Mellon Foundation study which found that only four percent of curators in US museums are black

(where I supervised her thesis)