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.
This reinforces the idea that privileged students with the cultural to navigate educational systems still find disproportionate benefits even when educators/institutions are working to provide access to underrepresented students. Balance b/t helping students adapt and helping then achieve broader pedagogical goals.
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.
It's impossible not to recognize how this system inherently discriminates against students, who don't meet these criteria for reasons that have nothing to do with their capacity or interest to learn.
enable students to develop a comprehensive vision of society that extends beyond single issues.
This echoes the point above around a comprehensive educational program---all of this work seems to require a rejection of disciplinary boundaries in favor of education that embraces multiple modes of inquiry and ways of thinking.
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.
This point also speaks to the position of cultural producers that many students already occupy, but sharing ideas and through popular platforms that academics reject as having cultural value.
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.
So true!!!!
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
What are strategies to maintain this critical self-awareness over time? How does higher education encourage this ongoing practice--and/or how does it discourage critical self-reflection among faculty and staff?
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.
Education that numbs the imagination, undercuts teacher autonomy, and treats knowledge as a commodity.
educational system
This language suggests distinction between "education" (read: the critical thinking he says propels individuals to act for moral and social good) and the systems that exist and can encourage this type of thinking.
Unfortunately, it is also absent from much of the discussion on the current status of academic labor.
How might including these ideas in the conversation around academic labor affect the problematic conditions, attitudes, and practices currently in play?
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.
I'm interested in this dual reliance on criticality/skepticism and possibility/imagination.
, 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.
This is one of those quotes that just struck me for the clarity of its critique around the emphasis placed on skills-building and successful entry into the work force.
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.
Would social agents here include helping students recognize their own power as knowledge producers through acknowledging their ideas and experience as having its own authority? and/or is it tied explicitly to action and social change?
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.
How does the current climate in higher education to make excessive demands on faculty and especially the abuse of contingent labor undermine this possibility? It's not only on the individual to seek this ideal, institutions must find ways to support faculty in this quest.
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.
This story resonates for me---I read hooks last summer and forgot about this anecdote, but experienced something very similar to what she describes this past spring and am still trying to figure out how it could have gone better.
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.
I love this idea.
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.
I feel like the contrast between higher ed as "serious" and the thinking--popular with Montessori and others---that young children can best learn through discovery, experimentation, and natural curiosity led to resistance among higher ed faculty to look to K-12 for effective models of education. It also seems related to the distance between schools of education and schools of arts and sciences, where issues of pedagogy are rarely included as part of graduate training.
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
I see this as a remarkable response to the discouraging atmosphere she experienced. It raises the question of how can educators encourage students who are bored/disengaged by their education to 1) imagine different ways of teaching/learning and 2) share their ideas with their teachers?
Within the context of this study, OER refer to free, open textbooks, which replaced previously adopted expensive, traditional, commercial textb
suggests that OERs replace traditional textbooks or purchased resources, thus is there any relationship to any pedagogical change related to the use of OERs?
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.
How do we create piplines to encourage POC students to enter this profession? Eliminate internship and hiring practices that prohibit individuals with limited incomes from pursuing this career path!
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.
Distinguish the institution's culpability in colonialism and cultural appropriation, versus the individual's desire to share ideas, knowledge, and history--including (assumed) the critique of colonializing practices of the institutions.
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.
reflects cultural appropriation and telling stories that belong to others from white/european/male art historical perspective
2015 Andrew W. Mellon Foundation study which found that only four percent of curators in US museums are black
(where I supervised her thesis)
CHIKA OKEKE-AGULU-https://artandarchaeology.princeton.edu/people/faculty/chika-okeke-agulu