Movement, Movie-Making, and Soil Art: Hope in Affectively De/Composing Pedagogies
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| Title: | Movement, Movie-Making, and Soil Art: Hope in Affectively De/Composing Pedagogies |
|---|---|
| Language: | English |
| Authors: | Michelle Honeyford, Jennifer Watt, Sarah Roche, Noah Cain, Katya Ferguson |
| Source: | Pedagogies: An International Journal. 2025 20(1):160-180. |
| Availability: | Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals |
| Peer Reviewed: | Y |
| Page Count: | 21 |
| Publication Date: | 2025 |
| Document Type: | Journal Articles Reports - Descriptive |
| Education Level: | Elementary Secondary Education Elementary Education Secondary Education Higher Education Postsecondary Education |
| Descriptors: | Elementary Secondary Education, Elementary School Teachers, Secondary School Teachers, Teacher Educators, Dance Education, Movement Education, Art Education, Film Production, Film Study, Handheld Devices, Interdisciplinary Approach, Writing Across the Curriculum, Affective Behavior, Affective Objectives, Curriculum Development, Curriculum Enrichment, Educational Change, Collaborative Writing, Teacher Student Relationship, Educational Philosophy, Discovery Learning, Discovery Processes |
| DOI: | 10.1080/1554480X.2024.2435921 |
| ISSN: | 1554-480X 1554-4818 |
| Abstract: | In the complexities of current realities, we are a writing collective of educators interested in placing hope in the present, particularly in composing practices and pedagogies. Drawing on a post-qualitative methodology, we weave together examples of practices of dance/movement, digital movie-making, and soil artivism with specific concepts of affect-as/is-hope. As a counternarrative to writing pedagogies and assessments that are increasingly standardized, product-oriented, technical, rational, and disembodied, we introduce the term de/composing pedagogies to conceptualize the potential in processes of becoming/making/meaning-making that are always something else/more/different and even less. De/composing pedagogies help us name, describe, experience, and examine -- individually and collectively -- what is moving us and our practices more intensely and deeply; what is making possible new ways of being/becoming/doing for us and for our co-learners (e.g. the teachers and students we work with); and what is expanding potential for us as writers/composers/educators in and across various situations and contexts. As (re)sources of hope, we close with pedagogical questions related to composing through/with elements of experimentation, embodiment, an emphasis on relation and (re)connection, ephemeral and material elements, (e)motion, and the emergence of meaning-making. |
| Abstractor: | As Provided |
| Entry Date: | 2025 |
| Accession Number: | EJ1467154 |
| Database: | ERIC |
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| FullText | Links: – Type: pdflink Url: https://content.ebscohost.com/cds/retrieve?content=AQICAHj0k_4E0hTGH8RJwT4gCJyBsGNe_WN95AvKlDbXJGqwxwEgP1MazoU-XZETfzxyrh37AAAA4zCB4AYJKoZIhvcNAQcGoIHSMIHPAgEAMIHJBgkqhkiG9w0BBwEwHgYJYIZIAWUDBAEuMBEEDBUX1SKt47h0Nrb3dwIBEICBm6LiXD9ZAnWRsq2TclO8UIRFDnlKpNvjGgK5-ufJoTLxye1w4tZGS3prH413Biwy8dKqRmtvo6eII4ZfHpvoiin7qlShnaK21HJK8c5WYeHf-1IliUDe_9aVTk0Q9Msgjy1RNjgfALxgGrzRqoMdDczR3eWnbPAD5OcGC1Sn26nAAG7dpgdToW6_NQZMDLkYcCaKT_QlseDRwETP Text: Availability: 1 Value: <anid>AN0183195847;[2iyt]01jan.25;2025Feb25.02:07;v2.2.500</anid> <title id="AN0183195847-1">Movement, movie-making, and soil art: hope in affectively de/composing pedagogies </title> <p>In the complexities of current realities, we are a writing collective of educators interested in placing hope in the present, particularly in composing practices and pedagogies. Drawing on a post-qualitative methodology, we weave together examples of practices of dance/movement, digital movie-making, and soil artivism with specific concepts of affect-as/is-hope. As a counternarrative to writing pedagogies and assessments that are increasingly standardized, product-oriented, technical, rational, and disembodied, we introduce the term de/composing pedagogies to conceptualize the potential in processes of becoming/making/meaning-making that are always something else/more/different and even less. De/composing pedagogies help us name, describe, experience, and examine – individually and collectively – what is moving us and our practices more intensely and deeply; what is making possible new ways of being/becoming/doing for us and for our co-learners (e.g. the teachers and students we work with); and what is expanding potential for us as writers/composers/educators in and across various situations and contexts. As (re)sources of hope, we close with pedagogical questions related to composing through/with elements of experimentation, embodiment, an emphasis on relation and (re)connection, ephemeral and material elements, (e)motion, and the emergence of meaning-making.</p> <p>Keywords: Embodiment; movement; affect; writing; pedagogies</p> <p>I use the concept of "affect" as a way of talking about that margin of manoeuvrability, the "where we might be able to go and what we might be able to do" in every present situation. I guess "affect" is the word I use for "hope". (Massumi, [<reflink idref="bib41" id="ref1">41</reflink>], p. 3)</p> <p>Hope is often imagined as future-oriented, "sensed in the prophetic figure of the horizon" that "anticipates that something indeterminate has not-yet become" (Anderson, [<reflink idref="bib1" id="ref2">1</reflink>], p. 733). In relation to school pedagogies and the complexities of our current realities as educators, we are more interested in placing hope in the present, particularly, in composing practices and the pedagogies forming in/with/through them. As K-12 teachers and teacher educators who have engaged together in social, material, relational, and embodied practices of dance, movement, mobile filmmaking, soilwork, and public art-making, we've come to recognize the both/and of pedagogical potentiality: the hope in both what is there and what isn't; what is always more and less; what is partial and its fuller promise; what is articulated and what can never fully be put into words. Through a post-qualitative methodological approach (described later), we've come to use the term <emph>de/composing pedagogies</emph> to conceptualize the potential in processes of becoming/making/meaning-making that are always something <emph>else/more/different</emph> and even <emph>less</emph>. We believe this offers an important counternarrative to writing/composing curriculum, pedagogies, and assessment as increasingly standardized, product-oriented, technical, rational, and disembodied. Instead, thinking-with concepts like those introduced in the biology of decomposition (see the found poem, below) attunes us to the potential in the ongoing change and transformation happening in de/composing processes as human and more-than-human elements come together, move apart, break down, remix, convert into different forms, and create anew.</p> <hd id="AN0183195847-2">The biology of decomposition</hd> <p>decomposers (often as collectives in community)</p> <p>work in tandem, or parallel (responsible for specific parts)</p> <p>breaking down dead tissues, converting</p> <p>to simpler organic forms (available again for new organisms).</p> <p>Inconspicuous and unglamourous (even undesirable)</p> <p>most detritivores work out of sight,</p> <p>on the forest floor (spread out in space and time)</p> <p>their handiwork not immediately obvious.</p> <p>decomposition happens gradually (over months or years),</p> <p>aerobically (in the presence of air),</p> <p>vitally (providing nutrients for new growth),</p> <p>maintains/sustains all life on Earth.</p> <p>(found poetry from <emph>Trees for Life</emph>, [<reflink idref="bib54" id="ref3">54</reflink>])</p> <p>From the perspective of a "detritivore community," de/composing pedagogies help us break down composing practices into elements and essences that nourish/transform/sustain. Embedded in relational and present-focused understandings of teaching and learning, de/composing pedagogies remind us to:</p> <p></p> <ulist> <item> pay attention to the (often) imperceptible but vital work always happening in pedagogical moments and on the ground;</item> <p></p> <item> become more attuned to the micro-levels of activity in our own and in our students' writing and composing practices;</item> <p></p> <item> appreciate the vital(izing) role of embodied, shared experiences to grow writers/composers and writing/composing practices in and outside our classrooms;</item> <p></p> <item> let our practices breathe through reflexive and pedagogical dialogue with one another, noticing the elements that have potential to de/compose and create possibilities for new growth for ourselves and students;</item> <p></p> <item> think broadly about the places and spaces where teaching and learning happen – in different forms and over longer timescales (e.g. from our personal writing/composing/movement practices into our teaching, from outside places and communities into school/classroom spaces, and vice versa).</item> </ulist> <p>In this article, we understand de/composing pedagogies as (re)sources for hope that grow and (re)generate from elements – experimentation, embodiment, an emphasis on relation and (re)connection, ephemeral and material elements, (e)motion, and the emergence of meaning-making through practices that move us, and move with us, in and out of schools.</p> <hd id="AN0183195847-3">Our collective of detritivores</hd> <p>This work has been in process for some time, as we – and our writing, teaching, and scholarship – have become interconnected in many ways: Michelle and Jen are teacher educators and co-directors of the Manitoba Writing Project (MBWP). They have co-taught Summer Writing Institutes (SWI) together for educators that focus on place, power, and pedagogy in teaching writing. Sarah, an elementary dance, arts, and music teacher; Noah, a high school English Language Arts teacher; and Katya, a K-6 learning support teacher, have all participated in a SWI and are Writing Project teacher leaders. They have also been generous collaborators as they engage in writing and composing practices as educators, researchers, and artists – Sarah in dance and arts integration; Noah as a poet and experimental filmmaker; Katya in soil art as a decolonizing praxis. Engaging in decolonizing praxis (Battiste, [<reflink idref="bib3" id="ref4">3</reflink>]; Cote-Meek, [<reflink idref="bib4" id="ref5">4</reflink>]; Nxumalo &amp; Tepeyolotl Villaneuva, [<reflink idref="bib44" id="ref6">44</reflink>]; Styres, [<reflink idref="bib50" id="ref7">50</reflink>]; Tuck &amp; Yang, [<reflink idref="bib58" id="ref8">58</reflink>]), particularly from our positions as settler-educators within a Canadian context, requires re-imagining our practices and profession. Katya explicitly challenges us to "think about efforts to address enduring negative impacts of violence and racism on Indigenous Peoples through education," and de/composing as grounded in commitments to "returning lands, revealing difficult truths, learning from Indigenous wisdom, and working to support Indigenous colleagues [and students]" (Morin et al., [<reflink idref="bib42" id="ref9">42</reflink>], p. 48). In this article, we engage with examples of the practices of Sarah, Noah, and Katya to explore specific affect-as/is-hope concepts and the de/composing pedagogies emerging from them.</p> <p>Together we have been thinking about multimodal composing in the work we do with teachers and students (of all ages) as sociomaterial and affective practices, coming to understand the ways materials, digital technologies and media, memory, emotions, and bodies (for instance) are always part of composing, literacy, making, and meaning-making practices (Boldt, [<reflink idref="bib6" id="ref10">6</reflink>]; Burnett &amp; Merchant, [<reflink idref="bib7" id="ref11">7</reflink>], [<reflink idref="bib8" id="ref12">8</reflink>]; Ehret, [<reflink idref="bib17" id="ref13">17</reflink>]; Holbrook &amp; Cannon, [<reflink idref="bib24" id="ref14">24</reflink>]; Kuby &amp; Rucker, [<reflink idref="bib31" id="ref15">31</reflink>]; K. M. Leander &amp; Ehret, [<reflink idref="bib35" id="ref16">35</reflink>]; Lenters, [<reflink idref="bib37" id="ref17">37</reflink>]; Niccolini et al., [<reflink idref="bib43" id="ref18">43</reflink>]; Thiel, [<reflink idref="bib52" id="ref19">52</reflink>]). Much of our collective work has been interested in multimodal composing as embodied practices, expanding ways of knowing through movement, dance, and walking (Donald, [<reflink idref="bib15" id="ref20">15</reflink>]; Irwin, [<reflink idref="bib27" id="ref21">27</reflink>]; Springgay &amp; Truman, [<reflink idref="bib48" id="ref22">48</reflink>]; Ulmer, [<reflink idref="bib59" id="ref23">59</reflink>]; Snowber, [<reflink idref="bib47" id="ref24">47</reflink>]). Engaging in critical place inquiry has also been a focus of our pedagogies and composing (Ferguson, [<reflink idref="bib21" id="ref25">21</reflink>]; Honeyford &amp; Watt, [<reflink idref="bib26" id="ref26">26</reflink>]; Tuck &amp; McKenzie, [<reflink idref="bib57" id="ref27">57</reflink>]).</p> <hd id="AN0183195847-4">Our inquiry</hd> <p>Like other literacy researchers interested in multimodality, embodiment, and affect, we are becoming increasingly aware that in any and every moment of composing/teaching there is <emph>always more</emph> potential and possibility than we can perceive/conceive (Burnett &amp; Merchant, [<reflink idref="bib7" id="ref28">7</reflink>]; K. Leander &amp; Boldt, [<reflink idref="bib34" id="ref29">34</reflink>]; Ehret, [<reflink idref="bib18" id="ref30">18</reflink>]; Jones, [<reflink idref="bib28" id="ref31">28</reflink>]. As Burnett and Merchant ([<reflink idref="bib8" id="ref32">8</reflink>]) explain, in any literacy "event are multiple potentialities, including different possibilities for what might materialize as well as what doesn't" (p. 57). In coming together to think about the affective potential in our practice(s) as writers and teachers of writing, we needed methodological processes that were also open to potential and experimentation and made room "for emotions and affect in response to the movement found in energy, relationality, and reactions" (Koro-Ljungberg, [<reflink idref="bib32" id="ref33">32</reflink>], p. 8). We drew upon creative processes with which we were already familiar and that we trusted to generate new insights: experimental writing (St Pierre, [<reflink idref="bib49" id="ref34">49</reflink>]), poetic inquiry (Faulkner, [<reflink idref="bib19" id="ref35">19</reflink>]; Fitzpatrick &amp; Fitzpatrick, [<reflink idref="bib22" id="ref36">22</reflink>]), the critical response process (Chavez, [<reflink idref="bib9" id="ref37">9</reflink>]; Lerman &amp; Borstel, [<reflink idref="bib38" id="ref38">38</reflink>]), and thinking-with theory (Jackson &amp; Mazzei, [<reflink idref="bib29" id="ref39">29</reflink>]).</p> <p>While our meetings did not follow a prescribed format, in each, we made time to read aloud our writing and pose questions about our work. In between our meetings, we also engaged in processes of writing about our practice in different ways. We made space and time in these processes and conversations to share what was resonating for us – what we were finding meaningful, exciting, compelling, surprising, challenging, and evocative in and across our pedagogies and practices. We tried to "follow [our practice] rather than judge it, [to] see where it branches out in different directions, where it gets bogged down, moves forward, makes a breakthrough" (Deleuze, [<reflink idref="bib12" id="ref40">12</reflink>], p. 85). Utilizing Zoom, we recorded our conversations so we could sit with them again, allowing them to move us in different ways or to take different forms such as found poetry. In the upcoming sections of the article, we explore de/composing pedagogies through dance/movement (Sarah), video poem-making (Noah), and soil-artivism (Katya): first, with a narrative poem to introduce and contextualize the educator-artist; next, with a first-person description (in italics) of developing those practices; followed by brief interludes in which we weave specific concepts from Massumi ([<reflink idref="bib41" id="ref41">41</reflink>]) to theorize hope in/as de/composing pedagogies. With each example, we briefly explore implications for composing/writing pedagogies, and then conclude by proposing elements and questions as/for resources of hope in K-12 schools.</p> <hd id="AN0183195847-5">Body work: De/composing pedagogies in the movement of dance</hd> <p>With a fully enrolled SWI, we can apply for a Teaching Assistant.</p> <p>But we've rewritten the job description:</p> <p>it's not a <emph>grader/marker</emph> we're hoping to hire,</p> <p>but a <emph>dance educator</emph>.</p> <p>With Sarah we chat about how things are different yet again.</p> <p>The challenge of the 2021 SWI (in which Sarah participated) was how to teach online:</p> <p>How could we engage in place-writing and -walking as solo practices during a pandemic?</p> <p>How could we be "together-apart" as a writing community?</p> <p>Now our question is how to be in-person-together when it is not-at-all the same as before.</p> <p>These two years have left teachers' bodies and minds weary</p> <p>and wary of hope.</p> <p>How do we (re)learn to (re)connect?</p> <p>The potential, already moving us,</p> <p>doing some pedagogical dancing,</p> <p>allocating time each day in our course</p> <p>for <emph>"body work."</emph></p> <p> <emph>Many people feel discomfort around their bodies and without regular practice, even in small ways, the discomfort of moving lingers and people are unable to normalize this physical way of knowing. Scaffolding movement experiences into a routine practice reminds teachers and students that our bodies are a valid way of listening and understanding internal and external landscapes. Too often body-based activities are one-offs. Building embodied experiences into a practice with teachers through dance and movement is a process, an ongoing practice that supports community building, playful risk taking, attunement to self, others, and place.</emph> </p> <p> <emph>I typically begin by inviting participants to connect internally, tuning into the breath. Then we take a bigger risk to connect as a group, be playful, and create a Walking Danc</emph>e, <emph>which I learned and adapted from Daria Halprin at the 2012 Tamalpa Institute. The Walking Dance is one I have done with children and adults. Taking the Walking Dance outside often adds potential noticings of sensations from the sun's heat, wind, the texture of the grass, potential freedom of space, or the eyes of others passing by. The rules are simple: listen to instructions, take care of your own body, and no talking. Participants are invited to begin walking however they feel once the music comes on. As the dance continues, I invite participants to play with stopping and starting, walking sideways or backwards, experimenting with size and speed. After about three minutes of individual play, I invite participants to find a walking partner. Often there is laughter, smiles, and some stilted movements, as pairs begin to silently negotiate how they will move together. The partner dance is short, 30 seconds, before they are asked to silently say goodbye and continue individual dances. A couple more times, participants are asked to find a walking partner and then the groups combine until there is one large group walking dance, ending in a final pose and often, everyone clapping and laughing.</emph></p> <p>We then gather to answer the questions, what did you notice, what was inside of that for you? The Walking Dance quickly builds connections in a simple, yet layered, playful activity. It also invites people to begin wondering about the teachings from the movement metaphors within the dance: what was I walking with today? How did I communicate non-verbally? Was I always a leader? Follower? How were my partner and I connected if we both did different movements? What can these movement metaphors help me understand about myself as a teacher and a learner? Leavy ([<reflink idref="bib36" id="ref42">36</reflink>]) writes of the use of dance and embodied work to "propel self and social reflection, challenge taken-for-granted assumptions, and jar us into feeling or seeing differently" (p. 160). In the place-based writing and work we do, the walking dance invites us to imagine the body as a place of knowing, listening, and communicating knowledge.</p> <p>Another practice I commonly use early on with teachers and students is mirroring. Tortora ([<reflink idref="bib53" id="ref43">53</reflink>]) writes of mirroring and kinaesthetic empathy as a process of being present to the moment, observing and embodying the action of another. Tortora explains how one can never exactly know the experience of another through mirroring, as one is always taking in through a personal lens, but two people can share an emotional experience that builds relationship and offers insight. Mirroring is explored in pairs, with guided pauses to change roles of leader and follower. Mirroring can also be expanded to the world around us. I do this by inviting participants to mirror nature. Find a tree, an animal, a leaf, a stone, etc., and create its shape in your body; try to mimic its size, its hardness or softness, and perhaps move how you imagine or observe it to move. Mirroring offers questions such as, how am I seeing and receiving information? How am I interpreting? What do I learn about the other person/object/life by moving, feeling, and sensing? What do I learn about myself in this process? What further questions do I have of this other life and its surroundings?</p> <p>To continue to refine educators' ability to attune and notice detail, Judson ([<reflink idref="bib30" id="ref44">30</reflink>]) offers a slow walk that invites participants to move as slowly as they can along a path. In slowing down, participants truly have time to notice their habits of thought, memories, sensual observations of sight, sound, touch, smells, possibly tastes, physical pains; all reminders of being alive and being alive together with the land. As I led the group of 2023 SWI participants through a tree covered trail along the Red River, I was keenly aware of my own self-doubt: "Am I walking too slow? Are people hating this?" I was also aware of the large cracks in the dried, drought-ridden riverbank below my feet and the light reflecting off the water beside me.</p> <p> <emph>After leading a slow walk and writing time prompted from the experiences, I often invite participants to do a closing reflective circle, wherein each person offers a gesture and a word from their experience or writing. The circle echoes the gesture and word three times, providing participants a chance to sink into the feeling and action more deeply. From my own walk and noticing the dried mud on the riverbanks, I begin: "Crack. Crack. Crack." With my fingertips leading, my arms glide on a path away from my body and on the word "crack" my arms bend with a sharpness in opposing directions, my fingers splaying. The disjointed action resonates all the way to my chest, making my sternum retreat and shoulders concave. This is what a crack feels like for me. Participants share around the circle, creating a multimodal text of our collective experience. This evokes another question, what might writing look/sound/feel like? Perhaps a collective text written in and on bodies and voices. This style of reflection can be used after a variety of experiences and allows participants and witnesses to convey subtle and nuanced ideas within a movement that words may not express. Other questions within this reflection may be: what else do I learn about a word by moving it or seeing it be moved? What layers or stories are opened through the embodiment of words and the different interpretations each body has? Again, participants witness the similarities and differences in their interpretations and understandings of a common experience, reinforcing a pedagogy that allows for and respects multiple interpretations.</emph> </p> <p>Trained as a professional dancer before becoming a full-time K-12 teacher, Sarah taught us (and the educators participating with her in various professional learning contexts) many practices of attuning to our bodies and the relations around us. She has helped us understand that how we live in "the openness of situations" is "always entirely embodied" (Massumi, [<reflink idref="bib41" id="ref45">41</reflink>], p. 6). Affect, explains Massumi ([<reflink idref="bib41" id="ref46">41</reflink>]), is "a body movement looked at from the point of view of its potential – its capacity to come to be ... or come to do" (p. 7). De/composing pedagogies encompass modes of embodied activity that may seem to have little to do with writing, but activities like the Walking Dance (Halprin, [<reflink idref="bib23" id="ref47">23</reflink>]) or slow walk (Judson, [<reflink idref="bib30" id="ref48">30</reflink>]) as Sarah has described, carry forward capacities for making and composing (Massumi, [<reflink idref="bib41" id="ref49">41</reflink>], p. 7). We become far more aware of our bodies and what they do as they move, the capacities they carry "from step to step" (Massumi, [<reflink idref="bib41" id="ref50">41</reflink>], p. 4). Movement activities like mirroring (Tortora, [<reflink idref="bib53" id="ref51">53</reflink>]) draw our attention to the body's ability "to affect or be affected" and how "its charge of affect" is "changing constantly .... attached to the movements of the body" (Massumi, [<reflink idref="bib41" id="ref52">41</reflink>], p. 4). Importantly, incorporating "body work" in de/composing pedagogies is also about realizing that we are always "connecting to others and to other situations" (Massumi, [<reflink idref="bib41" id="ref53">41</reflink>], p. 6). Moving/movement through a walking dance or slow walk have the capacity to attune and expand our relational capacities as writers/composers to the connection and interdependence we share with other bodies and lifeforms (human and more-than-human), materials, objects, place, and their flourishing/struggling/dying. In moving in the world "we are never alone" or in isolation, but participating "in processes larger than ourselves" (Massumi, [<reflink idref="bib41" id="ref54">41</reflink>], p. 6).</p> <p>Within such activities, it's also possible to slow down movement the way filmmakers do with "bullet time" (Deguzman, [<reflink idref="bib11" id="ref55">11</reflink>]), making time feel paused to allow viewers "to examine each detail in a scene that would otherwise have been lost in the blink of an eye" (para 1). This has the effect of putting us in our bodies and examining within that moment the open threshold of potential (Massumi, [<reflink idref="bib41" id="ref56">41</reflink>], p. 3). Facing a new partner in the walking dance, we have choices: do we take the lead or pause and see what our partner might do? If we make the first move, what will it be? Manoeuvring and experimenting with our body's movements, attuning to our partner, the other bodies moving around us, the limitations of the space, is not completely unlike navigating pedagogical moments in the classroom. As educators, we are constantly engaging in a pedagogical dance with our students – needing to listen deeply, respond to and/or mirror emotions, feel the wax and wane of energies, and attune to our own bodily movements and those of our students within the dynamic and relational context and constraints of our classrooms. Every situation is a complex interrelationship of uncertainty about "where you might be able to go and what you might be able to do" (Massumi, [<reflink idref="bib41" id="ref57">41</reflink>], p. 2). But that uncertainty can be empowering when you realize it gives you "a margin of manoeuvrability" – that there are constraints, and within them, "an opening to experiment, to try and see" (Massumi, [<reflink idref="bib41" id="ref58">41</reflink>], pp. 2–3). As Massumi ([<reflink idref="bib41" id="ref59">41</reflink>]) describes it, that is hope: "You move forward by playing with the constraints, not avoiding them" (p. 12). Pedagogically, that requires us as educators to be in the moment, "right where you are," but "more intensely," focusing not on "far-off goal[s] in a distant future," but "on the next experimental step" (Massumi, [<reflink idref="bib41" id="ref60">41</reflink>], p. 3), attuning to the "opportunities in the movement" (p. 14).</p> <p>Taking the next experimental step is part of de/composing within Sarah's movement practices: moving elements of the practices to/through new pedagogical contexts. Teachers who have participated in any of Sarah's invitations to movement will not replicate exactly what emerged in the moment for them as a participant. However, when they work with and attune to their own and/or their students' bodies and surroundings, they may take elements of these practices with an openness to creating new opportunities in their own contexts.</p> <hd id="AN0183195847-6">De/Composing pedagogies in embodied metaphors and movie-making</hd> <p>We join Noah on a Saturday in May,</p> <p>ready (or not) to make and edit digital videopoems (Tremlett, [<reflink idref="bib55" id="ref61">55</reflink>]).</p> <p>Noah, a participant in the 2021 online SWI,</p> <p>is sharing his process, inviting us to think with him</p> <p>How to teach this reflexive capture, edit, and broadcast to his Gr. 9 students, or to fellow educators?</p> <p>How to move out of the confines of classrooms and 5-paragraph essays?</p> <p>Advising us: don't think too much, quiet the inner editor.</p> <p>Use phones as tools for digital capture.</p> <p>Zoom in or scan slowly up and down.</p> <p>Look for movement, pattern, texture.</p> <p>Don't worry about story – not yet.</p> <p>Feel our way into compiling shots of whatever draws our attention.</p> <p>We head back over a bridge, find a picnic table, pull out notebooks.</p> <p>Reviewing our footage, we are now encouraged to free-write,</p> <p>let words, noticings, connections tumble onto the paper.</p> <p>Then the next step-by-patient-step instructions:</p> <p>how to use apps we've seen but never accessed ourselves,</p> <p>certainly not as content-creators.</p> <p>Dragging, dropping, clipping, cropping.</p> <p>Voice-overs of work-in-progress poetry, free soundtracks, fonts for close-captioning</p> <p>Multimodal composing in a morning.</p> <p>Metaphors, in which one entity is perceived in terms of another, have been a source of fascination for linguists, poets, philosophers, and psychologists for centuries (Holyoak &amp; Stamenković, [<reflink idref="bib25" id="ref62">25</reflink>]). The earliest explorations of embodied cognition followed from the study of embodied metaphor (Lakoff, [<reflink idref="bib33" id="ref63">33</reflink>]). Research into embodied metaphor suggests that "physical human experiences form the basis of a very large number of metaphors, and most, if not all, abstract phenomena are understood through metaphors, many of which are based on bodily experiences" (Littlemore, [<reflink idref="bib39" id="ref64">39</reflink>], p. 2).</p> <p>I explored the idea of metaphor embodiment through the process of creating UN/WIND UN/WOUND, a 24-minute experimental film, which is an intensely first-person journey through four seasons in central Canada. Structurally, the film is a series of linked videopoems (Tremlett, [<reflink idref="bib55" id="ref65">55</reflink>] made up of video footage recorded on my smartphone, electronic music, and my own poetry. The work explores the smartphone as a means of embodied composition and has implications for how text and learning can shift and adapt to the contemporary media landscape. Each of the poems that inspire the film conceptually and visually (some written a long time prior to the film project) is built around a metaphor. In the creation of this film, I embodied or performed these metaphors experientially, recording myself enacting the concrete imagery the poems use to capture the essence of the experiences to which they respond.</p> <p> <emph>One of the poems featured in the film is "first melt," a 14-line sonnet built around the metaphor of a northern leopard frog coming to the surface after its first winter on the bottom of a frozen body of water. This poem, like many using metaphors of spring and melting, speaks to feelings of hope and possibility following periods of struggle:</emph> </p> <p> <emph> <bold>first melt</bold> </emph> </p> <p> <emph>When I learned the freeze was not the end</emph> </p> <p> <emph>I abandoned brumation for rippled</emph> </p> <p> <emph>rhythms on the surface and the line.</emph> </p> <p> <emph>I'm sorry that I left you on the bottom</emph> </p> <p> <emph>all alone. To breathe the cold is to know</emph> </p> <p> <emph>the cold and the cold was all I'd known.</emph> </p> <p> <emph>My heartbeat charts a sin-wave, my chest fills</emph> </p> <p> <emph>and falls, my dreams like muddy rivers hold</emph> </p> <p> <emph>what will be carried, what will be spilled. Faith</emph> </p> <p> <emph>in sewing needles pointing north on leaves</emph> </p> <p> <emph>in copper ponds, among frog song, redwing</emph> </p> <p> <emph>blackbird flap, and willow wind. And I,</emph> </p> <p> <emph>surfaced, brittle words upon a line,</emph> </p> <p> <emph>flowing nowhere in the magic trick of time.</emph> </p> <p> <emph>The text of this poem is voiced in the video over footage of the Red River and area around Winnipeg transitioning from winter to spring, connecting to some, but not all, of its metaphorical meaning. The idea and feeling of surfacing, of being able to breathe after being underwater, is central to this poem, connecting to the feeling of relief that comes after letting go of a difficult memory or experience.</emph> </p> <p> <emph>When I wrote this poem, I had been reading a lot about northern leopard frogs, whose distribution extends as far north as the treeline. To me, due to their ability to survive in tough conditions, northern leopard frogs symbolize resilience. In the winter, they go to the bottom of a body of oxygen-rich water that doesn't fully freeze and rest on top of the mud in a dormant state, breathing through their skin. In the spring, they rise to the surface and return to their amphibious lives. I wrote the poem in the years following my father's sudden death as I felt myself reaching the other side of grief</emph>.</p> <p> <emph>"first melt" imagines a frog at the tail end of its first winter, its first freeze. The previous spring it hatched into a tadpole, went through the stages of becoming a frog, and then, with the changing of the weather, felt itself drawn to the bottom, where it entered its winter-long state of frozen suspension. It is written from the perspective of this frog as it reflects on the realization that its frozen condition was temporary, part of a larger story of change, connecting it to the cosmic rhythm of freezing and melting, and helping it find its place in what Mary Oliver calls "the family of things". (2017, p. 347)</emph> </p> <p>Difficult or traumatic experiences can leave one suspended or frozen in a deeply embodied and spiritual sense. Such experiences connect to "other levels of reality, sensed not even by the five senses, but by the body itself, or by the spiritual mind, the interior of the body" (Culbertson, [<reflink idref="bib10" id="ref66">10</reflink>], p. 176). The first time such an experience occurs is especially difficult, because there is a worry that this is how life will feel from now on, that this state of frozen suspension will be permanent. Work exploring artmaking in response to difficult events suggests that this kind of work is important because it can help one understand that those periods of suspension are part of the larger story of life (Dutro, [<reflink idref="bib16" id="ref67">16</reflink>]; Pryer, [<reflink idref="bib46" id="ref68">46</reflink>]). While other griefs and traumas will occur across life course, freezing us anew, we leave each subsequent melt better equipped to understand and re-emerge from those experiences. We develop faith, a deeply felt knowing that "the freeze is not the end."</p> <p> <emph>Later in the film, this metaphor in "first melt" is presented visually through a POV sequence of the frog in "first melt" rising to the surface from the bottom of a body of water. The text of "first melt" and the metaphor of the frog leaving the bottom for the surface serve as a screenplay for this video sequence, communicating the meaning visually, rather than through written language.</emph> </p> <p> <emph>I recorded the video for this portion of the film on a canoe trip in May in Northwestern Ontario. I put my iPhone in a waterproof case and went to the bottom of the cold lake to embody my hypothetical frog. My iPhone's camera became the eyes of my frog as we went through the process of surfacing. This act of metaphor embodiment was powerful, adding layers and depth to my understanding of what it means to be on the other side of a difficult or traumatic experience. This new understanding occurred on a level outside of language, allowing me to feel the meaning in my body, and I felt an odd kinship with the frog I had written about. This new kind of knowing became further internalized through the process of reviewing and editing the footage. Working with the footage that I had recorded reconnected me with that hour or two I spent in the water pretending to be a frog reaching for the surface after its first winter at the bottom, when it thought that life would always feel this slow, this frozen, this numb. By making it part of a larger narrative interrogating memory processing and healing – as I did through the editing process of UN/WIND UN/WOUND as a whole – I developed an embodied understanding of the fact that the death of my father was part of the larger narrative of my life, that it had changed me, yes, but that life needed to go on.</emph> </p> <p> <emph>Attending to types of knowing beyond the cognitive is a source of hope within education. Designing educational experiences and literacy practices that attune learners to the felt-sense meanings of texts – their own and others' – is an act of decompartmentalization, reconnecting education to the reality that we are whole beings living in an emotive, concrete world.</emph> </p> <p> <emph>By engaging in this smartphone-based embodied creative practice, I learned how to see the world as an artist, deepened my understanding of the affordances and limitations of the smartphone as a tool of perception, and had insights about the changing nature of memory in the digital age. My experience with this type of composition allowed me to create art from a space of deep connection with the natural world and my body and I view my experiences of it fondly.</emph> </p> <p>Unexpectedly, these experiences of embodied composition were made possible by the smartphone. I say unexpectedly because smartphone use is often the catalyst for intense disembodied experiences, such as endless scrolling on social media. Overuse of smartphone technology is a major issue of contemporary life, closing people off from the concrete world, numbing them to bodily experience, promoting discourses of divisiveness and conflict, and leading to a number of other psychological, physiological, and educational issues (Bhargava &amp; Velasquez, [<reflink idref="bib5" id="ref69">5</reflink>]; Lopez-Fernandez, [<reflink idref="bib40" id="ref70">40</reflink>]). In my teaching practice, I am regularly frustrated by student smartphone use. From what I see, it is typically used negatively, leading to a school culture of distraction and anxiety.</p> <p> <emph>Despite my frustrations, this inquiry allows me some hopefulness about the potential use of smartphone technology in schools. It may be possible that, through collective experimentation and engagement by artists and educators, such as I have done in this project, the smartphone, typically a tool of numbing, can be turned into a tool of embodied creativity and insight.</emph> </p> <p>Noah's description of the processes within his practices of embodied and digital multimodal composing highlights the hope in/as the capacity of the body to affect and be affected (Massumi, [<reflink idref="bib41" id="ref71">41</reflink>], p. 3). Massumi explains that in affecting something, "you are at the same time opening yourself up to being affected in turn, and in a slightly different way than you might have been the moment before" (p. 4). This "transition" or "passing of a threshold" (Massumi, [<reflink idref="bib41" id="ref72">41</reflink>], p. 4) is enacted by Noah through embodying the metaphors in his poetry. Attaching his iPhone to his body, Noah experiments with mobile filmmaking as he moves up towards the surface of a lake from his submerged position at the muddy bottom. Composing across time and modes, over several iterations and revisions, Noah demonstrates how those transitions create capacity to affect and be affected. Noah's reflection illustrates how "this gives the body's movements a kind of depth that stays with it across all its transitions – accumulating in memory, in habit, in reflex, in desire, in tendency" (Massumi, [<reflink idref="bib41" id="ref73">41</reflink>], p. 4).</p> <p>In the embodied act of surfacing that Noah describes in his poem, we see how "affect is thinking, bodily," a "movement of thought, or a thinking movement" (Massumi, [<reflink idref="bib41" id="ref74">41</reflink>], p. 10). As Noah reflects, the ability "to breathe after being underwater" is connected to "the feeling of relief that comes after letting go of a difficult memory or experience." What is conveyed in the composition (or felt or thought at any moment) is only a selection of memories, tendencies, emotions (Massumi, [<reflink idref="bib41" id="ref75">41</reflink>], p. 5), a partial expression of its metaphorical meaning. Affect theory helps us understand that other memories and emotions are not absent in any act of composing, but present virtually. For us as educators, the notion of de/composing pedagogies reminds us that "there's no way they can all be actually expressed at any given point"; composing processes are always working with "the virtual co-presence of potentials" (Massumi, [<reflink idref="bib41" id="ref76">41</reflink>], p. 5). Creating space and opportunities for embodied experiences (like enacting metaphors through mobile filmmaking) makes more potential available, intensifying our lives and art-making practices.</p> <p>Noah expands the potential for affect by utilizing a smartphone to video record movement and sound. In terms of writing, art-making, and meaning-making, Noah's thinking-feeling – both in the form of the embodied experience and the recording/film – produces potential "to find a margin, a manoeuvre you didn't know you had, and couldn't have just thought your way into" (Massumi, [<reflink idref="bib41" id="ref77">41</reflink>], p. 11). As Noah suggests, enacting the metaphors he'd written about in "first melt" created potential for thinking-feeling in ways that "can change you, expand you. That's what being alive is all about" (Massumi, [<reflink idref="bib41" id="ref78">41</reflink>], p. 11).</p> <p>As we think about hope in de/composing pedagogies, we are also drawing on notions of language in affect theory. As Sarah pointed to in exploring how gestures compose/de/compose language, Noah also describes how visual modes and felt meaning in the body produce differential understandings. Massumi ([<reflink idref="bib41" id="ref79">41</reflink>]) explains that the unique feeling of every experience "can never be exhausted by linguistic expression," in part, because our experiences of situations are different, but also because there is always "too much" to put into language (p. 13). De/composing pedagogies acknowledge the "inadequation between language and experience" as a productive tension. Engaging composers in thinking-movement (e.g. in different/unexpected places, ways, with various embodied, material, and discursive forms and constraints) is about experimentation and play: manoeuvring the margins of any situation and fostering new experiences for ourselves, our students, and our audiences.</p> <p>Interested in expanding writing/composing in school pedagogies through embodied metaphors, poetry, and/or digital movie making in place, Noah invited Michelle and Jen to try out a shortened, workshop version of the process with him that morning in the park. He wanted to de/compose with us – work as part of a detritivore community to break down the tissues of his mobile composing practices in outdoor spaces/places to simpler, pedagogical forms that might resonate, create possibilities, or inspire students and fellow teachers in their own thinking-doing-being-becoming movements.</p> <hd id="AN0183195847-7">De/Composing pedagogies in soil</hd> <p>Katya stands with us</p> <p>near where the Red and Assiniboine Rivers converge,</p> <p>a wagon teetering full of soil-art-making supplies by her side,</p> <p>more bags and pails of soil hidden in discreet locations along the trails we will walk,</p> <p>unlikely to be noticed or disturbed by others, organic material</p> <p>ready for the arrival of 35 participants of the 2023 SWI.</p> <p>Katya begins this day of walking land acknowledgements and collective soil work</p> <p>Her gentle voice amplified by a microphone she uses,</p> <p>sharing how she has learned from past outdoor facilitation of educators,</p> <p>that soft voices, important stories, and soil-art can get lost in the wind.</p> <p>She introduces herself – a participant in the very first SWI, back in 2014,</p> <p>a Teaching Assistant in 2021, a facilitator-artist-researcher for our walk today.</p> <p>She explains that these sites and spaces of public art have historical meaning on their own,</p> <p>but become connected differently through our walking and art making.</p> <p>New understandings will come from educators thinking and being in these spaces,</p> <p>immersed in the sounds, feelings, sights of the surroundings.</p> <p>What curriculum lives here? What curriculum hides here?</p> <p>What do these places teach us and what lessons are to be learned?</p> <p>What can we learn from working with soil in these sites?</p> <p> <emph>I encourage participants to let the soil speak. Soil becomes the medium to which teachers can respond to stories in place, but also may invite a way of coming to new understandings and physical, mental, emotional, and spiritual connections to place. Like the rivers that flow together, these body-mind-spirit connections become inseparable. They guided my teaching focus along the walks and art installations to create a triptych of artistic and pedagogical lenses. In workshops I often begin with a focus on becoming connected to each other through the multisensory experience of greeting the earth and introducing themselves through soil. I emphasize the ideas of unearthing and techniques such as taking, displacing, re-placing, and returning which are all loaded terms that can speak truths and different connections or disconnections to land/places. I bring attention to temperature, moisture, composition and the soil's potential. I invite people to pull, drop, pinch, push, sift, swirl, mix, and play with their voice and creative expression. I also give reminders not to become attached to soil creations, as they may change.</emph> </p> <p>Our first stop on our walk was at "Education is the New Bison" or "Chi-kishkayhitamihk si te li neu Biizon," a beautiful public art piece created by local Métis artist, Val Vint ([<reflink idref="bib60" id="ref80">60</reflink>]). The figure of the bison is created from 200 steel book sculptures featuring specific texts written by Indigenous authors and allies. The bison is a significant animal as herds used to roam the prairies and as artist Vint describes: "Bison, at one time, was the animal that provided everything: food, shelter and tools. Now education is what does that" (as cited in The Winnipeg Foundation, [<reflink idref="bib51" id="ref81">51</reflink>]). This became the place for our first collective soil art installation, which centred around the ongoing discovery of unnamed and unmarked graves on the grounds of former Residential Schools across Canada. When ground-penetrating radar located the remains of 215 children at Kamloops Residential School (Dickson &amp; Watson, [<reflink idref="bib14" id="ref82">14</reflink>]), across the nation, and even beyond Canada's borders, the public responded by placing shoes in public places. The first installation of this kind may have begun with Haida artist Tamara Bell and her son who laid 215 shoes on the steps of the Vancouver Art Gallery (Dellplain &amp; St Denis, [<reflink idref="bib13" id="ref83">13</reflink>]). Following this news, I created an installation on my driveway sifting soil around my own children's shoes 215 times. I learned how this method emphasizes the materiality of physical bodies using earth and drew upon elements of positive and negative space to activate the presences and absences. It was a visceral way of responding to, but not limited to, feelings of anger, shock, grief, and responsibility. The motion of re-creating ghostly footprints was emphasized through ongoing repetition. I thought about one child each time soil was sifted around a pair of shoes. As a mother, I also thought about my own children. It brought attention to the scale of the atrocities and the iterative nature of racial injustices which are being exposed through Canada's Truth and Reconciliation Commission (Truth and Reconciliation Commission of Canada, [<reflink idref="bib56" id="ref84">56</reflink>]).</p> <p> <emph>Echoing these public responses, I provided teachers an opportunity to repeat a similar process in hopes of thinking about the truths of the TRC in a more embodied way. I invited them to respond to their feelings and actions as educators to the topic of Truth and Reconciliation with the medium of soil by sifting and placing soil around children's shoes. Each person was given time and space to create a set of footprints as part of a collaborative art installation. This methodical process released the pressure to generate a unique idea and gave teachers the opportunity to think more deeply about soil and its connection to a soiled history of education and graves of children who never came home from school. From an artistic lens, the focus on elements of positive and negative space brought attention to how education was used to disconnect and remove families and communities from each other and from languages and cultures. I see that Truth and Reconciliation are both concepts connected through positive and negative space and the boundaries between them are not clear – they are connected.</emph> </p> <p>Each person created a set of footprint impressions which gave an intense focus to the bodies of children, their disappearance, and their final, secret resting places underground (see Figure 1). Upon reflection, this became a gesture of remembrance, quiet contemplation, a funerary tone. Teachers who chose not to participate appeared actively engaged encircling the art installation, which took on a commemorative quality as SWI participants and others witnessed the embodied learning and reverence within the making. It took considerable time to create only about 34 pairs of footprints; thousands of children died in Residential Schools (Truth and Reconciliation Commission of Canada, [<reflink idref="bib56" id="ref85">56</reflink>]).</p> <p>Graph: Figure 1. Collaborative soil work installation honouring children who never came home.</p> <p>In moving from the pop-up soil installation we had just composed, I guided the group to another spot in a more public part of the historical site where there was more pedestrian and vehicle traffic. It was here where we created the final soil installation of an image of a turtle representing multiple truths. This installation showed how soil work creates sites of activism and places of resistance. The turtle installation (see Figure 2) was created on a central cobblestone cul-de-sac. Attempts to complete the installation were stopped due to an encounter with park authorities who called for its removal and questioned our intentions. This confrontation was an aporetic encounter that required in-the-moment responses, criticality, and discernment. The encounter brought my attention to how the complicated aspects of a hidden curriculum – unspoken rules of what is valued, how we move in spaces, unwritten expectations of schools – extend beyond school walls. The confrontations in the making of this art installation called into question what stories are allowed and valued in public places, and revealed the unwritten rules around how this type of learning should look and where it belongs (or doesn't). This is a story that will be told more fully at another point in time, but for now, it reminds me of the words of Indigenous scholar, Andreotti ([<reflink idref="bib2" id="ref86">2</reflink>]), who asks: What kind of education could help us find hope in precisely "not having absolute answers" and being frequently challenged in our encounters with difference? (p. 24).</p> <p>Graph: Figure 2. Collaborative soil art installation representing truths and creation stories of Turtle Island.</p> <p>Katya draws our attention to composing with soil in relation to "affective expressions" (Massumi, [<reflink idref="bib41" id="ref87">41</reflink>], p. 8). With Katya, we are thinking about de/composing pedagogies as art-making practices (i.e. working with elements of art such as lines, shapes, colours, forms, textures, space, and value), paired with a decolonizing lens. As Katya describes, responding to injustice as artists and composers can mean engaging in practices and expressions with an "intensity that is often too extreme to be expressed in words" (p. 9). De/composing pedagogies recognizes that there is an "ethical value" to composing and "what it brings out in the situation, for its transformation, how it breaks sociality open" (p. 11). In creating pop-up soil art installations in a public, historical site, we were interrupting (for us as composers, but also for park visitors and park authorities) the "flow of meaning taking place [in place]: the normalized interrelations and interactions that are happening and the functions that are being fulfilled" (Massumi, [<reflink idref="bib41" id="ref88">41</reflink>], pp. 8–9).</p> <p>Important to affect theory and hope in theorizing de/composing pedagogies is a shift in understanding power: "you have to get rid of the idea as power or constraint as power over. It's always a power to. The greatest power of the law is the power to form us" (Massumi, [<reflink idref="bib41" id="ref89">41</reflink>], p. 18). In our role as educators, it's significant to understand that "power doesn't just force us down certain paths, it puts the paths in us, so by the time we learn to follow its constraints we're following ourselves" (pp. 18–19). Power in the forms of racism, colonialism, sexism, and discrimination don't just "c[o]me at us from outside" as an "extrinsic relation" (p. 19). As Massumi explains, we can't just step off or stop following the path and expect "things like sexism will just disappear" (p. 19). Power "comes up into us from the field of potential. It 'in-forms' us ... and it emerges with us – we actualize it" (p. 19).</p> <p>Katya alludes to an encounter with park authorities at the end of the day. The authorities confronted those of us who had stayed to complete the turtle installation about the "mess" we were creating with the "dirt" and who would be cleaning up this act of "vandalism." In a moment, "the hope" we had felt with "the feeling of potentialization and enablement" in composing the turtle was "doubled by insecurity and fear" by the authorities (Massumi, [<reflink idref="bib41" id="ref90">41</reflink>], p. 30). The confrontation was exacerbated when we realized the park ranger had been videorecording us. Viscerally, we felt what Massumi ([<reflink idref="bib41" id="ref91">41</reflink>]) describes as an instantaneous judgement or calculation "as to how [to] respond" (p. 9). Our reflective art-making was forced to "rearray itself around that irruption," to "deal with the intensity in one way or another" (p. 9). As Michelle moved to de-escalate the situation by asking to speak with the park ranger one-on-one, a few steps away, Jen and Katya spoke to SWI participants about resistance, erasure, and our felt-embodied responses. These conversations, and the shared experience, produced an affective charge, "a reconfiguration" (p. 9) of the pedagogical encounter because of our interaction with the public.</p> <p>Katya draws our attention as educators to the potential of writing/composing with students in public spaces and as public provocations (Ferguson, [<reflink idref="bib20" id="ref92">20</reflink>]). In embodied and material ways, Katya's invitations exemplify place-based, collective, and ephemeral composing/making practices as a response and a call to issues of injustice. In the first invitation, Katya planned a composition created through the repetition of motion/movement (placing shoe, sifting soil) to provide a meditative and reflective space for composers. In the second, Katya gave an open-ended invitation to create individual pieces to contribute to a collective composition. In both instances, Katya draws our attention to hope in de/composing pedagogies as artivism.</p> <hd id="AN0183195847-8">Conclusion</hd> <p>In a final meeting as a collective of educators and writers, we asked each other the question, "What is hopeful in de/composing?" The poem below was found in the transcript of our responses.</p> <hd1 id="AN0183195847-9">what is hopeful in de/composing?</hd1> <p>compositions and pedagogies, not gone,</p> <p>broken-down nutrients from previous practices</p> <p>feed us</p> <p>become what may be possible for us, within us.</p> <p>we contribute, we parse and pass on:</p> <p>slow noticings of cracked riverbanks</p> <p>soil blowing away</p> <p>frog emerging from ice</p> <p>our own bodies.</p> <p>elements of transition</p> <p>nourishing new life</p> <p>As educators, we feel the tensions and constraints that limit, restrain, and stifle. Flipping those constraints involves seeing the potential that's always there – the hope in "the margin of manoeuvrability" (Massumi, [<reflink idref="bib41" id="ref93">41</reflink>], p. 3) that we feel/sense in our practices and pedagogies. We have conceptualized <emph>de/composing pedagogies</emph> to help us name, describe, experience, and examine – individually and collectively – what is moving us and our practice more intensely and deeply; what is making possible new ways of being/becoming/doing for us and for our co-learners (e.g. the teachers and students we work with); and what is expanding "where we might be able to go and what we might be able to do" (Massumi, [<reflink idref="bib41" id="ref94">41</reflink>], p. 3) as writers/composers/educators in and across various situations and contexts. As (re)sources of hope, these six elements prompt interrelated questions in/for our practice:</p> <p> <emph>Experimentation</emph>—What room are we giving ourselves and our students to experiment and play as composers/writers? In what ways are we experimenting with meaning, materials, movement? What lenses can we use to notice/sense/feel what is emerging? What happens when we try things out in different contexts (classrooms, communities, etc.), over time?</p> <p> <emph>Embodiment</emph>— In our writing/composing, how are we foregrounding our bodies as places of knowing, listening, and communicating knowledge? How are we becoming more attuned to what we feel/sense? How do we invite understandings that occur outside of language into meaning-making? In what ways are we scaffolding practices and processes of embodied experience?</p> <p> <emph>Emphasis on Relation &amp; (Re)Connection</emph>—How are we reconnecting education to the wholeness of being(s) living in an emotive, concrete world? What connections are we fostering/encouraging students to make with the more-than-human and our place in "the family of things" (Oliver, [<reflink idref="bib45" id="ref95">45</reflink>], p. 347)? In what ways are we becoming aware of the patterns, rhythms, and cycles that we are part of, that are a part of us, part of the larger story of life? In what forms of making/composing are we creating deep body-mind-spirit connections with the natural world? How are we inviting new ways of coming to understanding our physical, mental, emotional, and spiritual connections to place?</p> <p> <emph>Ephemeral and Material</emph>—How do we practice (and model) letting our creations change/go/become something else? How are we engaging with the digital and material as embodied creative practices in and out of our classrooms? What happens when we experiment with digital and material tools as ways of perceiving/conceiving of the world? How are our relations with the material and digital changing? What intensifies our lives and art-making practices? Where do we feel tensions and potential in our creative work as teachers and students?</p> <p> <emph>(E)Motion—</emph> In our curriculum and pedagogy, how are we moving/making as (re)sources for responding to our feelings, memories, and emotions? What pedagogical and creative processes release the pressure to generate unique ideas and/or products, but invite us to think/act/do/be/feel more deeply?</p> <p> <emph>Emergence of Meaning-Making</emph>—What time and space do we give for creating together and apart? What participants and audiences are we inviting in/to our work? How are we designing educational experiences and literacy practices that attune learners to the felt-sense meanings of texts—their own and others? How are we valuing open-endedness and emergence in terms of where our compositions take us and where they/we need to go? What do we do with the encounters that challenge us?</p> <p>Pedagogies don't sit still; they are constantly moving and in flux, responsive in shape and form to the elements around them. And while we plan for slow walks, carry and hide bags of soil, and go to the bottom of a lake with an iPhone camera, what emerges through our pedagogies is always indeterminate, unpredictable, unexpected, and unknown. It is always more than what we can conceive or imagine. We find that hopeful. 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Michelle's work draws upon sociomaterial, transcultural, decolonial, multimodal, and critical theories, with current projects in areas of post-qualitative sociomaterial practitioner inquiry methodologies, place-writing, and assessment. She is the co-founding director of the Manitoba Writing Project.</p> <p>Watt Jennifer is an Assistant Professor at the University of Manitoba in the Faculty of Education. Her research focuses on the complexities of how literacies contribute to the well-being and well becoming of students, teachers, and communities in and out of schools. Watt focuses on the potential of place writing and place walking practices to forge holistic and justice-focused relationality. In her most recent work, Watt is exploring how popular media can be a catalyst for discussing and dispersing difficult knowledge about gender based sexual violence in K-12 schools.</p> <p>Roche Sarah is an elementary school performing arts teacher and dance specialist. She provides professional learning to teachers and teacher candidates in arts integration across the curriculum. She received her M.Ed with a Language and Literacy focus from the University of Manitoba. Sarah is interested in the connections between embodied and classroom literacies; curious how embracing embodied ways of knowing and a creative, playful practice can support teacher and student wellness, multimodal expression, risk-taking and flexibility within educational settings.</p> <p>Cain Noah is a school counsellor, multimodal artist, and critic. He received a bachelor's degree in English and Education from Lakehead University and a master's in Curriculum, Teaching, and Learning (M.Ed) from University of Manitoba. His creative work and criticism has appeared or is forthcoming in publications across North America, including EVENT, Yolk Literary Journal , and Glass: A Journal of Poetry. His research explores embodied creative practice, memory, and multiliteracies.</p> <p>Katya Ferguson is a settler artist, teacher, and PhD Candidate at the Faculty of Education at the University of Manitoba whose research engages creative intersections between place, land, and art and relational practices for young children and adults. Katya is Co-editor of Resurgence: Engaging with Indigenous Narratives and Cultural Expressions In and Beyond the Classroom and is committed to interdisciplinary partnerships to mobilize the Calls for Justice of Canada's National Inquiry into Missing and Murdered Indigenous Women and Girls.</p> </aug> <nolink nlid="nl1" bibid="bib41" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib54" firstref="ref3"></nolink> <nolink nlid="nl3" bibid="bib44" firstref="ref6"></nolink> <nolink nlid="nl4" bibid="bib50" firstref="ref7"></nolink> <nolink nlid="nl5" bibid="bib58" firstref="ref8"></nolink> <nolink nlid="nl6" bibid="bib42" firstref="ref9"></nolink> <nolink nlid="nl7" bibid="bib17" firstref="ref13"></nolink> <nolink nlid="nl8" bibid="bib24" firstref="ref14"></nolink> <nolink nlid="nl9" bibid="bib31" firstref="ref15"></nolink> <nolink nlid="nl10" bibid="bib35" firstref="ref16"></nolink> <nolink nlid="nl11" bibid="bib37" firstref="ref17"></nolink> <nolink nlid="nl12" bibid="bib43" firstref="ref18"></nolink> <nolink nlid="nl13" bibid="bib52" firstref="ref19"></nolink> <nolink nlid="nl14" bibid="bib15" firstref="ref20"></nolink> <nolink nlid="nl15" bibid="bib27" firstref="ref21"></nolink> <nolink nlid="nl16" bibid="bib48" firstref="ref22"></nolink> <nolink nlid="nl17" bibid="bib59" firstref="ref23"></nolink> <nolink nlid="nl18" bibid="bib47" firstref="ref24"></nolink> <nolink nlid="nl19" bibid="bib21" firstref="ref25"></nolink> <nolink nlid="nl20" bibid="bib26" firstref="ref26"></nolink> <nolink nlid="nl21" bibid="bib57" firstref="ref27"></nolink> <nolink nlid="nl22" bibid="bib34" firstref="ref29"></nolink> <nolink nlid="nl23" bibid="bib18" firstref="ref30"></nolink> <nolink nlid="nl24" bibid="bib28" firstref="ref31"></nolink> <nolink nlid="nl25" bibid="bib32" firstref="ref33"></nolink> <nolink nlid="nl26" bibid="bib49" firstref="ref34"></nolink> <nolink nlid="nl27" bibid="bib19" firstref="ref35"></nolink> <nolink nlid="nl28" bibid="bib22" firstref="ref36"></nolink> <nolink nlid="nl29" bibid="bib38" firstref="ref38"></nolink> <nolink nlid="nl30" bibid="bib29" firstref="ref39"></nolink> <nolink nlid="nl31" bibid="bib12" firstref="ref40"></nolink> <nolink nlid="nl32" bibid="bib36" firstref="ref42"></nolink> <nolink nlid="nl33" bibid="bib53" firstref="ref43"></nolink> <nolink nlid="nl34" bibid="bib30" firstref="ref44"></nolink> <nolink nlid="nl35" bibid="bib23" firstref="ref47"></nolink> <nolink nlid="nl36" bibid="bib11" firstref="ref55"></nolink> <nolink nlid="nl37" bibid="bib55" firstref="ref61"></nolink> <nolink nlid="nl38" bibid="bib25" firstref="ref62"></nolink> <nolink nlid="nl39" bibid="bib33" firstref="ref63"></nolink> <nolink nlid="nl40" bibid="bib39" firstref="ref64"></nolink> <nolink nlid="nl41" bibid="bib10" firstref="ref66"></nolink> <nolink nlid="nl42" bibid="bib16" firstref="ref67"></nolink> <nolink nlid="nl43" bibid="bib46" firstref="ref68"></nolink> <nolink nlid="nl44" bibid="bib40" firstref="ref70"></nolink> <nolink nlid="nl45" bibid="bib60" firstref="ref80"></nolink> <nolink nlid="nl46" bibid="bib51" firstref="ref81"></nolink> <nolink nlid="nl47" bibid="bib14" firstref="ref82"></nolink> <nolink nlid="nl48" bibid="bib13" firstref="ref83"></nolink> <nolink nlid="nl49" bibid="bib56" firstref="ref84"></nolink> <nolink nlid="nl50" bibid="bib20" firstref="ref92"></nolink> <nolink nlid="nl51" bibid="bib45" firstref="ref95"></nolink> |
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| Items | – Name: Title Label: Title Group: Ti Data: Movement, Movie-Making, and Soil Art: Hope in Affectively De/Composing Pedagogies – Name: Language Label: Language Group: Lang Data: English – Name: Author Label: Authors Group: Au Data: <searchLink fieldCode="AR" term="%22Michelle+Honeyford%22">Michelle Honeyford</searchLink><br /><searchLink fieldCode="AR" term="%22Jennifer+Watt%22">Jennifer Watt</searchLink><br /><searchLink fieldCode="AR" term="%22Sarah+Roche%22">Sarah Roche</searchLink><br /><searchLink fieldCode="AR" term="%22Noah+Cain%22">Noah Cain</searchLink><br /><searchLink fieldCode="AR" term="%22Katya+Ferguson%22">Katya Ferguson</searchLink> – Name: TitleSource Label: Source Group: Src Data: <searchLink fieldCode="SO" term="%22Pedagogies%3A+An+International+Journal%22"><i>Pedagogies: An International Journal</i></searchLink>. 2025 20(1):160-180. – Name: Avail Label: Availability Group: Avail Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals – Name: PeerReviewed Label: Peer Reviewed Group: SrcInfo Data: Y – Name: Pages Label: Page Count Group: Src Data: 21 – Name: DatePubCY Label: Publication Date Group: Date Data: 2025 – Name: TypeDocument Label: Document Type Group: TypDoc Data: Journal Articles<br />Reports - Descriptive – Name: Audience Label: Education Level Group: Audnce Data: <searchLink fieldCode="EL" term="%22Elementary+Secondary+Education%22">Elementary Secondary Education</searchLink><br /><searchLink fieldCode="EL" term="%22Elementary+Education%22">Elementary Education</searchLink><br /><searchLink fieldCode="EL" term="%22Secondary+Education%22">Secondary Education</searchLink><br /><searchLink fieldCode="EL" term="%22Higher+Education%22">Higher Education</searchLink><br /><searchLink fieldCode="EL" term="%22Postsecondary+Education%22">Postsecondary Education</searchLink> – Name: Subject Label: Descriptors Group: Su Data: <searchLink fieldCode="DE" term="%22Elementary+Secondary+Education%22">Elementary Secondary Education</searchLink><br /><searchLink fieldCode="DE" term="%22Elementary+School+Teachers%22">Elementary School Teachers</searchLink><br /><searchLink fieldCode="DE" term="%22Secondary+School+Teachers%22">Secondary School Teachers</searchLink><br /><searchLink fieldCode="DE" term="%22Teacher+Educators%22">Teacher Educators</searchLink><br /><searchLink fieldCode="DE" term="%22Dance+Education%22">Dance Education</searchLink><br /><searchLink fieldCode="DE" term="%22Movement+Education%22">Movement Education</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Education%22">Art Education</searchLink><br /><searchLink fieldCode="DE" term="%22Film+Production%22">Film Production</searchLink><br /><searchLink fieldCode="DE" term="%22Film+Study%22">Film Study</searchLink><br /><searchLink fieldCode="DE" term="%22Handheld+Devices%22">Handheld Devices</searchLink><br /><searchLink fieldCode="DE" term="%22Interdisciplinary+Approach%22">Interdisciplinary Approach</searchLink><br /><searchLink fieldCode="DE" term="%22Writing+Across+the+Curriculum%22">Writing Across the Curriculum</searchLink><br /><searchLink fieldCode="DE" term="%22Affective+Behavior%22">Affective Behavior</searchLink><br /><searchLink fieldCode="DE" term="%22Affective+Objectives%22">Affective Objectives</searchLink><br /><searchLink fieldCode="DE" term="%22Curriculum+Development%22">Curriculum Development</searchLink><br /><searchLink fieldCode="DE" term="%22Curriculum+Enrichment%22">Curriculum Enrichment</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Change%22">Educational Change</searchLink><br /><searchLink fieldCode="DE" term="%22Collaborative+Writing%22">Collaborative Writing</searchLink><br /><searchLink fieldCode="DE" term="%22Teacher+Student+Relationship%22">Teacher Student Relationship</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Philosophy%22">Educational Philosophy</searchLink><br /><searchLink fieldCode="DE" term="%22Discovery+Learning%22">Discovery Learning</searchLink><br /><searchLink fieldCode="DE" term="%22Discovery+Processes%22">Discovery Processes</searchLink> – Name: DOI Label: DOI Group: ID Data: 10.1080/1554480X.2024.2435921 – Name: ISSN Label: ISSN Group: ISSN Data: 1554-480X<br />1554-4818 – Name: Abstract Label: Abstract Group: Ab Data: In the complexities of current realities, we are a writing collective of educators interested in placing hope in the present, particularly in composing practices and pedagogies. Drawing on a post-qualitative methodology, we weave together examples of practices of dance/movement, digital movie-making, and soil artivism with specific concepts of affect-as/is-hope. As a counternarrative to writing pedagogies and assessments that are increasingly standardized, product-oriented, technical, rational, and disembodied, we introduce the term de/composing pedagogies to conceptualize the potential in processes of becoming/making/meaning-making that are always something else/more/different and even less. De/composing pedagogies help us name, describe, experience, and examine -- individually and collectively -- what is moving us and our practices more intensely and deeply; what is making possible new ways of being/becoming/doing for us and for our co-learners (e.g. the teachers and students we work with); and what is expanding potential for us as writers/composers/educators in and across various situations and contexts. As (re)sources of hope, we close with pedagogical questions related to composing through/with elements of experimentation, embodiment, an emphasis on relation and (re)connection, ephemeral and material elements, (e)motion, and the emergence of meaning-making. – Name: AbstractInfo Label: Abstractor Group: Ab Data: As Provided – Name: DateEntry Label: Entry Date Group: Date Data: 2025 – Name: AN Label: Accession Number Group: ID Data: EJ1467154 |
| PLink | https://search.ebscohost.com/login.aspx?direct=true&site=eds-live&db=eric&AN=EJ1467154 |
| RecordInfo | BibRecord: BibEntity: Identifiers: – Type: doi Value: 10.1080/1554480X.2024.2435921 Languages: – Text: English PhysicalDescription: Pagination: PageCount: 21 StartPage: 160 Subjects: – SubjectFull: Elementary Secondary Education Type: general – SubjectFull: Elementary School Teachers Type: general – SubjectFull: Secondary School Teachers Type: general – SubjectFull: Teacher Educators Type: general – SubjectFull: Dance Education Type: general – SubjectFull: Movement Education Type: general – SubjectFull: Art Education Type: general – SubjectFull: Film Production Type: general – SubjectFull: Film Study Type: general – SubjectFull: Handheld Devices Type: general – SubjectFull: Interdisciplinary Approach Type: general – SubjectFull: Writing Across the Curriculum Type: general – SubjectFull: Affective Behavior Type: general – SubjectFull: Affective Objectives Type: general – SubjectFull: Curriculum Development Type: general – SubjectFull: Curriculum Enrichment Type: general – SubjectFull: Educational Change Type: general – SubjectFull: Collaborative Writing Type: general – SubjectFull: Teacher Student Relationship Type: general – SubjectFull: Educational Philosophy Type: general – SubjectFull: Discovery Learning Type: general – SubjectFull: Discovery Processes Type: general Titles: – TitleFull: Movement, Movie-Making, and Soil Art: Hope in Affectively De/Composing Pedagogies Type: main BibRelationships: HasContributorRelationships: – PersonEntity: Name: NameFull: Michelle Honeyford – PersonEntity: Name: NameFull: Jennifer Watt – PersonEntity: Name: NameFull: Sarah Roche – PersonEntity: Name: NameFull: Noah Cain – PersonEntity: Name: NameFull: Katya Ferguson IsPartOfRelationships: – BibEntity: Dates: – D: 01 M: 01 Type: published Y: 2025 Identifiers: – Type: issn-print Value: 1554-480X – Type: issn-electronic Value: 1554-4818 Numbering: – Type: volume Value: 20 – Type: issue Value: 1 Titles: – TitleFull: Pedagogies: An International Journal Type: main |
| ResultId | 1 |
