I am currently inviting contributions to my forthcoming edited collection on performative pedagogies (within Art and Design education) for Peter Lang USA. Please see below abstract for details on the collection.
** I am particularly seeking submissions for the second section - the importance of bodies, senses and affects and thinking about how students engage their bodies. This section attempts to address the different bodily experiences of students. Some students because of their physicality are better positioned to be open to taking risks. I particuarly weclome submissions that address the issues that arise in differently racialized, gendered, classes and (dis)abled bodies **
Submissions are sought for the monograph (3-4,000 words) and the companion (2000 - 2500 words).
Please send 200-250-word abstract by January 15th, 2019 stating clearly which your submission relates to (monograph or companion), 5-10 keywords and if the monograph, please also state which part (disruptions/liminalities, senses/bodies/affects, or technologies)
Send to [log in to unmask]:
I look forward to receiving your submissions.
Artist and Lecturer in Academic Support
Camberwell College of Arts
University of the Arts London
LEAP INTO ACTION:
CRITICAL PERFORMATIVE PEDAGOGIES
IN ART & DESIGN EDUCATION
Edited by Dr Lee Campbell (University of the Arts London).
Publishers: Peter Lang USA
This collection comprises of a package of two publications (monograph and companion). The monograph begins with a critical foreword ‘Critical Performative Pedagogy: Principles, Practices and Processes’ laying out the field of Critical Performative Pedagogy as an extension of the term critical pedagogy followed by chapters that view performative teaching as encouraging an educational ethos grounded upon student engagement/experience in complex ideas and concepts ‘through action’. Whilst the monograph provides the theoretical, philosophical and conceptual terrain by setting forth the scholarly rationale as to what performative pedagogy is at this moment across Art & Design education, an accompanying instruction manual that is textbook – oriented for instructors to use operates as a 'how to' guide on using performative pedagogies, on the sophisticated deployment of performative strategies in action, in practice. Contributing to new knowledge in the field of Critical Performative Pedagogy, through theoretical, conceptual and practical investigation, evaluation and analysis, the collection asks: ‘What happens when performative arts meet pedagogy?’ and argues for the possibilities of the emerging field of ‘performative pedagogy’ and its potential as useful and applicable to enabling learning across Art & Design education, also to the benefit of other subject disciplines. Chapter contributions are made from individuals and groups across art and design disciplines who deploy innovative pedagogic approaches with an emphasis on performativity to drive learning and enhance the student experience. Whilst there is a long history of scholarly discussion of critical performative pedagogies, mainly and most recently within the context of language learning, no single volume has yet attempted to theorise, articulate and demonstrate the importance of applying such an approach to pedagogy to Art & Design education. To underline that Art & Design does not only happen within the institution, both publications (monograph and companion) provide rich material demonstrating practical usage in and out of the classroom (with greater emphasis in the companion) by bringing in and drawing upon the experiences of practitioners.
The volume is structured into three distinct yet interrelated discussions Each set of chapters proposes how performative pedagogies offer a means to challenge selected concerns facing Art & Design education and more broadly, similar concerns within teaching and learning in Higher Education today.
PART I: DISRUPTIONS, INTERVENTIONS, LIMINALITIES
The first set of chapters proposes how the strategies of performative pedagogy correspond to the terms: ‘disruption’, ‘intervention’ and ‘liminality’ and considers these applies these terms to teaching and learning as ‘risky’ pedagogic strategies / forms of creative expression that do not necessarily correspond with conventional criteria that lean towards focus, precision, clarity, coherence and structure.
PART II: PROXIMITIES AND ENCOUNTERS: BODIES, SENSES AND AFFECTS
The next set of chapters concentrates discussion on exploring further aspects of these terms but with focused emphasis on multisensory learning – using performative pedagogies to generate haptic, gustatory, olfactory and aural sensorial-immersive encounters in the classroom. These discussions collectively highlight and challenge a dominant approach in teaching and learning in the arts, the default reliance on the assumed primacy of the visual. Individual chapters advocate that learning can take place through our entire bodies; knowledge acquisition can be multisensory.
PART III: TECHNOPARTICPATION: TRAVERSING PHYSICAL/DIGITAL THRESHOLDS
The final set of discussions explore aspects of the three terms focusing on the increasing importance of digital and virtual realities in students’ lives to advocate that never has there been a time in which the meanings of access are so broadened via technological mediation – with some chapters emphasising how access via technological mediation draws on all senses.
The companion extends the research and the argumentation addressed in the monograph and gives readers (further) practical insight into how one might apply performative pedagogy in class; how it [performative teaching and learning] looks day to day – working with both undergraduate and graduate level students. Its narrative structure replicates the monograph in terms of thematic discussion, but the nature of the chapters is written in an instruction-manual style. Providing consistency across chapters, the presentation style of each chapter follows: 1) a contextual introduction outlining a specific innovative pedagogic performative strategy; 2) the strategy laid out as a set of instructions – Fluxus for teachers; and 3) a reflective paragraph to conclude. This presentation style, as discussed in the introductory foreword, echoes a three-stage learning process that I devised during PhD study, Anticipation, Action and Analysis, a reflective model of practice, described as an ‘original, practical and imaginative way of demonstrating reflective practice’.
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