Vivian Maria Vasquez
Changing student demographics, globalization, and flows of people resulting in classrooms where students have variable linguistic repertoire, in combination with new technologies, has resulted in new definitions of what it means to be literate and how to teach literacy. Today, more than ever, we need frameworks for literacy teaching and learning that can withstand such shifting conditions across time, space, place, and circumstance, and thrive in challenging conditions. Critical literacy is a theoretical and practical framework that can readily take on such challenges creating spaces for literacy work that can contribute to creating a more critically informed and just world. It begins with the roots of critical literacy and the Frankfurt School from the 1920s along with the work of Paulo Freire in the late 1940s (McLaren, 1999; Morrell, 2008) and ends with new directions in the field of critical literacy including finding new ways to engage with multimodalities and new technologies, engaging with spatiality- and place-based pedagogies, and working across the curriculum in the content areas in multilingual settings. Theoretical orientations and critical literacy practices are used around the globe along with models that have been adopted in various state jurisdictions such as Ontario, in Canada, and Queensland, in Australia.
Kathleen Gallagher, Rachel Rhoades, Sherry Bie, and Nancy Cardwell
The field of drama education and applied theater is best understood through a consideration of the major developments and aspirations that have shaped its trajectory over three historical periods: the latter years of the 19th century up until 1960, between 1960 and 1990, and the years encompassing the turn of the 21st century, 1990–2015, which was a decidedly more globalized epoch. The drama education/applied theater scholarship of the English-speaking world, including the United Kingdom, Europe, Australia and New Zealand, and North America, offers a fascinating distillation of the relationship between making drama and learning, including the history of alternative forms of education. Scholarship from Asia drawing on traditional forms of theater-making, as well as imported and adapted structures of Western drama education movements, speak to hybrid and ever-expanding practices across the globe.
Although young as a discipline within the academy, drama education/applied theater has all but made up for its relative immaturity by spanning a wide domain of multidisciplinary thinking, embracing an eclectic theoretical field that covers an enormous breadth of social issues and a vast range of learning theories, while straddling a compelling spectrum of political positions. The development of the field is infused with pioneering ideas that broke with entrenched historical traditions and habitual ways of learning, harkening toward new ways of thinking, being, relating, and creating. Taking the world as its source material and humanity as its target audience, the history of the progressive discipline of drama education/applied theater tells the story of an ambitious, flawed, idealized, politicized, divisive, and deeply humanistic scholarly and practice-driven field.
Interdisciplinary curricula provide students the opportunity to work with knowledge drawn from multiple disciplines. Following suit, interdisciplinary learning requires interaction of knowledge from different disciplines; integration of knowledge from different disciplines; and an overarching topic, theme, or problem that shapes the learning experience. Since the university curriculum is commonly structured by academic disciplines, and faculty are socialized to their respective disciplinary norms, interdisciplinarity is a complex endeavor for colleges and universities. These endeavors include developing interdisciplinary courses, sustaining interdisciplinary initiatives, and financing interdisciplinary programs.
Given the multiple challenges facing 21st-century society, the question of interdisciplinarity is urgent. How knowledge is defined and disseminated; how and what students learn; and how higher education can be responsive to its external environment are crucial issues facing educators. Responding to these issues does not diminish the role of the discipline in education, but rather acknowledges that knowledge is unbounded and potential discoveries lie outside compartmentalized structures.
Mary Jo Hinsdale
One could easily argue that the pedagogy of relation is not new: a genealogy of the approach would send us back to the ancient Greek philosophers. However, in recent years relational pedagogy has been taken up in novel and ever-deepening ways. It is a response to ongoing efforts at school reform that center on teacher and administrator accountability, based on a constraining view of education as the effective teaching of content. In this view, methods, curricula, and high-stakes testing overshadow the human relationship between teacher and student that relational pedagogy theorists place at the center of educational exchanges. When relationships are secondary to content, the result can be disinterested or alienated students and teachers who feel powerless to step outside the mandated curriculum of their school district.
Offering an alternative vision of pedagogy in a troubling era of teacher accountability, contemporary relational theorists take inspiration from a range of philosophical writings. This article focuses on those whose work is informed by the concept of caring, as developed by Nel Noddings, with the critical perspective of Paulo Freire, or the ethics of Emmanuel Levinas. Although these approaches to ethical educational relations do not necessarily mesh together easily, the tensions among them can bear fruit that informs our pedagogy.