Tag Archives: Pedagogy of the Oppressed

Thoughts on our Second Session (Micro-teaching) and Object-based learning – PGCert Theories, Policies and Practices / Part 2-3 Reflecting on educational approaches towards acting and storytelling contextual lessons

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While Meecham’s essay focuses on object-based learning and internationalisation of the curriculum, and Hobgood’s work centres on the mission of the theatre teacher, both texts share a common vision of transformative pedagogy. They highlight the importance of experiential learning, dialogue, collaboration, and cultural context in promoting empathy, critical consciousness, and intercultural competence among students. By integrating innovative pedagogical approaches, both authors offer valuable insights into the potential of education to foster meaningful engagement with diverse cultures and perspectives.

I shall now expand this conversation into a reflection between the Internationalisation of the Curriculum as described by Meecham (2015) and Brazilian Theatre practitioner and pedagogue Augusto Boal’s approach of Theatre of the Oppressed (1974). Here also, despite the apparent differences in their methodologies, there are several parallels that can be traced between their approaches:

  • Empowerment Through Participation:
    • Both Meecham’s approach and Boal’s techniques prioritise active participation in the learning process. Meecham emphasises engagement with objects as a means to stimulate dialogue and critical thinking, while Boal’s “Theatre of the Oppressed” encourages marginalised communities to actively participate in theatrical performances, thereby empowering them to voice their concerns and aspirations.
  • Critical Consciousness and Dialogue:
    • Both approaches aim to foster critical consciousness and dialogue among participants. Meecham suggests that engaging with objects can prompt reflection and dialogue, challenging preconceived notions and fostering intercultural understanding. Similarly, Boal’s techniques, such as Forum Theatre, encourage participants to critically examine social issues and engage in dialogue to explore potential solutions.
  • Cultural Sensitivity and Diversity:
    • Both Meecham and Boal emphasise the importance of cultural sensitivity and diversity in their approaches. Meecham’s concept of internationalisation of the curriculum promotes the integration of diverse cultural perspectives into educational practices. Similarly, Boal’s “Theatre of the Oppressed” recognizes the importance of incorporating the cultural context of participants into theatrical performances, allowing for authentic expression and representation.
  • Social Transformation:
    • Both approaches advocate for social transformation and empowerment. Meecham’s internationalisation of the curriculum seeks to broaden students’ perspectives and promote global citizenship, thereby contributing to positive social change. Similarly, Boal’s “Theatre of the Oppressed” aims to empower marginalised communities to identify and challenge systems of oppression, ultimately leading to social transformation.
  • Experiential Learning and Reflection:
    • Both Meecham and Boal emphasise the value of experiential learning and reflection in their approaches. Meecham suggests that engaging with objects can prompt experiential learning and stimulate reflection on complex issues. Similarly, Boal’s techniques encourage participants to actively engage in theatrical performances, allowing for experiential learning and reflection on real-world problems.
Augusto Boal

Pam Meecham’s concept of “Internationalisation of the Curriculum” through object-based learning and Augusto Boal’s approach with the “Theatre of the Oppressed” may seem distinct at first glance, however, they share several key parallels in their emphasis on empowerment, critical consciousness, cultural sensitivity, social transformation, and experiential learning. Both approaches offer fantastic insights into innovative pedagogical practices that aim to promote inclusive education and positive social change, which are paramount to any positive educational process to take place and are principles that guide my own approach to teaching on the BA Acting and Performance.

Encouraging students to explore their own unique voice and perspective through acting and storytelling fosters creativity and self-expression, while also promoting empathy and understanding of diverse perspectives. Furthermore, providing constructive feedback and opportunities for reflection allows students to refine their craft and grow as artists. Ultimately, a student-centered approach that values collaboration, experimentation, and intercultural theoretical and conceptual contexts, in my opinion, lays the foundation for a fulfilling and transformative learning experience in acting and storytelling for undergraduate students.

To be continued…

Thoughts on our First Session – PGCert Theories, Policies and Practices – On Transformative Approaches to Pedagogy

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“An A/r/tographic Métissage: Storying the Self as Pedagogic Practice” by Osler et al. and Paulo Freire’s “Pedagogy of the Oppressed” albeit being two distinct texts, can be seen as interconnected works that share a common thread in their commitment to transformative pedagogy. While Freire’s seminal work focuses on the liberation of oppressed individuals through guiding them on a path towards self-reflective and critical thinking, Osler’s essay explores the transformative potential of a/r/tography in the realm of education. Let’s delve into the comparison, shall we?

In “Pedagogy of the Oppressed,” Freire emphasises the importance of dialogue and participatory education. He states that “…[d]ialogue cannot exist without humility. How can I dialogue if I always project ignorance onto others and never perceive my own? It’s a rare person who is humble enough to listen to his peers; most of us are committed to winning.”

This echoes Osler’s approach to a/r/tography, where the authors engage in a reflective and dialogical process, opening up a space for self-interrogation and shared narratives, fostering humility and openness to diverse perspectives. Both works recognize the value of breaking hierarchical structures in education to create an environment conducive to mutual learning.

On one hand, Freire discusses the concept of conscientisation assuming that “…[c]onscientisation is indispensable to the pedagogy of the oppressed. It is an act of cognition, not transfer of information.” On the other hand, Osler emphasises self-discovery through non-linear networks of knowledge and exchange of practices. Through the thinking proposed by both studies, the process of storying the self then becomes a means of conscientisation, a journey towards self-awareness and critical reflection.

Moreover, Osler stresses the role of visual and artistic elements in education – “The visual provides an alternative language, one that can transcend the limitations of verbal expression alone.” This resonates with Freire’s acknowledgment of different modes of communication and the need to consider the cultural context in education. Both works advocate for a more inclusive and multimodal approach to pedagogy which should be every educator’s primordial concern. 

For example, our first session had the objective to enhance our collaborative and shared experiences, however, our session was set up in a auditorium-like room, where chairs could not be moved, and we were positioned to look at a small stage in front of us where we could see the projection prepared by our tutors Chris and Linda. In future, I would expect the accessibility and appropriateness of the room to be factored in for all interactive activities – yet, I completely understand that due to room availability and administrative bureaucracy, it is not always simple to marry all those concepts at once.

In conclusion, while Freire’s “Pedagogy of the Oppressed” lays the foundation for critical pedagogy and conscientization, Osler et al.’s extend this discourse by incorporating a/r/tography as a transformative pedagogic practice. Both works share a commitment to breaking oppressive structures in education, promoting dialogue, and recognising the diverse ways in which individuals can engage with and contribute to the learning process – something that should be the core of all teaching approaches.

Interesting words and parallels brought by the readings:

A/r/tographer – (Irwin, 2013 – Becoming A/r/tography) A/r/tography is a research methodology, a creative practice, and a performative pedagogy that lives in the rhizomatic practices of the in-between. Resisting the tendency for endless critique of past experience and bodies of knowledge, a/r/tography is concerned with the creative invention of concepts and mapping the intensities experienced in relational, rhizomatic, yet singular, events.

Métissage – miscegenation (french root) “We take métissage as a counternarrative to the grand narrative of our times, a site for writing and surviving in the interval between different cultures and languages, particularly in colonial contexts; a way of merging and blurring genres, texts, and identities; an active literary stance, political strategy, and pedagogical praxis…We braid strands of place and space, memory and history, ancestry and (mixed) race, language and literacy, familiar and strange, with strands of tradition, ambiguity, becoming, (re)creation, and renewal into a métissage.” (Hasebe-Ludt, Chambers, and Leggo 2009, 9 – Life Writing and Literary Métissage as an Ethos for Our Times,) 

Anthropophagy – as conceived by Brazilian Modernist Oswald de Andrade, it involves metaphorically “eating” or assimilating elements from other cultures. It suggests a process of cultural cannibalism where diverse influences are ingested and transformed into something uniquely Brazilian. Similar to Métissage, Anthropophagy rejects the idea of a hierarchical order among cultures. It challenges the dominance of European cultural traditions and advocates for a more egalitarian and inclusive approach to cultural expression. Anthropophagy encourages the creative transformation of external influences. Instead of passively adopting foreign elements, it promotes the reinterpretation and adaptation of these elements to suit the local context, contributing to the formation of a distinct cultural identity.

Hybridity and Transformation:

  • Both Métissage and Anthropophagy celebrate hybridity and transformation. They view cultural exchange as a dynamic process that leads to the creation of new and unique forms rather than mere imitation or assimilation.

Rejection of Cultural Purity:

  • Both concepts challenge the notion of cultural purity. They embrace the idea that cultures are inherently interconnected, and richness arises from the interplay of diverse influences.

Inclusive Cultural Identity:

  • Métissage and Anthropophagy advocate for an inclusive cultural identity that transcends narrow definitions. They encourage a broader, more open-minded perspective that values contributions from various cultural sources.