Sojourn to South Africa

Next month, I will have the privilege of joining Dr. Mitchell and Dr. Jean Stewart in South Africa to work with their students at the University of KwaZulu Natal. Just below this paragraph is an open letter to the students. I invite you to post commentary and get involved in what I hope to be one of many online community forums that result from this project and sojourn.

To read more about the Centre for Visual Methodologies and Social Change, please visit their website: http://cvm.za.org/


Dear Knowledge Producers:

Dr. Mitchell and Dr. Stewart have told me many great things about your group and I have had the privilege of viewing your photos and videos brought to Canada, where I study with Dr. Mitchell. I am very excited to have the opportunity to meet all of you and share my teaching experience and ideas about creating an online community.

One way we can build an online community is by creating blogs. Blogs are online journals. Researchers that have written about blogs say "Bloggers are driven to document their lives, provide commentary and opinions, express deeply felt emotions, articulate ideas through writing, and form and maintain community forums" (Nardi et al, 2004, p. 41). One of the most important strategies of becoming a reflective and intentional teacher involves documenting our lives as teachers, expressing our opinions, emotions, and ideas through writing.

Blogs offer a unique online format that allows us to create our own personal online space with the ability to limit who can access and read our blog, post comments on our blog, and network other resources and information that may be beneficial to our ever-evolving teaching practices. Perhaps most importantly, blogging offers us teachers and soon-to-be teachers a communal outlet to network and develop existing relationships with our colleagues as well as build new relationships with educators in our own school districts, universities, and other world communities. With access to the Internet, we can adopt and utilize this free online space from websites like Blogger.com, WordPress.com, and LiveJournal.com. Using our own experiences of blogging, we can create the same learning experiences for our students as online access and computers are made available to them.

My objective as I work with you is to extend the activities and purposes of your work with Dr. Jean Stewart and Dr. Claudia Mitchell by helping you upload your photos, video productions, and reflections to a community blog that we'll create together. As we create this blog, you may also create your own blogs and continue to build upon the group experiences we share. Additionally, we will explore other social networking websites, video blogs, online games, and so on. I am very excited to meet all of you and look forward to our time together!

Yours truly,
John


Reference:
Nardi, B. A., Schiano, D. J., Gumbrecht, M. and Swartz, L. (2004, December). Why we blog. Communications of the ACM, 47 (12). pp. 41-46.

How can we live?

"How can we live?" is composed and performed by spoken word poet Award, whose profile can be viewed on Poetryclick.com. Award is depicted here.



Marcus Banks (2001) writes in his chapter "Encountering the visual" that "social researchers need to be aware of their own influences and orientations before they attempt to do research on the visual and visible aspects of culture and social life" (p. 13). As I have encountered and reproduced the visual images, still and moving, in this blog - Award's performance is among the most visually saturated with animated graphics, audio effects such as layering his own voice in the lyrical refrains of "How can we live?", and what Banks names "wallpaper shots" of posters, magazine covers, photo stills of AIDS victims, concept maps, demographic maps, charts illustrating statistics and awareness posters. Banks calls wallpaper shots "images that are largely or even completely redundant, either because they merely illustrate what is being said by the reporter or journalist, or because they are simply pleasant but bland images of location providing low-key visual interest as a background to a verbal presentation that is either abstract in nature or temporally remote" (p. 17). Applying Banks textual methods of analysis, online viewers are obligated to question both the mode of production the artist employs and the connotative intentionality of the producer. Assuming the artist and the producer are the same person, further examination is needed. Banks asserts:

"...from the standpoint of the overt intentionality of the images - the very ephemerality of the production as a whole may undercut most if not all attempts to seek deeper meaning. These images are highly contingent upon the circumstances of their production, and are often beamed live or almost live to the viewer, with very little time to consider image content or subsequent editing. Consequently, readings of the internal narrative - that is readings of the text of the image alone, uninformed by any ethnographic investigation into the social relations of such production - are largely unverifiable" (p. 17).

In order to spotlight the driving points - motifs of his lyrics - Award leaves most questions of intentionality up to the viewer - Why was a photograph taken and displayed at a particular point in the video? When? Under what circumstances? Who are the people depicted in certain photographs? What are they doing? Why are they doing it? How else might one represent the theme and motifs of Award's lyrics? (Banks, pp. 15-16). Especially notable are the tables and diagrams that Award presents as scientific representations of knowledge. Banks writes about these particular representations:

"These are techniques used to present information, both concrete and abstract, where spatial arrangement and non-linear order are necessitated and where the inevitable linear sequencing of words is insufficient. Non-indexical and often non-figurative visual representations such as these (that is, images that are not mechanical representations of reality, such as photographs) are common in social science texts and form a sub-category of the overall designissues surrounding the production of academic texts" (p. 23).

While his message is saturated by the symbolic realm of his chosen scientific depictions, the literal meanings are lost to the viewer who cannot determine much of the information displayed in the corresponding graphs and charts, nor are we able to identify the origins, original creators, or further identify a denotative meaning other than that of questioning ourselves: What do we know already regarding the motifs and theme of Award's poem/performance? How can we investigate the scientific information being depicted and referenced in this production? What conscious and unconscious experiences do we connote with the images? What conscious and unconscious experiences does the artist bring to his production? These questions frame a discussion of visual methods, but also questions imbued by media literacy studies that seek to empower viewers, users, and learners to problematize the media they/we encounter. Just as the artist may be problematizing his audience's perspectives on a topic in which there is much information available, but little or not enough concern. Yet, unfortunately, the epilogue/closing credits of Award's YouTube production lists the artist's copyright, website, an image of himself, and a promotion of his book available on Amazon.com and free booklet available for downloading on his personal website. These final frames, while self-promoting, are valued unfortunate by me due to what's missing: more information about his stated cause - How Can We Live with world AIDS issues? Where can we learn more about the visual images and scientific information the artist chose to represent in his production? What web resources does the artist find to be the most useful? What non-profit organizations does the artist support and does he encourage his viewers to support?

Perhaps strikingly different from media productions only a short decade ago contrasted with those today is that the power of new media allows viewers to not merely view the production on a video web posting site such as Youtube.com, but also view its statistics. As of 15:22 EST, the video has been viewed 2,503 times (including 3 times by me). It has been rated 13 times by viewers, all thirteen have rated it 5 out of 5 stars. 7 comments have been posted and 5 links (prior to my linking, which will appear upon this blog posting) have been posted on outside websites. Viewers can also see how many times the links posted on the outside sites have been clicked on to view the film directly from the site. For example, the top clicks the video received was 35 from a Zine site: http://mrzine.monthlyreview.org/. Viewers also have the option of nominating the video for Honors or adding the video to their "favorites list" from which the friends of viewers can have access to depending on the viewer's personal settings and/or the viewer her/himself can access repeated viewings of the video without conducting a search each log-in. A closer look at the seven comments posted reveals ephemeral nature of the video and its online audience; Comments are limited to 500 characters, limiting comments from longwinded exegeses: Username "intendingtoburn" wrote one year ago "A very challenging poem, it certainly left me with a lot to think about." Username "TLHoward" also wrote one year ago "This is a very moving poem, I have never got so emotional over a poem before. This has made me think." Another user, "callady30," writes one year ago "This poem really touched me deeply... How can we live?" User "Halmtier" asked 11 months ago "Want to change the world? Join our community today! It's fast, friendly, and free! www.rainesrevolution.com 'Average people conquering average problems'." The poet/video producer/Youtube user never responds to his audience, though his future audiences are also able to view prior reactions, respond, add their own or engage in dialogue with each other, which in effect is a video-blog. Treating this video as a case study, further efforts may be made to contact the artist and conduct online, over the phone, or in-person interviews to unpack the overt and subverted intentions of the artist's production, reactions to his viewers' comments and possible location of his larger goals for the work.


Reference:

Banks, Marcus. (2001). Encountering the visual. In Banks, M., Visual Methods in Social Research. Thousand Oaks, CA: Sage. pp. 13-48.

Impact of HIV/AIDS on children in Uganda

I think that perhaps the driving question of this short documentary created by "Plan" and addressed by one of its interviewees is how can communication about HIV/AIDS prevention education be developed between adults and children? What are the hurdles that stand between these two groups in local communities and what can organizations like plan do to facilitate this communication?

As I further examine the video, several documentary film methods are evident, such as the inflection/tone of the translator/reporter's voice as she 'gives voice' to the Ugandan children and adults interviewed, reflecting a sympathetic and borderline pitiful expression that connotes the severity of this social issue. Her inflection is corroborated by the music layered in at particular transitions between scenes, interviews and turning points. But distinctly noticeable is the tone of the adult and many of the children interviewees that required no translation, which is one of resolution that seems to connote a collective statement - we have accepted our losses; we are moving forward; Plan has helped pay for schooling, mosquito netting, and medicine; we are grateful; please support this organization. The difficulty of this analysis is critiquing the film methods without connoting value judgments upon the organization(s) that create these films to gain donations and outside support as well as present material evidence of their efforts to support communities struggling against the AIDS epidemic.

Where I see great potential is providing children and adults with the tools to create their own expressions, network within their own communities in the larger country they call home to re-empower themselves by having a greater role in that process. Below are two examples of performances by children, presumably African. Both are produced by non-profits, connoting that little participation beyond performing the poetry involved the children.

Two poems

Mapping the HIV & AIDS Strategic Plan for South Africa

The image displayed here is an excerpted page from the HIV & AIDS and STI Strategic Plan for South Africa, a 159 page document available in PDF to download from the South African government by following this link: http://www.info.gov.za/otherdocs/2007/aidsplan2007/index.html

Unlike the Google Map of South Africa geography, the concept map displayed here denotes the topography of South African policy on addressing HIV/AIDS infection in its region. While the majority of the plan is a series of charts, statistics, diagrams, graphs and graphic organizers, I chose one of two concept maps presented in the work - this particular one appearing on p. 129 entitled Figure 8: Structural Organization [of the "Implementing Agencies"]. Under "10.7 Implementing Agencies," the policy authors write:

"These are mainly provinces, districts, and local authorities. The private sector and NGOs augment the services that are provided by government. The structures for different government departments are designed to suit the specific needs of the departments, but the principle of intergovernmental relations are the same. It is envisaged that at provincial and district level, the same national level structures will be replicated so that the critical mass of human resources for effective programme implementation is in place."

With the use of diffuse language - policy jargon - I'm left wondering whether this paragraph serves as an interpretation of the concept map below it as positioned on the original document as no direct introduction is ever made of the graphic, nor is it clear how one should interpret the map as no rules of engagement are provided either. The map is simply displayed, the authors overt intention of demanding its readers to "make sense of it" including the many acronyms describing the implementing agencies that are defined earlier in the document. In the center of the map is SANAC written in white letters within a red colored box outlined with a thin black border and connecting the majority of other text boxes together. At the top of the map is the only other text box that is filled in by a color other than white, again the type is written in white and centered, "President and Deputy President; Cabinet." Certain boxes remain disconnected, such as "Cabinet Committee Meeting" written in black, white background, black outline - like the major of text boxes are formatted. Located tot he bottom left of black presidential box, the connotative meaning may be that cabinet committee meetings must occur under the direction of the President, Deputy President and Cabinet. Why this text box is floating below, rather than connected to, the presidential box is indeterminable. Connected directly below and bridging the black presidential box to the SANAC red box is the "Inter-Ministerial Committee (IMC) on AIDS." One possible denotative meaning of the connection bridging red and black boxes is that members of the black box report to the IMC, which reports to the SANAC, having no direct relations with SANAC. While several other examples throughout the map demonstrate the visual ambiguity of a concept map that seeks to denote a structural organization, when interpreting policy documents - the connotative meaning of such work lies in locating its intended audience - other policymakers.

Exploring textual methods in South Africa

View Larger Map


When I first searched for KwaZulu-Natal on Google Maps, I realized how necessary mapping was to my socio-cultural construction of reality. In order to envision this place, I needed to identify its location as the google map interactive image embedded above denotes for this blog's viewers. By clicking on the "Ter" option, I'm able to view the topographical landscape of the area, further imagining its climate, possible vegetation and animal populations. The connotative meanings are plentiful for me as I link my experiences in similar climates and terrains which are limited to North America and Europe and my interactions with animals from this region of Africa, which I have only viewed in captivity in North American zoological parks. But had the map been denotative of demographic information, such as cultural and ethnic groups, gender groups, or populations infected by HIV/AIDs, the connotative meanings I would assign and add to my construction of this micro-world prior to actually having experienced it would differ greatly.

What is it that I seek to know and how are those particular questions born of an instinct of self-preservation? At its roots, I wonder to myself, are my assumptions emerging as they once did visiting inner city high schools during my pre-service teacher experiences? Am I unfolding the imaginary red cape and re-assuming some quasi-white man's burden? What are the details of my intentions in extending my research agenda, applying my teaching experience, and offering support to the research team at the Centre for Visual Methodologies and Social Change?

Below is an excerpt from my research proposal, which outlines the driving questions and research objectives. Though Dr. Mitchell has already read this proposal, those of you who are learning about this project for the first time may benefit from understanding the purpose, activities, and intended outcomes of my journey:

In my research I will explore the possibilities of blogging as a mode of learner praxis, which offers instructors and students a vehicle of reflection, critical cognition, and self-empowerment—one that “approaches individual growth as an active, cooperative, and social process” (Shor, 1992, p. 15). In this way, my research will investigate whether or not blogging transcends formal power dynamics within traditional classroom meetings, which may prevent students from articulating a more comprehensive critical response in class discussions or if their blog postings actually aid their class responses. My research will further examine blogging in this light, questioning the traditional roles of instructor and student in and beyond the university classroom in order to determine if blogs may provide students with substantive, interactive, and critically discursive learning experiences (Farrell, 2005; Harper, 2005; Kellner & Share, 2005; Penrod, 2007; Stiler & Philleo, 2003; West et al, 2006). This study aims to add to a knowledge-base regarding the potential of new media in higher education and, in particular, the uses of blogs as a form of learner praxis, as well as suggest a framework of evaluating and implementing forms of blogging in and beyond the university classroom in order to propose a grounded educational theory incorporating the uses of blogs in higher education.
The proposed project will investigate the effectiveness (as indicated below) of blog constructions and blog postings as an arts-based participatory methodology in collaboration with researchers Dr. Jean Stewart and Dr. Claudia Mitchell, who are currently carrying out their study, “Youth as knowledge producers: Arts-based approaches to HIV and AIDS prevention and education in rural KwaZuLu Natal, South Africa.” Overall, this collaboration will involve scaffolding the current objectives of Dr. Stewart and Dr. Mitchell’s study to engage in “research as social change through an in-depth study of a set of arts-based interventions involving a cohort of beginning teachers, who are themselves young people, and a group of learners and practicing teachers and principals in several rural schools…” Their research objectives are based on three driving questions:
1. How can arts-based methodologies be used with young people in rural schools to create a more youth-focused and learner-centered approach to knowledge production and behavior change in the context of HIV and AIDS?
2. How can a Faculty of Education effectively set up a partnership to work with a cohort of young people who are beginning teachers and a cohort of practicing rural teachers and principals and community health workers to contribute to the support of learner-centered arts-based approaches to addressing HIV and AIDS?
3. What tools and approaches can we use to study the impact of these various arts-based approaches within HIV and AIDS education and prevention interventions?
As a co-investigator and collaborator, my study will extend my previous experience as a teacher educator in the areas of literacy, critical thinking, communication, and cultural studies as well as contribute to my prior study of an undergraduate teacher education course, EDEC 248: Multicultural Education, completed in fall 2007 at McGill University. As the primary instructor of the course, I introduced, implemented and reviewed the construction of student blogs and student blog postings periodically throughout the semester. The objectives of this study (still in progress) include:
• Determining (by method of textual analysis of the questions/prompts posed by the instructor and the written responses posted by students on their individual blogs) clear indicators of critical thinking skills evident in the language of student postings otherwise not communicated in the classroom or other modes of assessment produced in order to meet the course learning objectives;
• Analyzing the articulation of student voices within their blogs by examining the multi-modal elements of student blog constructions that aided their written postings (such as YouTube videos, links to other blogs and/or websites, posting of personal or public photographs, etc.) in order to further empower or negate their informed responses to critical thinking questions posed by the instructor in class discussions;
• Comparing and contrasting the effectiveness and outcomes (quality and quantity of student writing; level of student literacy and critical thinking skills) of traditional course assessments (including an auto-ethnographic essay, a unit plan, and other various in-class smaller assessments) with the effectiveness and outcomes of student blogs. The “effectiveness” and “outcomes” will be qualitatively determined by examining what happens pedagogically, cognitively, and politically to students as they engage in blog construction and creating blog postings that does not appear in their other course assessments.
These objectives reflect an urgent call to educators posed by researchers in new literacy and media studies (Penrod, 2007; Lankshear & Knobel, 2006; Jenkins et al, 2006; Kellner & Share, 2005; Kellner, 1998, 2004; Stiler & Philleo, 2003) to redevelop pedagogical practices that address the activity of teens actively involve in what Jenkins and his team of researchers at MIT name participatory cultures (2006, p. 3). According to their report “Confronting the challenges of participatory culture: Media education for the 21st century,” several elements of participatory culture qualify participatory engagement through uses of new media (Excerpted from Jenkins, p. 3):
• Affiliations: memberships, formal and informal, in online communities centered around various forms of media (such as Friendster, Facebook, message boards, metagaming, game clans, or MySpace)
• Expressions: producing new creative forms (such as digital sampling, skinning and modding, fan videomaking, fan fiction writing, zines, mash-ups)
• Collaborative Problem-solving: working together in teams, formal and informal to complete tasks and develop new knowledge (such as through Wikipedia, alternative reality gaming, spoiling)
• Circulations: shaping the flow of media (such as podcasting, blogging)
The four elements noted above contribute to the manifestation of my research objectives, which collectively seek to explore the uses of web blogs in and beyond teacher education classrooms. Due to the participatory and community-based learning skills required by participants related to affiliations, expressions, collaborations, and circulations in online media environments, productions, and digital practices, several distinct possibilities are available to this co-investigation in order to coordinate with Drs. Mitchell and Stewart in their efforts at arts-based methodologies at the Univesrity of KwaZulu-Natal in Edgewood and the Centre for Visual Methodologies and Social Change from which they are affectively engaging their participants—pre-service teachers.

[References cited above available upon request]

If you're unfamiliar with the work of Dr. Henry Jenkins and his work on digital media and learning for the MacArthur Foundation, please take a gander at his recent paper available free online: http://digitallearning.macfound.org/atf/cf/{7E45C7E0-A3E0-4B89-AC9C-E807E1B0AE4E}/JENKINS_WHITE_PAPER.PDF