Suchergebnisse

Inspired by Indigenous water and land protectors in Standing Rock (ND) and Muskrat Falls (NL), as well as her new identity as soon-to-be 'parent', the editor suggests that issues of activism and identity are intertwined in the ways in which the political and academic lives of new scholars are developed during their training in Canadian post-secondary institutions. The editor also presents an overview of the five articles in this Fall issue related to issues of identity and rethinking educational theories in a variety of Canadian educational spaces, including: post-secondary vocational education (Gustafson), physical education programs and models-based practices (Baker), exploring feminisms in educational contexts (Syme Anderson), exploring academic discourse socialization in post-secondary institutions (Vasilopoulos), and a reflection on theories surrounding adolescent motivation in Quebec's educational context (Gaudreau).

The COVID-19 pandemic posed a logistical problem to our normal ways of engaging in participatory visual research. Our in-person art, activism and archiving with 2SLGBTQ+ Atlantic Canadian youth pivoted to use distanced engagement strategies that met the demands of the pandemic. We sought to create networks of solidarity while we were apart. Monthly, over the course of a year, we mailed out themed packages of art supplies and directions to fifty-five 2SLGBTQ+ youth situated in the Canadian provinces of New Brunswick, Nova Scotia, Prince Edward Island and Newfoundland and Labrador. Participants then created the artworks, photographed them and contextualised them through text. While the resulting co-curated digital archive includes multiple mediums, here we focus on the participants' zines and dioramas for what they taught us about 2SLGBTQ+ youth's identities, activism, beliefs, friends, home, family, fears, strengths and futures. The digital archive of our artwork deconstructs, explores and affirms identities and functions to build solidarity during a time of increased isolation. We argue that collaboratively building the digital archive was a feminist act of reclamation and a declaration of youth queer activism.

Chapter 1: Introduction: Facilitating Visualities—Enacting Ethical Practices in Visual Research -- Chapter 2: Facilitating Black Identity and Advocacy: Creating Cellphilms for Reflecting on Issues Affecting Black Students -- Chapter 3: The Fibres of Our Being: A Visual Artefact of Community-Engaged Visual Arts in St. James Town -- Chapter 4: An Afternoon Making Mole with My Jña Bida (Grandmother): A Zapotec Approach to Facilitation -- Chapter 5: Narrow AI-Powered Visualization Facilitation Tools in Foreign Language Learning: A Visual Approach Promoting Equal Opportunities in Foreign Language Grammar Teaching -- Chapter 6: (In)Visible Youth: Considerations for Visual Research in Rural New Brunswick's Queer Spaces -- Chapter 7: Pivoting Online in a Pandemic: Facilitating Object Elicitation Interviews with Canadian Craft Vendors -- Chapter 8: Facilitating Ethical Participatory Visual Research in Taboo Spaces -- Chapter 9: Facilitating a "Virtual Space" for Social Change During the COVID-19 Pandemic: Working with High-Risk Population Using an Arts-Informed Method -- Chapter 10: Facilitating Gender-Affirming Participatory Visual Research in Embodied and Online Spaces -- Chapter 11: Researcher Positionality: Reflexivity, Ethnic Identities, and Cultural Lines of Difference in Multicultural Research -- Chapter 12: When I Facilitate, What Do I Make? Revisiting Research Facilitation as Intervention, Opportunity, and Solidarity-Building -- Chapter 13: For Us, with Us: Creative Expressions as Means to Collectively Elevate Minoritized Experiences, Knowledge, and Wisdom -- Chapter 14: Engaging in Collaborative Visual Research Practice with Refugees to Promote Social Inclusion and Enhance Belonging in Non-metropolitan Australia -- Chapter 15: Ethical and Methodological Considerations for Facilitating Community-Based Participatory Visual Research with Queer and Disabled Elders -- Chapter 16: Experiential and Land-Based Learning of Wapana'ki Language, Culture and Art, and Worldviews: Piquing Interest and Accessibility Through Digital Archiving -- Chapter 17: Facilitating Art in Digital Classrooms During COVID-19: Engaging in Inquiry with Jamaican Visual Art Teachers -- Chapter 18: Facilitating Ethical Visual Sociological Research: What Difference Can We Make Together?.

"Facilitating Community Research for Social Change asks: what does ethical research facilitation look like in projects that seek to move toward social change? How can scholars weave political and social justice through multiple levels of the research process? This edited collection presents chapters that investigate research facilitation in ways that specifically attempt to disrupt and challenge anti-Indigenous and anti-Black racism, ableism, homophobia, transphobia, patriarchy, and sexism to work toward social change. It also explores what it means to develop facilitation practices across multiple contexts and research settings, including specific facilitation methods considered by researchers working with visual and community-based methods with Black, Indigenous, and racialized communities. The complexities of how scholars negotiate decisions within their research with people and communities have an effect not only on how researchers construct their participants and communities, but also on the overall purpose of projects, the ways their projects are shared and disseminated, and what is learned in the doing of facilitation. This book will be of great interest to both emerging and established researchers working within the social sciences. It specifically attends to diverse fields within the social sciences that include health, media studies, environmental studies, social work, sociology, education, participatory visual research methodologies, as well as the evolving field of digital humanities"--

What's a Cellphilm? explores cellphone video production for its contributions to participatory visual research. There is a rich history of integrating participants' videos into community-based research and activism. However, a reliance on camcorders and digital cameras has come under criticism for exacerbating unequal power relations between researchers and their collaborators. Using cellphones in participatory visual research suggests a new way forward by working with accessible, everyday technology and integrating existing media practices. Cellphones are everywhere these days. People use mobile technology to visually document and share their lives. This new era of democratised media practices inspired Jonathan Dockney and Keyan Tomaselli to coin the term cellphilm (cellphone + film). The term signals the coming together of different technologies on one handheld device and the emerging media culture based on people's use of cellphones to create, share, and watch media. Chapters present practical examples of cellphilm research conducted in Canada, Hong Kong, Mexico, the Netherlands and South Africa. Together these contributions consider several important methodological questions, such as: Is cellphilming a new research method or is it re-packaged participatory video? What theories inform the analysis of cellphilms? What might the significance of frequent advancements in cellphone technology be on cellphilms? How does our existing use of cellphones inform the research process and cellphilm aesthetics? What are the ethical dimensions of cellphilm use, dissemination, and archiving? These questions are taken up from interdisciplinary perspectives by established and new academic contributors from education, Indigenous studies, communication, film and media studies.

Hong Kong's non-white ethnic minorities – including its Filipina residents – are often described in media and policy discourses as a unified group. Speaking back to this misconception, in this article we describe the gendered experiences of two 23-year old Filipinas born and raised in Hong Kong through what Claudia Mitchell has described as girl method – research with girls for girls and about girls' concerns – in our case producing visual depictions of girlhood in cellphilms (cellphone + filmmaking + intention) and collaborative writing. We write together as co-researchers to extend participatory approaches to research dissemination as we make sense of the changing political situation in Hong Kong in the years since our first collaboration in 2015. Through a polyvocal – many voices writing together – reflection on a cellphilm production project on identities and belonging four years later, we argue that Filipina identity in Hong Kong is complex and multifarious, and we aim to disseminate knowledge by and for Filipina Hong Kongers that speaks back to the erasure of their experiences within larger discourses about Filipinas, gender, and activism in Hong Kong.

Hong Kong's non-white ethnic minorities – including its Filipina residents – are often described in media and policy discourses as a unified group. Speaking back to this misconception, in this article we describe the gendered experiences of two 23-year old Filipinas born and raised in Hong Kong through what Claudia Mitchell has described as girl method– research with girls for girls and about girls' concerns – in our case producing visual depictions of girlhood in cellphilms (cellphone + filmmaking + intention) and collaborative writing. We write together as co-researchers to extend participatory approaches to research dissemination as we make sense of the changing political situation in Hong Kong in the years since our first collaboration in 2015. Through a polyvocal – many voices writing together – reflection on a cellphilm production project on identities and belonging four years later, we argue that Filipina identity in Hong Kong is complex and multifarious, and we aim to disseminate knowledge by and for Filipina Hong Kongers that speaks back to the erasure of their experiences within larger discourses about Filipinas, gender, and activism in Hong Kong.

PurposeThe authors explore the coproduction of a digital archive with 50 2SLGBTQ+ youth across Atlantic Canada during the COVID-19 pandemic in order to catalyze broader public participation in understanding 2SLGBTQ+ youth-led activism in this place and time through art production.Design/methodology/approachThrough a mail-based participatory visual research project and an examination of collage, zines and DIY facemasks, the authors highlight how the production, sharing and archiving of youth-produced art adds to methodological discussions of exhibiting and digital archiving with 2SLGBTQ+ youth as a form of activist intervention.FindingsIn reflexively examining the cocuration of art through social media and project website, the authors argue that coproducing digital archives is an important part of knowledge mobilization. Also, the authors consider how the work has been interacted with by a broader public, so far in an exclusively celebratory manner and note the benefits and challenges of this type of engagement to the youth and to the understandings of 2SLGBTQ+ youth archives.Originality/valueThe authors suggest that these modes of engaging in participatory visual research at a distance offer original contributions in relation to how participation can be understood in a digital and mail-based project. The authors see participant control of how to share works within digital archives as a contribution to the understanding of people's capacity to negotiate and take ownership of these spaces. These strategies are participant-centered and suggest ways that archiving can be made more accessible, especially when working with communities who are socially marginalized or otherwise excluded from the archival process.

Girls and young women, particularly those from rural and indigenous communities around the world, face some of the most adverse social issues in the world despite the existence of protective laws and international treaties. Ethical Practice in Participatory Visual Research with Girls explores the potential of participatory visual method (PVM) for girls and young women in these communities, presenting and critiquing the everyday ethical dilemmas visual researchers face and the strategies they implement to address them, reflecting on principles of autonomy, social justice, and beneficence in transnational, indigenous and rural contexts