In 2009, I began examining the intersections between new media literacies (NMLs; Jenkins, Clinton, Purushotma, Weigel, & Robison, 2006) and social and emotional learning skills (SELs; Collaborative for Academic, Social, and Emotional Learning, n.d.). I was a student in Dr. Henry Jenkins’s first seminar at USC, and the final paper was looming. I had recently been introduced, via Dr. Michael Cody, to Alexandre Rideau, the director of Senegal’s non-profit Reseau Africain d’Education pour la Sante (RAES) (or, in English, the African Network for Health Education). Alex wanted a proposal for revamping his youth communication for social change program, Sunukaddu. So I completed my assignment in Henry’s class by pitching a NML-rich modification to Sunukaddu for Alex, and adding in the dimension of SEL, which happens to be my passion.
Both boys bought it, and two important, collaborative relationships were born.
In terms of Alex and Sunukaddu… During the summer of 2010, I traveled to Senegal and spent two months co-designing and implementing Sunukaddu 2.0 with a group of extraordinary colleagues: Idrissa, Tidiane, Charles, and Amadou. Later, Brock also joined our brigade.
There was innovation on the educator level.
There was learning on the participant level.
Among both populations post-intervention, growth and advancement:
“You gave me self-confidence thanks to these skills” (Educator Tidiane Thiang, personal communication, September 22, 2010).
“…I saw [Sunukaddu participant] Mami who told me that she’s working in a retail establishment right now and [Sunukaddu participant] Azoupi is enrolled in a computer graphics workshop to become an editor. So, the training awakened vocational interests but also gave youths courage, the courage to take their destinies in their own hands” (Educator Tidiane Thiang, personal communication, October 18, 2010).
And on the communicative/scholarly level, a fair number of works produced (NOTE: The following list just details my efforts, not the textual, multimedia, and programmatic products developed by RAES):
PUBLICATIONS
Felt, L.J., Dura, L., & Singhal, A. (in press). Cultural Beacons in health communication: Leveraging overlooked indicators and grassroots wisdoms. In D.K. Kim, G. Kreps, & A. Singhal (Eds.), Global Health Communication Strategies in the 21st Century. New York: Peter Lang Publishing Group.
PRESENTATIONS
Dura, L., Felt, L.J. & Singhal, A. (June 18, 2013). Cultural beacons: Grassroots indicators of change. Paper presented at 63rd Annual International Communication Association Conference, London, UK. Continue reading →
During the summer of 2010, I had the thrilling opportunity to work in Dakar, Senegal, with innovative non-governmental organization le Reseau Africain d’Education pour la Sante (RAES) program, Sunukaddu. To this teen workshop in multimedia health communication, I brought a pedagogical model and method that positioned new media literacies (NMLs) and SEL skills as fundamental to meaningful learning, and asset appreciation as key to sustainability. Collaboratively as a Sunukaddu team, local staff and I generated: a daily schedule that reflected a scaffolded methodology for optimizing participatory learning; a programmatic schedule that introduced key communication characteristics, strategies, and platforms, as well as useful theory; full lesson plans that respected our theoretical, temporal, and curricular goals; and a sense of togetherness, prompting us to declare the important Wolof phrase, “Nio far!”
…Prior to joining the implementation team for a new youth development intervention, Tidiane always kept his speech to a minimum. At meetings, he listened attentively and took copious notes; periodically, he would send a long email to the director that articulated his perspectives on the various topics of discussion. Such communicative behavior might be considered Tidiane’s “baseline.”
During the summer of 2010, Tidiane and several co-workers piloted Sunukaddu 2.0, an intervention intended to empower youths by supporting their development of skills that enable exploration, collaboration, and meaningful communication (Felt & Rideau, forthcoming). Not only did the program significantly impact participants but its effects upon Tidiane were also profound. During brainstorming meetings and curriculum workshops, he voiced his own ideas. When the program opened its doors, he challenged participants with critical thinking questions and rich cultural commentary. During a lesson on message dissemination, he spontaneously sprang from a corner of the room and translated a lengthy explanation of Everett Rogers’s Diffusion of Innovations theory (1962/2003) from (imperfect) French into participants’ native Wolof. And when unanticipated transportation and scheduling issues left Tidiane as the sole instructor for an entire day, he independently delivered – and innovated! – the curriculum, then enthused about his experience afterwards. In Tidiane’s own words:
“You gave me self-confidence thanks to these skills” (personal communication, September 22, 2010).
“My favorite skills are negotiation, self-awareness, and social awareness because they represent values that are and must be the basis for an equitable and responsible society” (personal communication, September 27, 2010).
Tidiane did not revert to his quiet ways after the program bestowed certificates of completion upon its participants (an element suggested and designed by Tidiane). Rather, he declared his intention to realize his filmmaking dreams by proposing a short video that would explain how to take the skills presented in Sunukaddu 2.0 and adapt them to an African, specifically Senegalese, context (personal communication, October 7, 2010).
When anticipated funding streams fell through, he was undeterred: “I will make it with my own funds because it’s a good subject for a film” (personal communication, January 8, 2010). Tidiane’s colleagues playfully nicknamed him “the kitten who became a lion,” a moniker that he embraced. On August 18, 2010, Tidiane Photoshopped his Facebook thumbnail so that the image of a roaring lion overlaid his polo shirt (See Figure 9).
Figure 9. Tidiane publicizing his newfound leonine identity
Tidiane’s experience functions as a cultural beacon because its full understanding, its very recognition, requires cultural participation. Had outside evaluators visited RAES and observed Sunukaddu 2.0 in action, they would not have noticed anything remarkable – a young instructor was simply teaching a lesson. The phenomenal nature of Tidiane’s speech would have been invisible to these context-less recorders and so this rich data, bursting with implications, would have been lost.
I left Senegal in August of 2010, bidding adieu — but not goodbye — to my beloved colleagues. Here’s a final goofy photo of me, Tidiane, and Brock (a Master of Public Health student at UCLA and my roommate for one month of my stay):
In my absence, Tidiane and our colleague Idrissa, who we both affectionately referred to as our father, continued to share the Sunukaddu method. On February 1, 2011, Tidiane sent me nine huge photo files; each depicted an image of employees from Senegalese non-profit organizations as they used the Sunukaddu method in a training workshop that Tidiane and Idrissa led. Here are screenshots of two of these photographs:
On June 8, 2012, Tidiane sent the following via email:
“Je voulais t’envoyer les photos de la formation sunukaddu que nous sommes entrain de faire à Mbour…
“C’est super de faire sunukaddu à Mbour parce que c’est une zone touristique et c’est l’endroit ou le taux de prévalence est le plus élevé au Sénégal et aussi la pauvreté fait que les touristes on du pouvoir par rapport aux habitants locaux…”
“I’d like to send you the photos from the Sunukaddu training that we’re in the middle of doing in Mbour [a city in Senegal approximately 81 km south of Dakar, also along the Atlantic coast]…
“It’s great to do Sunukaddu in Mbour because it’s a tourist-y area and it’s the place where the tax rate is the highest in Senegal, and also the poverty is such that tourists have power over local residents…”
Here are the images that Tidiane appended:
I, too, kept pushing forward with Sunukaddu. I incorporated NMLs, SELs, and Idrissa’s competence clothesline into an after-school program, Explore Locally Excel Digitally, that I co-created with my colleagues at PLAY!
On May 2, 2012, Tidiane informed me via email that a short film he made with his friends would be shown at an international forum on youth employment in Geneva, Switzerland. In a follow-up email on May 3, 2012, he wrote,
“Je pense que ce film une fois qu’il sera diffuser au forum international à Genève , peut être , changera quelque chose dans les politiques d’emploi pour les jeunes au Sénégal et en Afrique.” “I think that this film, once it’s shown at the international forum in Geneva, maybe will change something with regards to employment policies for youths in Senegal and in Africa.”
Tearing a page from my mentor Henry Jenkins‘s playbook, I also emailed Tidiane a series of interview questions so that his responses could complement and contextualize his important artistic and political work. Here are the questions and answers, first in their original French, then in English and boldface for our reading ease (NOTE: This was translated by little ol’ (limited) me):
LAUREL: Comment est-ce que tu as pris l’idee a faire ce film?
TIDIANE: C’est Alex qui m’as envoyé le lien pour participer au concours et j’ai participer, j’ai beaucoup d’amis qui vivent cette situation donc s’était très facile pour moi d’écrire le scénario et surtout de pouvoir partager leurs préoccupations avec le reste du monde. LAUREL: How did you get the idea to make this film?
TIDIANE: It was Alex [the director of RAES] who sent me the link to participate in the contest and I participated, lots of my friends experience this situation so it was very easy for me to write the script and especially to be able to share in their concern with the rest of the world.
LAUREL: Comment est-ce que tu as fait le film — trouver les joueurs, louer le transport en commun, faire de la recherche sur l’issu d’access a l’emploi des jeunes, ecrire le scenario, employer les assistants, payer tout le monde, prendre le camera et le logiciel de montage, etc?
TIDIANE: Tous les acteurs sont des bénovoles et ce sont mes amis. J’ai payé 5000 fcf environ 10 dollars au transport en commun et j’ai filmer dans le car rapide mais on n’avait au préalable fait une répétition chez moi puisque la voiture devait faire un seul tour du quartier avec nous alors il failait faire 3 prises et que tous le monde devaient assurer. Le raes m’a prêter sa caméra et j’ai monter le film à la maison avec le logiciel Sony vegas 7 donc le film a gouté 10 dollars. LAUREL: How did you make the film — find the actors, rent the bus, do research on the issue of youths’ access to employment, write the script, hire the crew, pay everyone, get the camera and editing software, etc?
TIDIANE: All of the actors were volunteers and my friends. I paid 5000 francs — around $10 USD — for the bus and I filmed inside the bus but we didn’t have any prior rehearsal at my house because the bus had to make one circuit around the neighborhood with us, so we had to do three takes to be sure that we got it. RAES lent me its camera and I edited the film at my house with the program Sony Vegas 7, so the fim cost around $10 USD.
LAUREL: Combien de temps est-ce que tu as pris pour creer ce film?
TIDIANE: Le film m’a pris une journée de travail. LAUREL: How much time did it take you to make this film?
TIDIANE: The film took me one day of work.
LAUREL: Expliquez plus sur le forum au Geneve. Donnez-moi le nom entier du forum et direz comment tu est arrive a ce point-ci d’y aller et présenter ton film.
TIDIANE: Même si j’ai pas gagner je suis content de voir que film a été projeter et que des décideurs de même que d’autre jeunes du monde entier l’on regarder.Et ça s’était mon objectif.
Voici l’e-mail que j’ai reçu sur forum…
[see below] LAUREL: Explain more about the forum in Geneva. Give me the whole name of the forum and tell me how you got to this point to present your film there.
TIDIANE: Even though I didn’t win I’m happy to see that the film was screened and that the panel and youths from around the world saw it. And that was my objective.
Here’s the email that I received about the forum:
Congratulations! Out of the 240 video submissions we have received your video has been chosen as the top 15! Unfortunately due to tough competition your video has not made it to the top 3. Nonetheless, the great news is that your video will be featured on the ILO website and the ILO Facebook page (What about young people?). Also your submission will play in a video montage in the Cinema room during the Forum. In order to do this we ask you to send:
Your video file (not link)
For confirmation, provide your full name, age and nationality
In case you’re wondering, the winners of the ILO video contest will be kept as a surprise for the Youth Employment Forum 23-25! Once the three winners have had the chance to present their videos, the videos will be published on the ILO website and Facebook page (What About Young People?).
Thank you very much for participating in the ILO video contest! We look forward in sharing your video to youth around the world!
Kind regards,
The Youth Employment Programme
LAUREL: Tu as a choisi a donner le sagesse au personnage qui vient du paysage et qui porte les vêtements traditionnels. Partagez plus sur tes motivations pour cette choix. Est-ce que tu as voulu faire une déclaration sur les normes de genre aussi?
TIDIANE: Lui, c’est mon grand frère et il n’a pas de travail donc je savais qu’il était le mieux placé pour restituer tous ces sentiment des jeunes sénégalais qui sont dans la même situation que lui.Le problème dans nos pays est que le secteur primaire qui devait porter notre développement est reléguer au second plan et les jeunes qui habitent dans ces régions sont obligés de venir dans les villes à la recherche de travail, on appel cela l’exode rurale alors que si l’état avait mis l’accent sur l’agriculture, la pêche et l’élevage cela ne serai pas arrivée. J’ai donné plus la parole à cet homme parce que les dirigeants pensent que ces gens ne savent pas ce dont ils ont besoin parce que la plus part d’entre-eux ne sont jamais aller l’école donc ils doivent écouter et appliquer les politiques des intellectuels qui sont complétement déconnecter des réalités du terrain.Alors j’ai fais du sunukaddu, il faut que les principales concernés c’est à dire les jeunes puissent dire de quoi ils ont besoin. LAUREL: You chose to give the wisdom to the person who comes from the countryside and wears traditional clothes. Share more on your motivations for that choice. Did you also want to make a statement on norms for this type of person?
TIDIANE: Him, he’s my big brother and he doesn’t have a job, so I knew that he was the best suited to voice all of the sentiments of young Senegalese who are in the same situation as he is. The problem in our country is that the sector that most needs development is relegated to the second tier, and the youths who live in these regions are obligated to leave their villages and look for work [in the big cities] — we call that the rural exodus. If the state focused on agriculture, fishing, and raising livestock, then this wouldn’t happen. I’ve given voice to this man because [the nation’s] leaders think that the [common] people don’t know what they need since the majority of [these common people] have never gone to school. So, [the leaders] think that they should listen to and apply the policies of intellectuals [instead of the hardworking Senegalese, even though the intellectuals are people] who are completely disconnected from realities on the ground. That’s why I do Sunukaddu, because its main principle is that youths [know and] can say what they need.
LAUREL: Quels roles ont-t-ils jouent tes experiences avec RAES (Sunukaddu, Clic Info Ado, etc) dans la realisation de ce projet?
TIDIANE: Beaucoup, j’ai fait preuve de conscience sociale pour pouvoir écrire le scénario, j’ai utiliser intelligence collective pour réaliser le film et je suis entrain de faire du réseautage pour que plus de monde puisse accéder au monde et le partager. LAUREL: What roles did your experiences with RAES (such as youth programs Sunukaddu, Clic Info Ado, etc) play in the direction of this project?
TIDIANE: A lot. I showcased social awareness in being able to write the script, I used collective intelligence to direct the film, and I’m in the middle of networking so that more people in the world can have access to this film and share it.
LAUREL: Decrivez tes reves: 1) pour ce film; 2) pour la question d’acces a l’emploi; 3) pour les jeunes de Senegal; 4) pour ta carriere/vie.
TIDIANE: Il y a un grand penseur américain du nom de John Barth qui disait que : Ce n’est parce que tes rêves sont hors de porter que tu ne dois pas te donner les moyens de les atteindre.Mon rêve ce n’est pas de changer le monde, je sais que je ne pourrai pas mais je ferai de mon mieux pour aider le maximum de personne.Mon rêve est de voir ces jeunes se permettent d’avoir des rêves, de croire à l’Afrique .Mon rêve pour ce film est que les bailleurs qui aident nos pays puissent le voir et orienter les aides vers les populations surtout des zones rurales.Et cela les américains l’ont déjà fait avec le MCA (millenium challenge account) qui intervient dans les zones rurales.
Personnellement, je rêve de faire de grands film, qui seront diffuser dans le monde entiers parce que je pense que nous avons beaucoup de chose à partager avec le reste du monde .
Et pour ma vie de raconter une femme qui partages les mêmes rêves que moi, les rêves d’un monde meilleur ou toutes les personnes auront des rêves. LAUREL: Describe your dreams: 1) for this film; 2) for the question of access to employment; 3) for youths in Senegal; 4) for your career/life.
TIDIANE: There’s a great American thinker named John Barth who said that, Just because your dreams are beyond your grasp doesn’t mean that you don’t have the means to attain them. My dream isn’t to change the world, I know that I can’t, but I will do my best to help the most people possible. My dream is to see that youths can realize their dreams, can believe in Africa. My dream for this film is that the donors who help our country can see it and direct their aid towards certain populations, especially in rural zones. And that’s what the Americans already did with the MCA (Millennium Challenge Account) that goes to rural zones. Personally, I dream of making great films that will be distributed around the whole world because I believe that we have a lot to share with the rest of the world. And, for my life, [I want] to meet a woman who shares the same dreams as me, dreams of a better world where everyone will realize their dreams.
To say that I feel the utmost respect for Tidiane Thiang is a woeful understatement.
He is a great filmmaker…
a great teacher…
and a great human being.
It is my honor to have made Tidiane’s acquaintance and to follow his brilliant trailblazing from afar.
Tidiane, you are an inspiration. Thank you.
P.S. An email from Tidiane, dated February 6, 2012
Je pense que l’école dans laquelle vous avez expérimenté le projet [Robert F. Kennedy Community Schools in Los Angeles] à les
mêmes caractéristiques que la plus part des écoles aux Sénégal.Les jeunes
quittent l’école très tôt au Sénégal parce qu’ils n’aimes pas le cadre
formel dans lequel ils sont confiné, alors ils préfèrent allez dans le
secteur informel pour apprendre des métiers artisanaux ou devenir des
vendeurs à la sauvette dans les rues de Dakar. Dans les salles
informatiques des écoles au Sénégal, ont interdit aux jeunes aussi d’aller
dans les réseaux sociaux comme Facebook est cela a entrainer une baisse de
la fréquentation les salles informatiques.Je pense qu’il faut réfléchir
sur comment adapter les nouveaux technologies à l’éducation formel.Les
jeunes sont de plus en plus exigent et adapter leurs besoins au secteur
formel sera le pari des années à venir.C’est dommage qu’avec le taux
échantillonnage faible que vous avez, une évaluation fiable n’a pas pu
être fait mais ça serai intéressant de tester cette approche novateur sur
beaucoup plus de jeunes et voir l’impact.
Je pense que nous allons intégrer dans nos prochaines sessions de
formation les 4c(connexion-création-collaboration-circulation) je trouve
que c’est très intéressant de renforcer la culture participative mais
surtout en se basant sur le ORID qui incite les jeunes à discuter .
C’est très gentil à toi de partager cette expérience parce qu’elle nous
ouvre d’autre perspective d’exploration local avec des jeunes de condition
sociale similaire mais de culture différente.
Lately I’ve been saying, “I’ve got a lot on my plate.” When I want to switch it up, I disclose the more colorful, “I’m trying to keep multiple plates spinning.” But I’ve been thinking (always dangerous), This paints plates* too reductively. Plates aren’t disembodied, external objects; they don’t merely host gorge-inducing portions or demand frantic maintenance. Plates define our very foundation. We’re built on plates. If living in Los Angeles has taught me nothing else, it’s that our wellbeing depends on the stability, balance, and flow of these plates.
So what’s on my professional plate? Very glad you asked… I’ve enabled comments so that anyone who’s interested can discuss a project with me — this post is mostly meant to inform and engage, and only minimally to vent. Thus, in no particular order:
-co-writing/editing a $1.35M grant to the National Science Foundation
-co-writing an article for journal Learning, Media and Technology on Explore Locally, Excel Digitally, an after-school program my colleagues and I designed and instructed during Spring 2011
-final edits + table layout for Sunukaddu chapter in African Childhoods: Survival, Education and Peace-building in the Youngest Continent
-co-designing challenges for PLAY! platform (which my colleagues and I will present at the Digital Media & Learning Conference and the Annenberg Innovation Lab Festival)
-considering user interface, affordances, and embedded biases of PLAY! platform with colleagues
-brainstorming ideas for Dojo, continuing to meet with folks and think through my dissertation plan, and designing presentation to GameDesk
-writing dissertation prospectus
-co-writing case study about Summer Sandbox and Playing Outside the Box for eBook on participatory models of professional development
-co-facilitating the USC Serious Games Network and co-developing outline for panel I will moderate on serious games’ business models, hosted by USC Marshall School of Business, with panelists Laird Malamed & George Rose
-analyzing data from Laughter for a Change with RFK-LA, a weekly after-school improv workshop with high school freshmen which I participant-observed during Fall 2011, and making a presentation for the Digital Media & Learning conference
-participating on a panel addressing Henry Jenkins‘s Convergence Culture
-revising NCA conference paper on grassroots epistemologies for submission to a scholarly journal and for a chapter in Global Health Communication Strategies in the 21st Century
-attending a gala for the Khmer Anti-Poverty Party, whose membership I’ve instructed in leadership strategies
-writing five letters of recommendation for last semester’s students
-considering a possible joint paper on The Hunger Games
-attending various meetings and workshops
-leafing through stacks of library books and recent Amazon purchases + blogs and articles
-taking on the serious/fun business of playing serious games
Now what’s for dessert?
*My mom paints plates too! You should see her bowl for Rosh Hashanah honey — it’s a beaut!
Vartabedian, V., Felt, L.J., Literat, I., & Mehta, R. Explore Locally, Excel Digitally: A participatory learning-oriented after-school program for enriching citizenship on- and offline.
Following Jenkins and colleagues’ elucidation of participatory culture and new media literacies-enriched education[1], this article argues that facilitating a culture of participatory learning stimulates the development of 21st century social skills and cultural competencies. To support this argument, we examine the components of a new pedagogical framework designed for participatory learning and explore a case study in which this framework was implemented — an after-school program in digital citizenship for Los Angeles public high school students.
A culture of participatory learning (often found in informal learning environments[2]) respects and nurtures: heightened motivation and new forms of engagement through meaningful play and experimentation; learning scenarios relevant to students’ realities and interests; creativity with a variety of media, tools, and practices; a community designed for co-learning; and contexts that are situated within a larger learning eco-system. Such a culture empowers learners to practice new media literacies (NMLs) and social and emotional learning skills (SELs)[3] because it allows for the expression of all voices and multiple ways of knowing.
How one negotiates digital tools and norms impacts citizenship on- and offline. As such, the after-school program “Explore Locally, Excel Digitally” (ELED) used hardware (iPod Touches, desktop computers), software (mobile apps, Twitter, GoogleMaps, Prezi), and team-building activities to investigate ethics, mapping, and their intersections. Students examined the characteristics of their own communities and the nature of their participation within these networks, looking at ELED, their friendship circles, their schools, and the neighborhood surrounding Robert F. Kennedy Community Schools. Using ethnographic fieldnotes, video footage, student-generated multimedia content, and baseline and endline survey measures, we found that this pedagogical framework supported a participatory learning culture in which students practiced NMLs and SELs. Importantly, it also facilitated students’ development of self- and collective efficacy.
[2] Recent studies have established a relationship between out-of-school spaces and learning outcomes (Bell, Lewenstein, Shouse & Feder, 2009), as well as urged schools’ integration of Web 2.0 participation (Schuck & Aubusson, 2010). What facilitates learning in these informal, physical and virtual sites?
Felt, L.J. & Rideau, A. Pedagogy for appropriation: How Sunukaddu supports youths’, instructors’, and communities’ development by amplifying voices in Senegal.
While the world’s urban population is expected to skyrocket 41% between 1950 and 2050, Senegal’s rate of urbanization has outstripped the average and is projected to ascend even more sharply, growing by 48% over that span[1]. Therefore, as global citizens consider how best to manage youths’ education within the volatile contexts of rapid urbanization, economic uncertainty, public health challenges, and technological shifts, a case study from Senegal can offer potentially useful insights. This article examines Sunukaddu[2], an instructional program in producing civic-oriented multimedia for Dakar youths.
Non-profit organization Réseau Africain d’Education pour la Santé created Sunukaddu in 2008 to support youths’ creation of digital HIV/AIDS messaging[3]. During the summer of 2010, staff redesigned Sunukaddu to facilitate its ease of appropriation. First, they established a collaborative curriculum design process that boosted instructors’ teamwork and ownership. Second, they increased participants’ hands-on exploration and access to local role models. Third, they adopted smartphones and encouraged sharing content online. Fourth, they addressed participants’ communicative capacities by harnessing new media literacies[4] and social and emotional learning skills[5].
Analysis of ethnographic photographs, participant-generated multimedia content, baseline and endline survey measures, participant focus groups, and instructor interviews suggests that Sunukaddu participation supported instructors’ professional development and facilitated youths’ holistic growth. This article argues that Sunukaddu’s design explains its success. Asking instructors and participants to personalize content and raise their voices[6] enriches the learning experience and helps to bridge the “second digital divide”[7] or the “participation gap”[8]. Nurturing fundamental skills[9] prepares individuals for productive negotiation of varied contexts. Finally, leaving open-ended specific activities and technology requirements respects the unpredictability and/or modesty of funding streams as well as the swiftness of social and/or technological change. Thus, Sunukaddu’s adaptable format should ensure its long-term viability — both an important ethical consideration and key development imperative.
[8]which Jenkins et al (2006) define as “the unequal access to the opportunities, experiences, skills, and knowledge that will prepare youth for full participation in the world of tomorrow” (p. 3)
It was sunny in Los Angeles, 12 noon, and I’d just eaten a wedge of cheese. But still. I was cold. I was tired. And I was hungry.
While the prospect of going home and taking a nap enticed me, especially after I got lost looking for Ollin Cafe, then arrived only to find that it’d been transformed into a Mexican bakery, I pushed on. I found another coffeeshop (run by a Ghanian man whose grant for a non-profit African culture youth program I offered to edit) and read about pedagogy. When Don had to close his shop early, I again stifled the impulse to close shop myself and instead relocated to Starbucks.
There, at a crusty table co-occupied by antisocial, screen-glued men, inspiration began to flow… I don’t know that this will actually BECOME my dissertation. Most likely, the final product will barely resemble this outline. Nonetheless, I think I’m onto something here. And boy, do I feel proud…
NOTE: The formatting below is improper — not indented as it should be. If you’d like to see it in its hierarchical glory, click on the hyperlink above.
————————————————– Dissertation: Strategic curricular approaches to social change interventions
I. Introduction
A. Hook: Allegorical anecdote
B. Thesis: Social change interventions, whether explicitly educational or otherwise, should employ strategies that are versatile/adaptable and address the whole person; such strategies include: creating a culture of participatory learning, and adopting means and ends oriented towards primary skills development.
C. Overview of paper
II. Review of lit/theoretical background
A. Participation and play
1. Participation
2. Play
B. Primary skill set
1. Asset appreciation (AA)
2. Social and emotional learning (SEL)
3. New media literacies (NML)
4. Narrative
C. Domestic education interventions
1. Current challenges
i. lack of funding
ii. test scores: low and invalid
iii. health/safety challenges
iv. cultural shifts
2. Prevailing perspectives
i. it’s lazy teachers’ fault
ii. it’s non-standardized curriculum’s fault
iii. it’s marginalized students’ fault
iv. it’s lack of technology’s fault
3. Programs/solutions
i. Status quo or even regressive: NCLB
ii. Status quo or ancillary or inadequate: Charter & pilot schools
iii. Innovative: Foundation initiatives (e.g., MacArthur’s YouMedia); Independent entities (e.g., Globaloria); University partnerships (e.g., USC’s Hybrid High or Pathfinder)
D. International social change interventions
1. Current challenges
i. lack of funding
ii. volatility: things keep changing
iii. complexity: things are intertwined
iv. idiosyncrasies: things are particular to context
2. Prevailing perspectives
i. top-down
ii. bottom-up
3. Programs/solutions
i. Status quo or even regressive: Externally produced, highly structured, “add water and stir” programs
ii. Status quo or ancillary or inadequate: Programs that allow for token or modest modification by recipients
iii. Innovative: Positive deviance; Participatory/community-oriented development
III. Argument
A. Definitions
1. Participatory learning
i. culture/norms of context: describes basic community functioning, the ways that we treat one another, the rights and responsibilities that community members have in that space — to receive feedback, access roles, pursue passions, etc;
ii. activities of learner: describes the ways that the learner engages with the curriculum — avidly, with perseverance, enriching participation/performance with dialogue
iii. theoretical origins: participatory culture; digital media & learning; educational theory
2. Primary skills
i. mode/means: use a skill-oriented activity as vehicle for exploring content; for example, learn photography through social awareness and appropriation
ii. objective/ends: proficiency in these skills is a goal of the program (whether this is the sole or priority goal can vary; arguably, richer and more efficient if it is not the sole goal)
iii. theoretical origins: arts integration; positive deviance; asset-based community development; appreciative inquiry; human development/resilience
B. The Case for Participatory Learning
1. we live in a dynamic world of constant change
2. learning how to learn, and making that experience community-supported and interest/passion-driven, is infinitely valuable
C. The Case for Primary Skills
1. owning modifiable knowledge-skills-practices efficiently prepares us for diverse contexts (regardless of whether these contexts are volatile)
2. treating the whole person is most effective
3. AA, SEL, NML, Narrative = fundamental (Community, culture, work, meaning)
III. Methods
A. Summer Sandbox
1. Participants
2. Materials
3. Design
4. Procedure
B. Sunukaddu
1. Participants
2. Materials
3. Design
4. Procedure
C. Explore Locally, Excel Digitally
1. Participants
2. Materials
3. Design
4. Procedure
D. Playing Outside the Box
1. Participants
2. Materials
3. Design
4. Procedure
IV. Results
A. Participatory Learning Case Study: Summer Sandbox
1. Program description
2. Participants’ gains
B. Skills-based Case Study: Sunukaddu
1. Program description
2. Participants’ gains
C. Hybrid: Explore Locally, Excel Digitally
1. Program description
2. Participants’ gains
D. Hybrid: Playing Outside the Box (encompassing Play On Workshops)
1. Program description
2. Participants’ gains
V. Discussion
A. Gains in context
1. Program challenges
2. Comparisons to other programs
3. Small sample size
4. Critique of assessment tools
C. Context: Informal vs. formal learning environments, Educational interventions vs. other social change endeavors
D. Audience: Practicing teachers vs. preservice teachers vs. administrators vs. parents vs. students
E. Culture: Outsider consultants, preaching to the choir?
VI. Conclusion
A. Review
B. Other potential areas of research
