The CODESRIA debate on academic and intellectual freedom in Africa: the role and responsibility of African intellectuals
- Authors: Cabe, Loyiso
- Date: 2023-10-13
- Subjects: Codesria , Academic freedom , Social responsibility , Neoliberalism , Pan-Africanism , Colonization , Decolonization , Neocolonialism , Intellectuals Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/431463 , vital:72774
- Description: According to Fagunwa (2011), intellectuals serve as the glue that binds societies together and serve as the foundation upon which new civilizations are created and dismantled. The Council for the Development of Social Science Research in Africa (CODESRIA) of 1990 entrusted intellectuals with crucial transformative tasks (roles) and responsibilities in Africa. This study explores the transformational roles and responsibilities of African intellectuals in neo-liberal and neo-colonial Africa as well as how academic freedom must be understood by African academics in accordance with the present debate on academic freedom in South Africa, which was fueled by Nattrass (2020) paper. The primary premise of this study is that academic freedom in Africa today is viewed differently than it was during the CODESRIA meeting on academic freedom in 1990, and that this is because of African intellectuals not carrying out their roles and responsibilities in Africa. In CODESRIA 1990, academic freedom referred to an academic’s unrestricted, yet responsible, right to pursue their academic interests (CODESRIA 1990; Kampala Declaration 1990). African academics now understand academic freedom to be merely their own freedom, unrelated to their responsibility to use it ethically and professionally. Hence, for them, academic freedom entails the freedom to express oneself without restrictions or fear of criticism (Chachage, 2008; Nattrass, 2020b; Esso, and Long, 2020). Looking at this current misinterpretation of academic freedom, the 1990 CODESRIA meeting is a good reference point to the debate on academic freedom in Africa and role and responsibility of African intellectuals. This is because, it was where academic freedom and the role and responsibility of African intellectuals in Africa was professionally conceptualized. Thus, this study reviews the 1990 CODESRIA debate to understand the role and responsibility of African intellectuals. This study utilizes two theories, Social Constructivism Theory and the Social Responsibility Theory, to explain the position it has taken on the subject at hand. Thus, these theories provide an umbrella and a point of departure for understanding the context and dynamics of the ongoing conflict between academic freedom and social responsibility in South Africa's higher education institutions. , Thesis (MSocSci) -- Faculty of Humanities, Political and International Studies, 2023
- Full Text:
- Date Issued: 2023-10-13
- Authors: Cabe, Loyiso
- Date: 2023-10-13
- Subjects: Codesria , Academic freedom , Social responsibility , Neoliberalism , Pan-Africanism , Colonization , Decolonization , Neocolonialism , Intellectuals Africa
- Language: English
- Type: Academic theses , Master's theses , text
- Identifier: http://hdl.handle.net/10962/431463 , vital:72774
- Description: According to Fagunwa (2011), intellectuals serve as the glue that binds societies together and serve as the foundation upon which new civilizations are created and dismantled. The Council for the Development of Social Science Research in Africa (CODESRIA) of 1990 entrusted intellectuals with crucial transformative tasks (roles) and responsibilities in Africa. This study explores the transformational roles and responsibilities of African intellectuals in neo-liberal and neo-colonial Africa as well as how academic freedom must be understood by African academics in accordance with the present debate on academic freedom in South Africa, which was fueled by Nattrass (2020) paper. The primary premise of this study is that academic freedom in Africa today is viewed differently than it was during the CODESRIA meeting on academic freedom in 1990, and that this is because of African intellectuals not carrying out their roles and responsibilities in Africa. In CODESRIA 1990, academic freedom referred to an academic’s unrestricted, yet responsible, right to pursue their academic interests (CODESRIA 1990; Kampala Declaration 1990). African academics now understand academic freedom to be merely their own freedom, unrelated to their responsibility to use it ethically and professionally. Hence, for them, academic freedom entails the freedom to express oneself without restrictions or fear of criticism (Chachage, 2008; Nattrass, 2020b; Esso, and Long, 2020). Looking at this current misinterpretation of academic freedom, the 1990 CODESRIA meeting is a good reference point to the debate on academic freedom in Africa and role and responsibility of African intellectuals. This is because, it was where academic freedom and the role and responsibility of African intellectuals in Africa was professionally conceptualized. Thus, this study reviews the 1990 CODESRIA debate to understand the role and responsibility of African intellectuals. This study utilizes two theories, Social Constructivism Theory and the Social Responsibility Theory, to explain the position it has taken on the subject at hand. Thus, these theories provide an umbrella and a point of departure for understanding the context and dynamics of the ongoing conflict between academic freedom and social responsibility in South Africa's higher education institutions. , Thesis (MSocSci) -- Faculty of Humanities, Political and International Studies, 2023
- Full Text:
- Date Issued: 2023-10-13
Towards the Common Good: An expansive post-abyssal (Re)stor(y)ing of the epistemic cultures of the citizen sciences
- Authors: Vallabh, Priya
- Date: 2022-04-08
- Subjects: Science Citizen participation , Decolonization , Social epistemology , Hegemony , Common good , Traditional ecological knowledge , Ethnoscience
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/290671 , vital:56773 , DOI 10.21504/10962/290671
- Description: In this study I explore and explain transformatiThe citizen sciences convene complex and reflexive ecologies of knowledges in response to a range of social-ecological risks. Their epistemic cultures seem to be assembled in ways which increase potential mobilisation of the common knowledges being produced, thereby producing knowledges in forms that are more strongly aligned with a range of implementation strategies. However, much of such processes of knowledge production have been ‘cleaned out’ of official accounts through scientifically hegemonic systems of legitimation, deepening hegemonically-entrenched systems of epistemic, contributory and distributive injustices, and undermining the potential for stronger enactments of participatory and radical democracies. The engagement of sociologies of absences and emergences in this study evidence these epistemic insights, thereby evidencing an expansive post-abyssal (re)stor(y)ing of the citizen sciences. Through this research, I consider knowledge production as ‘commoning', towards the constitution of the common good. To date, most accounts of knowledge production within citizen science projects primarily focus on scientific processes of knowledge production and legitimation. Such accounts neglect the ecologies of diverse knowledges through which knowledge is being collaboratively produced, the forms of learning that occur, or the ways in which such ecologies are mobilised in response to specific socialecological risks. To better understand the ways in which citizen science projects build risk-responsive common knowledge, I bring a focus to the diversity of epistemic cultures convened, speaking to this gap. My primary research question is: How do the epistemic cultures within citizen science projects enable commoning in response to social-ecological risk? To begin, I establish a particular vantage point from which the remainder of the thesis is launched, one which centres as the primary interest of knowledge production, an interest in social-ecological justice and the constitution of the common good. From this vantage point, knowledge co-production and learning can be viewed as acts of commoning, which themselves constitute common goods. I draw on the work of Karin Knorr Cetina to conceptualise and frame notions of epistemic cultures and their epistemic features. Expanding notions of epistemic cultures from a post-abyssal perspective, I draw on the work of Bruno Latour and Boaventura de Sousa Santos. Latour’s distinctions between the production of ‘matters of fact’ and ‘matters of concern’ provide a way to challenge hegemonic systems of scientific knowledge production, while preserving the potential emergence of multiplicity in the context of evolving risk, thereby enabling a greater degree of situated reflexivity. Santos argues for the reclamation of all ways of knowing, including but not limited to scientific ways of knowing the world. He argues that other forms of knowledge are produced as nonexistent, and that they might be reclaimed through engaging sociologies of absences and emergences. Both authors enable a stronger analysis of knowledge production in terms of its ability to intervene into context in response to manifest risks. These three theoretical approaches are convened into an analytical framework for the study. To enact sociologies of absences and emergences, I engage two forms of immanent critique, complemented by an epistemic mapping of 50 South African citizen science projects, and an analysis of three illustrative case studies. The first critique is one of produced nonexistence, through which I consider three aspects of the general knowledge cultures within which the epistemic cultures of citizen science projects are situated. This critique makes evident the ways in which the ontological and related conceptual structures of hegemonic scientific knowledge production actively produce as nonexistent, other onto-epistemic contributions to knowledge production in response to social-ecological risks. The second critique reviews the field of peer-reviewed literature through a reading of presence and absence, with a focus on the articulation of epistemic cultures. Predictably, a key finding is that this form of scientific reporting primarily foregrounds legitimated scientifically processed knowledge, while once again producing as nonexistent, other forms of knowledges. However, there is evidence of increasing accounts of citizen science which recognise both a diversity of knowledge contributions, and epistemic, contributory and distributive justice issues as regards hegemonic forms of reporting. The epistemic mapping evidences a highly diversified field of citizen sciences, whose epistemic cultures are convened to produce distinct forms of scientifically-informed knowledges in response to diverse contexts, scales and notions of risk. The three illustrative case studies engage sociologies of absences and emergences, with particular focus on articulating the ecologies of knowledges evidenced in project documentation, including both official and unofficial accounts of epistemic activity. This analysis highlights the significant contributions of diverse forms of knowledges, including scientific, situated, embodied, governance, indigenous, spiritual and relational knowledges, and the ways in which these knowledge are convened to respond to specific configurations of risk. It once again highlights issues of epistemic, contributory and distributive justice, and makes evident the need for stronger integrity in processes of producing and reporting common knowledges. The case studies also illustrate the increased effectiveness of leveraging an ecology of knowledges (in contrast to a monoculture of scientific knowledge) in response to situated risks, including how such ecologies have a tendency to be generative and enable multiple forms of intervention into structures and applied contexts of intervention. In response to the collective research findings, a think-piece on rigour-as-integrity is offered as a contribution to commoning, in response to social-ecological risk. The piece draws together a postabyssal system of rigour intended to strengthen knowledge production in ways which actively centre forms of justice and commoning. ve potential in arts-based environmental learning with a focus on water pedagogy. The study took place over a period of four years, where approximately 40 school pupils between the ages of 10 and 17 years-old were engaged in participatory arts-based inquiries into water located across unequal neighbourhoods in Cape Town, South Africa. Educators, school learners, citizens and decision-makers hold different historical, cultural, political and spiritual perspectives on water. These play a role in shaping what is termed in this research the ‘hydro-social cycle’. Yet, due to dominant ideas of what counts as knowing and truth, educators in educational settings struggle to account for the complexity of water, limiting educational encounters to a partial knowing leading mostly to limited unimaginative framings of problems and solutions. My focus on transformative potential in learning is derived from a concern for how environmental education encounters and the sense-making they enable, are infused by socio-economic, political, and historical elements, specifically colonialism, capitalism, and white supremacist racism. The connections between the multiple layers of capitalist crisis and the ever-urgent environmental crisis are not adequately made in mainstream forms of water education. The research explores how arts-based pedagogy could enable a productive meeting of critical environmental education with ecological literacies. Within this positioning, transformative potential considers how educational engagements position questions about water within the social life of participants/learners and inform learning that leads to fuller and more nuanced greater knowledge. Theoretically, I work with an interrogation of critical education theory, underlaboured by critical realism which enabled me to rigorously consider how claims to knowing are shaped by their accompanying assumptions of what is real. Drawing on recent debates in critical education theory, I resist the notion of critique as ideology and engage instead in the craftsmanship of contextual and responsive inquiry practice. This has enabled me to articulate processes and relationships in water education encounters with meaningful understandings of the effects of simultaneous crises rooted in racial capitalism and environmental crisis. My methodological approach is arts-based educational research with a directive to reflect upon educational encounters in an integrated way. It includes two parts informing the facilitation and analysis of open-ended learning processes. One component was arts-based inquiry practice developed for exploring complexity, drawing on the thinking of Norris (2009, 2011) and Finley (2016, 2017). The second part holds reflective space for these encounters guided by the practice of pedagogical narration inspired by the Reggio Amelia approach, demonstrated by Pacini-Ketchabaw, Nxumalo, Kocher, Elliot and Sanchez (2014). Clarifying the intellectual work of a responsive educator-researcher, pedagogical narration brings multiple theoretical lenses into conversation with emergent dimensions of educational process. In practice, in order to transgress the dominance of colonial white supremacist knowledge frames of water, I needed to be curious, to be confounded, to expect the unexpected in the educational encounters with participants and this mirroring of practice was emulated by the participants as they followed their own questions about water in Mzansi (South Africa). In our work together we came up against assumptions we had previously not questioned as individuals. Together we explored the implications of this by, for example, questioning who is responsible for saving water. These explorations required bringing together science knowledge and everyday knowledge at multiple scales: the household, catchment, government and global. It required us to be critical of how language and images are mobilized in public communication and school curriculums; for example, representations of water are infused with history and power in a way that impacts how we know and teach about water. The transformative potential of this pedagogical space is generated through acts of creative expression which are seen as acts of absenting absence, for example exhibiting through play how water use in the household interconnects with gender and age relationships. As such, creative expression through multiple mediums or more-than-text enables a deeper understanding of water as well as openings for interdisciplinary engagement with learning about water. My research found that in bringing together the contributions of critical education and environmental education in practice, two shifts are needed: environmental educators need to view ecological literacy as inseparable from the social and political. The knowledge that is shared about water in the classroom has social and political implications. On the other hand, critical educators need to better locate justice concerns in the material and ecological world at scale. Arts-based inquiry, as a kind of scaffolding for pedagogical process, has the potential to enable these shifts by opening up fixed analytical frames. Making these shifts requires a reflective practice on the part of the educator to navigate the inherited blind spots in environmental learning and critical education, such as dualities. One way to do this is for the educator to identify absences, as articulated in the Critical Realist tradition, and consider how these absences might be absented. This differs from a simplistic process of critique in the possibilities it opens up for collaboration between different schools of thought rather than further polarisation and alienation between educators and knowledge keepers on social ecologies. These insights have relevance for many sites of environmental education practice, such as natural science lecturers, school teachers or community activists. It is knowledge-learning work emergent from and responsive to complex ecological crisis, which requires everyone to rethink and open up to new ways of being, seeing and doing around these issues. The transformative potential of this work is that the thinking and transforming at all scales can be catalysed and grounded through the arts based educational encounters with the participants. , Thesis (PhD) -- Faculty of Education, Education, 2022
- Full Text:
- Date Issued: 2022-04-08
- Authors: Vallabh, Priya
- Date: 2022-04-08
- Subjects: Science Citizen participation , Decolonization , Social epistemology , Hegemony , Common good , Traditional ecological knowledge , Ethnoscience
- Language: English
- Type: Academic theses , Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/290671 , vital:56773 , DOI 10.21504/10962/290671
- Description: In this study I explore and explain transformatiThe citizen sciences convene complex and reflexive ecologies of knowledges in response to a range of social-ecological risks. Their epistemic cultures seem to be assembled in ways which increase potential mobilisation of the common knowledges being produced, thereby producing knowledges in forms that are more strongly aligned with a range of implementation strategies. However, much of such processes of knowledge production have been ‘cleaned out’ of official accounts through scientifically hegemonic systems of legitimation, deepening hegemonically-entrenched systems of epistemic, contributory and distributive injustices, and undermining the potential for stronger enactments of participatory and radical democracies. The engagement of sociologies of absences and emergences in this study evidence these epistemic insights, thereby evidencing an expansive post-abyssal (re)stor(y)ing of the citizen sciences. Through this research, I consider knowledge production as ‘commoning', towards the constitution of the common good. To date, most accounts of knowledge production within citizen science projects primarily focus on scientific processes of knowledge production and legitimation. Such accounts neglect the ecologies of diverse knowledges through which knowledge is being collaboratively produced, the forms of learning that occur, or the ways in which such ecologies are mobilised in response to specific socialecological risks. To better understand the ways in which citizen science projects build risk-responsive common knowledge, I bring a focus to the diversity of epistemic cultures convened, speaking to this gap. My primary research question is: How do the epistemic cultures within citizen science projects enable commoning in response to social-ecological risk? To begin, I establish a particular vantage point from which the remainder of the thesis is launched, one which centres as the primary interest of knowledge production, an interest in social-ecological justice and the constitution of the common good. From this vantage point, knowledge co-production and learning can be viewed as acts of commoning, which themselves constitute common goods. I draw on the work of Karin Knorr Cetina to conceptualise and frame notions of epistemic cultures and their epistemic features. Expanding notions of epistemic cultures from a post-abyssal perspective, I draw on the work of Bruno Latour and Boaventura de Sousa Santos. Latour’s distinctions between the production of ‘matters of fact’ and ‘matters of concern’ provide a way to challenge hegemonic systems of scientific knowledge production, while preserving the potential emergence of multiplicity in the context of evolving risk, thereby enabling a greater degree of situated reflexivity. Santos argues for the reclamation of all ways of knowing, including but not limited to scientific ways of knowing the world. He argues that other forms of knowledge are produced as nonexistent, and that they might be reclaimed through engaging sociologies of absences and emergences. Both authors enable a stronger analysis of knowledge production in terms of its ability to intervene into context in response to manifest risks. These three theoretical approaches are convened into an analytical framework for the study. To enact sociologies of absences and emergences, I engage two forms of immanent critique, complemented by an epistemic mapping of 50 South African citizen science projects, and an analysis of three illustrative case studies. The first critique is one of produced nonexistence, through which I consider three aspects of the general knowledge cultures within which the epistemic cultures of citizen science projects are situated. This critique makes evident the ways in which the ontological and related conceptual structures of hegemonic scientific knowledge production actively produce as nonexistent, other onto-epistemic contributions to knowledge production in response to social-ecological risks. The second critique reviews the field of peer-reviewed literature through a reading of presence and absence, with a focus on the articulation of epistemic cultures. Predictably, a key finding is that this form of scientific reporting primarily foregrounds legitimated scientifically processed knowledge, while once again producing as nonexistent, other forms of knowledges. However, there is evidence of increasing accounts of citizen science which recognise both a diversity of knowledge contributions, and epistemic, contributory and distributive justice issues as regards hegemonic forms of reporting. The epistemic mapping evidences a highly diversified field of citizen sciences, whose epistemic cultures are convened to produce distinct forms of scientifically-informed knowledges in response to diverse contexts, scales and notions of risk. The three illustrative case studies engage sociologies of absences and emergences, with particular focus on articulating the ecologies of knowledges evidenced in project documentation, including both official and unofficial accounts of epistemic activity. This analysis highlights the significant contributions of diverse forms of knowledges, including scientific, situated, embodied, governance, indigenous, spiritual and relational knowledges, and the ways in which these knowledge are convened to respond to specific configurations of risk. It once again highlights issues of epistemic, contributory and distributive justice, and makes evident the need for stronger integrity in processes of producing and reporting common knowledges. The case studies also illustrate the increased effectiveness of leveraging an ecology of knowledges (in contrast to a monoculture of scientific knowledge) in response to situated risks, including how such ecologies have a tendency to be generative and enable multiple forms of intervention into structures and applied contexts of intervention. In response to the collective research findings, a think-piece on rigour-as-integrity is offered as a contribution to commoning, in response to social-ecological risk. The piece draws together a postabyssal system of rigour intended to strengthen knowledge production in ways which actively centre forms of justice and commoning. ve potential in arts-based environmental learning with a focus on water pedagogy. The study took place over a period of four years, where approximately 40 school pupils between the ages of 10 and 17 years-old were engaged in participatory arts-based inquiries into water located across unequal neighbourhoods in Cape Town, South Africa. Educators, school learners, citizens and decision-makers hold different historical, cultural, political and spiritual perspectives on water. These play a role in shaping what is termed in this research the ‘hydro-social cycle’. Yet, due to dominant ideas of what counts as knowing and truth, educators in educational settings struggle to account for the complexity of water, limiting educational encounters to a partial knowing leading mostly to limited unimaginative framings of problems and solutions. My focus on transformative potential in learning is derived from a concern for how environmental education encounters and the sense-making they enable, are infused by socio-economic, political, and historical elements, specifically colonialism, capitalism, and white supremacist racism. The connections between the multiple layers of capitalist crisis and the ever-urgent environmental crisis are not adequately made in mainstream forms of water education. The research explores how arts-based pedagogy could enable a productive meeting of critical environmental education with ecological literacies. Within this positioning, transformative potential considers how educational engagements position questions about water within the social life of participants/learners and inform learning that leads to fuller and more nuanced greater knowledge. Theoretically, I work with an interrogation of critical education theory, underlaboured by critical realism which enabled me to rigorously consider how claims to knowing are shaped by their accompanying assumptions of what is real. Drawing on recent debates in critical education theory, I resist the notion of critique as ideology and engage instead in the craftsmanship of contextual and responsive inquiry practice. This has enabled me to articulate processes and relationships in water education encounters with meaningful understandings of the effects of simultaneous crises rooted in racial capitalism and environmental crisis. My methodological approach is arts-based educational research with a directive to reflect upon educational encounters in an integrated way. It includes two parts informing the facilitation and analysis of open-ended learning processes. One component was arts-based inquiry practice developed for exploring complexity, drawing on the thinking of Norris (2009, 2011) and Finley (2016, 2017). The second part holds reflective space for these encounters guided by the practice of pedagogical narration inspired by the Reggio Amelia approach, demonstrated by Pacini-Ketchabaw, Nxumalo, Kocher, Elliot and Sanchez (2014). Clarifying the intellectual work of a responsive educator-researcher, pedagogical narration brings multiple theoretical lenses into conversation with emergent dimensions of educational process. In practice, in order to transgress the dominance of colonial white supremacist knowledge frames of water, I needed to be curious, to be confounded, to expect the unexpected in the educational encounters with participants and this mirroring of practice was emulated by the participants as they followed their own questions about water in Mzansi (South Africa). In our work together we came up against assumptions we had previously not questioned as individuals. Together we explored the implications of this by, for example, questioning who is responsible for saving water. These explorations required bringing together science knowledge and everyday knowledge at multiple scales: the household, catchment, government and global. It required us to be critical of how language and images are mobilized in public communication and school curriculums; for example, representations of water are infused with history and power in a way that impacts how we know and teach about water. The transformative potential of this pedagogical space is generated through acts of creative expression which are seen as acts of absenting absence, for example exhibiting through play how water use in the household interconnects with gender and age relationships. As such, creative expression through multiple mediums or more-than-text enables a deeper understanding of water as well as openings for interdisciplinary engagement with learning about water. My research found that in bringing together the contributions of critical education and environmental education in practice, two shifts are needed: environmental educators need to view ecological literacy as inseparable from the social and political. The knowledge that is shared about water in the classroom has social and political implications. On the other hand, critical educators need to better locate justice concerns in the material and ecological world at scale. Arts-based inquiry, as a kind of scaffolding for pedagogical process, has the potential to enable these shifts by opening up fixed analytical frames. Making these shifts requires a reflective practice on the part of the educator to navigate the inherited blind spots in environmental learning and critical education, such as dualities. One way to do this is for the educator to identify absences, as articulated in the Critical Realist tradition, and consider how these absences might be absented. This differs from a simplistic process of critique in the possibilities it opens up for collaboration between different schools of thought rather than further polarisation and alienation between educators and knowledge keepers on social ecologies. These insights have relevance for many sites of environmental education practice, such as natural science lecturers, school teachers or community activists. It is knowledge-learning work emergent from and responsive to complex ecological crisis, which requires everyone to rethink and open up to new ways of being, seeing and doing around these issues. The transformative potential of this work is that the thinking and transforming at all scales can be catalysed and grounded through the arts based educational encounters with the participants. , Thesis (PhD) -- Faculty of Education, Education, 2022
- Full Text:
- Date Issued: 2022-04-08
Climate for changing lenses: Reconciliation through site-specific, media arts-based environmental education on the water and climate change nexus in South Africa and Canada
- Authors: Van Borek, Sarah
- Date: 2021-10-29
- Subjects: Environmental education South Africa , Environmental education Canada , Climatic changes in art , Water-supply Climatic factors , Decolonization , Reconciliation South Africa , Curriculum change , Traditional ecological knowledge
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/192754 , vital:45260 , 10.21504/10962/192754
- Description: This study took place in the context of a growing racialised global water crisis and increasing demands worldwide for transforming higher education at institutions of ongoing settler colonialism. It presents a conceptualisation of what education, research and activism can look like and unfolded inside a doctoral research project that expands what doctoral education can look like. Using a media arts-based praxis process, I developed a relational model of university curriculum –site-specific, media arts-based, environmental education –with potential to cultivate relations (human and nonhuman) towards reconciliation while contributing to justice at the water-climate change nexus. My aim as a settler-ally was to expand my teaching and curriculum practices, thereby also offering curriculum transformation inspiration to others. My research was rooted in my concept of reconciliation as a practice towards thriving together, where the ‘together’ was inclusive of both humans and nonhumans. The curriculum engaged students in de/re/constructing water narratives through making site-specific videos focused on local water bodies. Decolonising artistic approaches known as slow media and soundscape recording were strategically incorporated into audio/video mapping assignments where students observed water aesthetics in ways that shifted their perceptions about water and entities entangled with it. Students met with Knowledge Keepers (Indigenous and non-Indigenous people from outside the academy with existing relationships to water bodies). A photovoice methodology was used in these meetings with Knowledge Keepers to reconfigure traditional film director-subject power relations. Guest lecturers from non-traditional backgrounds contributed diverse perspectives. Ecomotricity was incorporated, whereby students were in deliberate movement in/with water bodies through canoeing together. The curriculum culminated in a public screening/education event where resulting videos, interspersed with educational games facilitated by students, surfaced emotions, knowledge co-production and new synergies amongst the event’s temporary community. Through two iterations of the curriculum, where I co-designed and taught a course called Making Waveforms, one in Vancouver, Canada and one in Cape Town, South Africa, I explored the primary research question: How can a relational site specific, media arts-based university environmental education curriculum cultivate students’ relational sensibilities and abilities oriented towards reconciliation of diverse peoples and ecosystems in South Africa and Canada? Iterating the curriculum across these two contexts allowed me to assess which aspect(s)of the curriculum may have been applicable across these and other contexts. By using mixed methods of data collection and sharing throughout the research journey, I explored the sub-questions: a) How is reconciliation understood currently by university students in South Africa and Canada? and b) How can a relational site-specific, media arts-based university environmental education curriculum and my PhD methodologies (PhD-by-publication, website, and participatory approaches to podcasting, video making, and song creation), contribute to decolonising higher education, and thereby further contribute to reconciliation of diverse peoples and ecosystems in South Africa and Canada? Integral to my praxis process, I undertook a PhD-by-publication that involved writing four academic journal articles, with each paper presenting a key stage in the process. The papers, all of which have been submitted to peer-reviewed academic journals, form part of this thesis and can be found in the Appendices. The course was originally developed around Donati’s (2011) relational sociology and Gergen’s (2009) relational education theory. Throughout my praxis process, I expanded my theoretical influences as called for by the research and teaching practice. The journey behind my first PhD paper, (Towards) Sound research practice: Podcast-building as modeling relational sensibilities at the water-climate change nexus in Cape Town, began when I officially started my doctoral studies in early 2018. The paper was co-authored with a fellow PhD scholar from Rhodes University’s Environmental Learning Research Centre (ELRC), Anna James. It presents an experimental arts-based methodology we co-developed for doing contextual profiling by building a socially-engaged podcast series, called Day One, to explore the lived experiences of the Cape Town water crisis of 2018. It includes my initial tool of analysis for exploring how the curriculum might cultivate relational sensibilities and abilities towards reconciliation. The podcast pedagogy offered opportunities to develop some relational learning processes. The analytical tool was developed from cross-referencing reconciliation and relational educational theories. This paper also incorporated theories in relational solidarity and social movement learning. The podcast episodes included personal narratives that, in turn, revealed diverse ideologies and polarisations in the water situation. Working with the audio medium highlighted possibilities for creating and shifting affective relations. Recording and editing soundscapes of waterbodies began explorations of the agential qualities of water. These were foundational dynamics to explore in building the reconciliation curriculum. The paper is published in the International Journal of New Media, Technology, and the Arts (2019, Volume14, Issue1). My second PhD paper, A media arts-based praxis process of building towards a relational model of curriculum oriented towards reconciliation through water justice, presents my methodology for and analysis of a pilot course I co-designed and taught at the Emily Carr University of Art + Design (ECUAD) in Vancouver, Canada in 2018. This course served as contextual profiling around the water situation in Vancouver. The course was offered in partnership with a science-based environmental non-profit called the David Suzuki Foundation and an Indigenous-led post-secondary school called the Native Education College. The course’s public event was hosted at the Beaty Biodiversity Museum. At this stage, I was introduced to Cree/Métis filmmaker, Gregory Coyes, and his Indigenous cinematic narrative approach known as Slow Media. Integrating slow media into video mapping assignments presented exciting possibilities for shifting views and valuing of water. This was the stage at which my concept of reconciliation expanded to explicitly include nonhumans. I applied my initial analytical tool to the curriculum here, which revealed the three most prominent relational sensibilities and abilities towards reconciliation cultivated by students through the course: (1) knowledge ecologies; (2) a hopeful social imaginary; and (3) embodied ways of knowing. I began to make connections between the curriculum and Mi’kmaq elder Albert Marshall’s concept of ‘Two-Eyed-Seeing’, and expanded the notion to ‘Three-Eyed-Seeing’ to include artistic approaches. Deeply inspired by Bekerman and Zembylas’s (2012) Teaching Contested Narratives, I began to see the growing importance of the narrative aspects of reconciliation education. The paper is published in the University of Pretoria’s Journal of Decolonising Disciplines (2021, Volume 1, Issue 2). My third PhD paper, Water as artist-collaborator: Posthumanism and reconciliation in relational media arts-based education, presents a 2019 iteration of the curriculum at ECUAD in Vancouver, and illustrates my shift to include posthuman theories in my analysis. This course was offered in affiliation with the David Suzuki Foundation, and in collaboration with the Native Education College. The culminating public event was hosted by the Beaty Biodiversity Museum. Decentring the human in this data analysis better supported my research and curricular aims. The strong technoculture of the media arts-based curriculum fits well with many posthuman concepts. This posthuman reading of the course and data enabled me to see what changes were emerging through student-water-technology intra-actions, and how these supported relations towards reconciliation as well as water justice. Most notable of these changes was the emergence of water’s agential qualities, specifically of water as becoming collaborator in artistic/knowledge co-production, where students think with water. I argued this contributes to reconciliation by decentring the human, enabling relations in which power is more equal, and where there are greater possibilities for mutual responsibility between related entities. This is where I developed the concept of audio/video as relational texts, supporting the creating and shifting of affective relations more than the monumentalised verbal/written knowledge of traditional universities. This is also where I realised that relational work towards reconciliation would require engaging with the hidden curriculum of institutions. The paper is published in the journal Reconceptualizing Educational Research Methodology (2021, Volume 12, Issue 1), as part of a special issue on Posthuman Conceptions of Change in Empirical Educational Research. My fourth PhD paper, originally entitled Making waveforms: Implicit knowledge representation through video water narratives as decolonising practice towards reconciliation in South Africa’s higher education, presents an analysis of the 2019 iteration of the curriculum in South Africa. I co-designed and led a course called Making Waveforms at the University of Cape Town’s Future Water Institute (FWI) in collaboration with Rhodes University. The course was co-designed/facilitated with FWI’s Research Fellow Amber Abrams, who also co-authored this paper. The course’s public event was hosted by a non-profit organisation called the Tshisimani Centre for Activist Education. This paper explored the ways that non-verbalisable, implicit learning –understood as part of many non-Euro/Western ways of knowing– takes place in the Making Waveforms course and how this influenced water-specific climate behaviours while contributing to decolonised reconciliation practice for higher education institutions. Drawing on theories of implicit and explicit knowledge, we first showed how implicit learning primarily took place through: 1) site-specific audio/video mapping of water bodies; 2) meetings with Knowledge Keepers; and 3) an interactive public screening event. We highlighted how this non-verbalisable learning produced feelings of empathy for diverse peoples and waterways, as well as aesthetic appreciation of water, and how this can contribute to more response-able water behaviours. This, we argued, supported the valuing of implicit knowledge within a traditional educational setting, thereby pluralising knowledge, and was key to reconciliation/decolonisation in higher education. Iterating the curriculum for the South African context emphasised the importance of context-specificity of the course overall, and also of the relational work embedded in the curriculum. This paper is under review by the University of Toronto’s journal Curriculum Inquiry (CI). Following receipt of CI's internal review process, the title of the paper has since been updated to Non-verbalisable, implicit knowledge through cellphilms as decolonised reconciliation practice towards response-able water behaviours in South Africa. Through reflective analysis of my four papers, I developed a concept for an Anatomy of Decoloniz/sed Curriculum consisting of five key parts: 1) relationality; 2) multimodality; 3) narratives/counter-narratives; 4) context-specificity; and 5) unhidden curriculum. Four meta reflections have been included in this thesis, each corresponding with one of the four papers, and presented chronologically according to the stage of the praxis process with which they correspond. In these meta reflections, I applied Kolb’s (1984) Experiential Learning Cycle model for reflective writing, based on the premise that through experiences we can expand our understanding, and included four key stages: 1) concrete experience; 2) reflective observation; 3) abstract conceptualisation; and 4) active experimentation. For the concrete experience, I provided a thick description of my process in writing the paper, as well as aspects of the phase in my praxis process that was the focus of the paper, not included in but relevant to the paper. For the reflective observation, I identified any aspects of the experience that were new to me and which therefore presented opportunities for me to learn. For the abstract conceptualisation, I critically analysed my concrete experience and reflective observation to determine which, if any, of the five key parts of the Anatomy of Decoloniz/sed Curriculum that I outline in my introduction relate to this phase of my PhD praxis process. For the active experimentation, I made conclusions about the extent to which this phase of my PhD embraced decoloniality in practice, and built on this new understanding to make recommendations for myself and others committed to the decolonial project as part of my contribution to knowledge. These meta reflections also invite readers to follow my personal narrative of becoming-with water, meaning my transformation from being water illiterate to embracing a ‘watershed mind’ (Wong,2011). Multimodality, which I propose as a key part of an Anatomy of Decoloniz/sed Curriculum, is embedded in the representational aspects of this thesis. The courses I co-designed and taught as part of this project resulted in the creation of 20 short student films. My contextual profiling involved a podcast methodology that was ongoing throughout my study, as a model of decolonised research-communication-education-action at the water-climate change nexus. This methodology resulted in the creation of four Day One podcast episodes, co-produced with a PhD colleague, Anna James. Some of these episodes are available in all three main languages of Cape Town (Xhosa, Afrikaans, and English). I evolved the podcast methodology in a later stage of my praxis process as a form of member checking with contributors involved in various stages and aspects of the research. Once the four papers were written, I created a series of four short videos called In the Flow, with each video representing a translation of one of the four papers. I invited various contributors of the research project to either watch one or more of the In the Flow videos and/or read one or more of the academic papers, and then to respond in a Zoom call with me. The responses were then shared publicly in a series of seven Climate for Changing Lenses podcast episodes. Parts of these are included in a final song/music video called Please Don’t Blow It. A Climate for Changing Lenses website was created to host all of this multimedia content that forms part of this thesis. A link to this website is provided in the Introduction section of this thesis. My research contributes to the advancement of knowledge in the areas of relational and reconciliation pedagogy, decolonising higher education, arts-based teaching, learning and research methodologies and the water-climate change nexus. My praxis process provided a relational model of reconciliation curriculum that has been tried and tested in two international contexts: Canada and South Africa. , Thesis (PhD) -- Faculty of Education, Education, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Van Borek, Sarah
- Date: 2021-10-29
- Subjects: Environmental education South Africa , Environmental education Canada , Climatic changes in art , Water-supply Climatic factors , Decolonization , Reconciliation South Africa , Curriculum change , Traditional ecological knowledge
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/192754 , vital:45260 , 10.21504/10962/192754
- Description: This study took place in the context of a growing racialised global water crisis and increasing demands worldwide for transforming higher education at institutions of ongoing settler colonialism. It presents a conceptualisation of what education, research and activism can look like and unfolded inside a doctoral research project that expands what doctoral education can look like. Using a media arts-based praxis process, I developed a relational model of university curriculum –site-specific, media arts-based, environmental education –with potential to cultivate relations (human and nonhuman) towards reconciliation while contributing to justice at the water-climate change nexus. My aim as a settler-ally was to expand my teaching and curriculum practices, thereby also offering curriculum transformation inspiration to others. My research was rooted in my concept of reconciliation as a practice towards thriving together, where the ‘together’ was inclusive of both humans and nonhumans. The curriculum engaged students in de/re/constructing water narratives through making site-specific videos focused on local water bodies. Decolonising artistic approaches known as slow media and soundscape recording were strategically incorporated into audio/video mapping assignments where students observed water aesthetics in ways that shifted their perceptions about water and entities entangled with it. Students met with Knowledge Keepers (Indigenous and non-Indigenous people from outside the academy with existing relationships to water bodies). A photovoice methodology was used in these meetings with Knowledge Keepers to reconfigure traditional film director-subject power relations. Guest lecturers from non-traditional backgrounds contributed diverse perspectives. Ecomotricity was incorporated, whereby students were in deliberate movement in/with water bodies through canoeing together. The curriculum culminated in a public screening/education event where resulting videos, interspersed with educational games facilitated by students, surfaced emotions, knowledge co-production and new synergies amongst the event’s temporary community. Through two iterations of the curriculum, where I co-designed and taught a course called Making Waveforms, one in Vancouver, Canada and one in Cape Town, South Africa, I explored the primary research question: How can a relational site specific, media arts-based university environmental education curriculum cultivate students’ relational sensibilities and abilities oriented towards reconciliation of diverse peoples and ecosystems in South Africa and Canada? Iterating the curriculum across these two contexts allowed me to assess which aspect(s)of the curriculum may have been applicable across these and other contexts. By using mixed methods of data collection and sharing throughout the research journey, I explored the sub-questions: a) How is reconciliation understood currently by university students in South Africa and Canada? and b) How can a relational site-specific, media arts-based university environmental education curriculum and my PhD methodologies (PhD-by-publication, website, and participatory approaches to podcasting, video making, and song creation), contribute to decolonising higher education, and thereby further contribute to reconciliation of diverse peoples and ecosystems in South Africa and Canada? Integral to my praxis process, I undertook a PhD-by-publication that involved writing four academic journal articles, with each paper presenting a key stage in the process. The papers, all of which have been submitted to peer-reviewed academic journals, form part of this thesis and can be found in the Appendices. The course was originally developed around Donati’s (2011) relational sociology and Gergen’s (2009) relational education theory. Throughout my praxis process, I expanded my theoretical influences as called for by the research and teaching practice. The journey behind my first PhD paper, (Towards) Sound research practice: Podcast-building as modeling relational sensibilities at the water-climate change nexus in Cape Town, began when I officially started my doctoral studies in early 2018. The paper was co-authored with a fellow PhD scholar from Rhodes University’s Environmental Learning Research Centre (ELRC), Anna James. It presents an experimental arts-based methodology we co-developed for doing contextual profiling by building a socially-engaged podcast series, called Day One, to explore the lived experiences of the Cape Town water crisis of 2018. It includes my initial tool of analysis for exploring how the curriculum might cultivate relational sensibilities and abilities towards reconciliation. The podcast pedagogy offered opportunities to develop some relational learning processes. The analytical tool was developed from cross-referencing reconciliation and relational educational theories. This paper also incorporated theories in relational solidarity and social movement learning. The podcast episodes included personal narratives that, in turn, revealed diverse ideologies and polarisations in the water situation. Working with the audio medium highlighted possibilities for creating and shifting affective relations. Recording and editing soundscapes of waterbodies began explorations of the agential qualities of water. These were foundational dynamics to explore in building the reconciliation curriculum. The paper is published in the International Journal of New Media, Technology, and the Arts (2019, Volume14, Issue1). My second PhD paper, A media arts-based praxis process of building towards a relational model of curriculum oriented towards reconciliation through water justice, presents my methodology for and analysis of a pilot course I co-designed and taught at the Emily Carr University of Art + Design (ECUAD) in Vancouver, Canada in 2018. This course served as contextual profiling around the water situation in Vancouver. The course was offered in partnership with a science-based environmental non-profit called the David Suzuki Foundation and an Indigenous-led post-secondary school called the Native Education College. The course’s public event was hosted at the Beaty Biodiversity Museum. At this stage, I was introduced to Cree/Métis filmmaker, Gregory Coyes, and his Indigenous cinematic narrative approach known as Slow Media. Integrating slow media into video mapping assignments presented exciting possibilities for shifting views and valuing of water. This was the stage at which my concept of reconciliation expanded to explicitly include nonhumans. I applied my initial analytical tool to the curriculum here, which revealed the three most prominent relational sensibilities and abilities towards reconciliation cultivated by students through the course: (1) knowledge ecologies; (2) a hopeful social imaginary; and (3) embodied ways of knowing. I began to make connections between the curriculum and Mi’kmaq elder Albert Marshall’s concept of ‘Two-Eyed-Seeing’, and expanded the notion to ‘Three-Eyed-Seeing’ to include artistic approaches. Deeply inspired by Bekerman and Zembylas’s (2012) Teaching Contested Narratives, I began to see the growing importance of the narrative aspects of reconciliation education. The paper is published in the University of Pretoria’s Journal of Decolonising Disciplines (2021, Volume 1, Issue 2). My third PhD paper, Water as artist-collaborator: Posthumanism and reconciliation in relational media arts-based education, presents a 2019 iteration of the curriculum at ECUAD in Vancouver, and illustrates my shift to include posthuman theories in my analysis. This course was offered in affiliation with the David Suzuki Foundation, and in collaboration with the Native Education College. The culminating public event was hosted by the Beaty Biodiversity Museum. Decentring the human in this data analysis better supported my research and curricular aims. The strong technoculture of the media arts-based curriculum fits well with many posthuman concepts. This posthuman reading of the course and data enabled me to see what changes were emerging through student-water-technology intra-actions, and how these supported relations towards reconciliation as well as water justice. Most notable of these changes was the emergence of water’s agential qualities, specifically of water as becoming collaborator in artistic/knowledge co-production, where students think with water. I argued this contributes to reconciliation by decentring the human, enabling relations in which power is more equal, and where there are greater possibilities for mutual responsibility between related entities. This is where I developed the concept of audio/video as relational texts, supporting the creating and shifting of affective relations more than the monumentalised verbal/written knowledge of traditional universities. This is also where I realised that relational work towards reconciliation would require engaging with the hidden curriculum of institutions. The paper is published in the journal Reconceptualizing Educational Research Methodology (2021, Volume 12, Issue 1), as part of a special issue on Posthuman Conceptions of Change in Empirical Educational Research. My fourth PhD paper, originally entitled Making waveforms: Implicit knowledge representation through video water narratives as decolonising practice towards reconciliation in South Africa’s higher education, presents an analysis of the 2019 iteration of the curriculum in South Africa. I co-designed and led a course called Making Waveforms at the University of Cape Town’s Future Water Institute (FWI) in collaboration with Rhodes University. The course was co-designed/facilitated with FWI’s Research Fellow Amber Abrams, who also co-authored this paper. The course’s public event was hosted by a non-profit organisation called the Tshisimani Centre for Activist Education. This paper explored the ways that non-verbalisable, implicit learning –understood as part of many non-Euro/Western ways of knowing– takes place in the Making Waveforms course and how this influenced water-specific climate behaviours while contributing to decolonised reconciliation practice for higher education institutions. Drawing on theories of implicit and explicit knowledge, we first showed how implicit learning primarily took place through: 1) site-specific audio/video mapping of water bodies; 2) meetings with Knowledge Keepers; and 3) an interactive public screening event. We highlighted how this non-verbalisable learning produced feelings of empathy for diverse peoples and waterways, as well as aesthetic appreciation of water, and how this can contribute to more response-able water behaviours. This, we argued, supported the valuing of implicit knowledge within a traditional educational setting, thereby pluralising knowledge, and was key to reconciliation/decolonisation in higher education. Iterating the curriculum for the South African context emphasised the importance of context-specificity of the course overall, and also of the relational work embedded in the curriculum. This paper is under review by the University of Toronto’s journal Curriculum Inquiry (CI). Following receipt of CI's internal review process, the title of the paper has since been updated to Non-verbalisable, implicit knowledge through cellphilms as decolonised reconciliation practice towards response-able water behaviours in South Africa. Through reflective analysis of my four papers, I developed a concept for an Anatomy of Decoloniz/sed Curriculum consisting of five key parts: 1) relationality; 2) multimodality; 3) narratives/counter-narratives; 4) context-specificity; and 5) unhidden curriculum. Four meta reflections have been included in this thesis, each corresponding with one of the four papers, and presented chronologically according to the stage of the praxis process with which they correspond. In these meta reflections, I applied Kolb’s (1984) Experiential Learning Cycle model for reflective writing, based on the premise that through experiences we can expand our understanding, and included four key stages: 1) concrete experience; 2) reflective observation; 3) abstract conceptualisation; and 4) active experimentation. For the concrete experience, I provided a thick description of my process in writing the paper, as well as aspects of the phase in my praxis process that was the focus of the paper, not included in but relevant to the paper. For the reflective observation, I identified any aspects of the experience that were new to me and which therefore presented opportunities for me to learn. For the abstract conceptualisation, I critically analysed my concrete experience and reflective observation to determine which, if any, of the five key parts of the Anatomy of Decoloniz/sed Curriculum that I outline in my introduction relate to this phase of my PhD praxis process. For the active experimentation, I made conclusions about the extent to which this phase of my PhD embraced decoloniality in practice, and built on this new understanding to make recommendations for myself and others committed to the decolonial project as part of my contribution to knowledge. These meta reflections also invite readers to follow my personal narrative of becoming-with water, meaning my transformation from being water illiterate to embracing a ‘watershed mind’ (Wong,2011). Multimodality, which I propose as a key part of an Anatomy of Decoloniz/sed Curriculum, is embedded in the representational aspects of this thesis. The courses I co-designed and taught as part of this project resulted in the creation of 20 short student films. My contextual profiling involved a podcast methodology that was ongoing throughout my study, as a model of decolonised research-communication-education-action at the water-climate change nexus. This methodology resulted in the creation of four Day One podcast episodes, co-produced with a PhD colleague, Anna James. Some of these episodes are available in all three main languages of Cape Town (Xhosa, Afrikaans, and English). I evolved the podcast methodology in a later stage of my praxis process as a form of member checking with contributors involved in various stages and aspects of the research. Once the four papers were written, I created a series of four short videos called In the Flow, with each video representing a translation of one of the four papers. I invited various contributors of the research project to either watch one or more of the In the Flow videos and/or read one or more of the academic papers, and then to respond in a Zoom call with me. The responses were then shared publicly in a series of seven Climate for Changing Lenses podcast episodes. Parts of these are included in a final song/music video called Please Don’t Blow It. A Climate for Changing Lenses website was created to host all of this multimedia content that forms part of this thesis. A link to this website is provided in the Introduction section of this thesis. My research contributes to the advancement of knowledge in the areas of relational and reconciliation pedagogy, decolonising higher education, arts-based teaching, learning and research methodologies and the water-climate change nexus. My praxis process provided a relational model of reconciliation curriculum that has been tried and tested in two international contexts: Canada and South Africa. , Thesis (PhD) -- Faculty of Education, Education, 2021
- Full Text:
- Date Issued: 2021-10-29
Museums for the Planet: Critical Realist Philosophy and the Possibility of an Eco-decolonial Museology
- Authors: Jeffery, Thomas Carnegie
- Date: 2021-10-29
- Subjects: Museums Management , Critical realism , Ontology , Decolonization , Organizational change , Social ecology , Eco-decolonial
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/192692 , vital:45251 , 10.21504/10962/192692
- Description: This study introduces dialectical critical realism into museology as a philosophical underlabourer for the development of new theoretical potentials for the transformation of museum practice. The idea of the museum is in a moment of fluidity evident in emergent decolonial and ecological perspectives and in the International Council of Museum’s process of redefinition of the museum. The potential to reimagine the museum lacks a coherent philosophical and theoretical foundation. The persistence of museological dualism separates the social from the ecological and absents the emergence of relational modes of thinking and practice. This study conceives an ecological-decolonial or eco-decolonial mode of museology that is disruptive of dualism and generative of relationality, and is thus generative of agency for deeper, more effective and enduring social-ecological justice. The core of this thesis is the development of the eco-decolonial mode of museology through the DCR onto-axiological chain or ‘MELD’ schema. At 1M a depth ontological analysis augmented by interviews with key informants establishes a dialectic of society and ecology in the museological context. 1M surfaces capitalism and the implicit neoliberal ontology of museology as deep causal mechanisms of the 2E persistence of museological human-nature dualism. The paradox of ‘emancipatory neoliberalism’ is a policy-practice contradiction that absents potentials for transformation of the museum and that is held in place by the grounding ontological activity of museology, collection. The 2E perspective on absences enables the emergence of new transformative pathways towards the 3L vision of the eco-decolonial mode of museology as a (4D) new way of thinking and working to resolve neoliberal restrictions. The fundamental 4D change envisioned for museum philosophy, theory and practice is an ontological transformation from traditionalist human-nature dualism to a progressive human-nature dialectic. A case study considers instances where museum workers exercised the agency to expand practice in this way. Future work using the expansive learning methodology of Change Laboratories will develop and implement the potentials generated by the onto-axiological chain for the eco-decolonial mode to bring real change to traditional, dualist museum practice, in order to ensure the relevance and the agency of the museum as a social structure in and for a changing world. , Thesis (PhD) -- Faculty of Education, Education, 2021
- Full Text:
- Date Issued: 2021-10-29
- Authors: Jeffery, Thomas Carnegie
- Date: 2021-10-29
- Subjects: Museums Management , Critical realism , Ontology , Decolonization , Organizational change , Social ecology , Eco-decolonial
- Language: English
- Type: Doctoral theses , text
- Identifier: http://hdl.handle.net/10962/192692 , vital:45251 , 10.21504/10962/192692
- Description: This study introduces dialectical critical realism into museology as a philosophical underlabourer for the development of new theoretical potentials for the transformation of museum practice. The idea of the museum is in a moment of fluidity evident in emergent decolonial and ecological perspectives and in the International Council of Museum’s process of redefinition of the museum. The potential to reimagine the museum lacks a coherent philosophical and theoretical foundation. The persistence of museological dualism separates the social from the ecological and absents the emergence of relational modes of thinking and practice. This study conceives an ecological-decolonial or eco-decolonial mode of museology that is disruptive of dualism and generative of relationality, and is thus generative of agency for deeper, more effective and enduring social-ecological justice. The core of this thesis is the development of the eco-decolonial mode of museology through the DCR onto-axiological chain or ‘MELD’ schema. At 1M a depth ontological analysis augmented by interviews with key informants establishes a dialectic of society and ecology in the museological context. 1M surfaces capitalism and the implicit neoliberal ontology of museology as deep causal mechanisms of the 2E persistence of museological human-nature dualism. The paradox of ‘emancipatory neoliberalism’ is a policy-practice contradiction that absents potentials for transformation of the museum and that is held in place by the grounding ontological activity of museology, collection. The 2E perspective on absences enables the emergence of new transformative pathways towards the 3L vision of the eco-decolonial mode of museology as a (4D) new way of thinking and working to resolve neoliberal restrictions. The fundamental 4D change envisioned for museum philosophy, theory and practice is an ontological transformation from traditionalist human-nature dualism to a progressive human-nature dialectic. A case study considers instances where museum workers exercised the agency to expand practice in this way. Future work using the expansive learning methodology of Change Laboratories will develop and implement the potentials generated by the onto-axiological chain for the eco-decolonial mode to bring real change to traditional, dualist museum practice, in order to ensure the relevance and the agency of the museum as a social structure in and for a changing world. , Thesis (PhD) -- Faculty of Education, Education, 2021
- Full Text:
- Date Issued: 2021-10-29
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