Singing Taylor Swift Songs

Introductions, Gender, and Amplification

Every year in #introguitar (an open online guitar class I teach at my school, and which you should totally enrol in as a non-credit participant) I ask my students and our open learners to introduce themselves and their intentions to the group in a brief video. And rather than rehash a template video of my own from ages ago, I appreciate the opportunity as a student of music to focus my learning about guitar from semester to semester in new video introductions.

In past years I’ve worked to learn skills and techniques around lead playing, band-leading, and performing, documenting my growth in subsequent videos and reflections throughout the year.

This year, I’m taking my work in guitar in a direction slightly away from the guitar itself, and toward the conversation about gender, inequality, and diversity in the wider culture of popular music; I’ve resolved to only play songs written by women.

A while back I read about journalist Anil Dash’s experiment to only ReTweet women for a year, an experience that made him more mindful of the voices he amplified on social media:

Based on my experiences, my recommendation to others is simple: Give it a try. If you’re inclined, try being mindful of whose voices you share, amplify, validate and promote to others. For me, it was giving a platform to women where I wasn’t able to mansplain the things they were already saying, but instead just sharing out their own thoughts in their own words. It may be by issue, or by identity, or by community, or some other consideration.

Troubadours and Teen Idols

Caption courtesy of RadioTexasLive.com

Along with inspiring the mournful western aesthetic of my university days, Ryan Adams wrote some of the first songs I learned on guitar (he also inspired the bad versions of Wonderwall I still play around campfires), and has been an artist that I’ve grown alongside for more than ten years as we’ve each experimented with bands, folk music, and life beyond our devil-may-care early twenties. His work of late has been especially sharp, I think, too; “Gimme Something Good,” and the rest of his self-titled album last year contain layers of guitar excellence and timeless hooks that are among his best.

Last year, word began to spread that Adams had set to recording a cover of Taylor Swift’s recent blockbuster, 1989; my worlds were colliding.

As a guitar teacher in a high school the last six years, I’ve been no stranger to the evolving songwriting career of Ms. Swift. Seldom in my tenure in #introguitar have I walked past an interesting turn of phrase, guitar riff, or chord progression to not be told upon inquiring, “That’s Taylor Swift.” Around campfires and in the park behind my parents house during the summer, the choruses of “Love Story,” and “You Belong with Me” have become generational anthems that are tattooed on suburban boys and girls alike.

There is doubtless something there.

Exhibit A in why I want to start calling #introguitar “Campfire Practice”

A video posted by Bryan Jackson (@bryanjack) on

Pronouns and Performing Gender

As long as I’ve enjoyed Taylor Swift’s tunes – and I have quite earnestly enjoyed them, making them a staple of class guitar playing and pieces to deconstruct as exemplars of composition – I’ve never truly played or performed any on my own. There have always been reasons for this, but I can’t say as though very many are very good.

Sometimes the key is too high, or the melody too…something. Sometimes the dance beat is too difficult to recreate on a single guitar. Sometimes they’re written too explicitly from a female or feminine perspective. None of which in itself is a big deal, but contributes to enough awkwardness that I don’t wind up learning the songs to a degree where I play them for other people.

Historically this has been true nearly across the board, with a few pop songs by female artists making ironic appearances alongside Notorious BIG covers once it’s late enough into the night or the jam. The list of songs written by women that are part of my repertoire is pretty weak, if not non-existant.

On a certain level, this is a matter of taste, sure. Why shouldn’t I play what I like to play? What’s easy to play? That feels like me? However, on another, I share the songs I play with a lot of people; I teach young people about the culture of musicianship, songwriting, and developing one’s own voice, both as an interpreter of other people’s songs, and a writer of originals. To present only my own perspective, or one which makes me comfortable, seems unfair to the myriad ways my students perceive and approach the world, and their music.

This is why I’ve decided to spend my time playing music for school this semester playing and performing songs written by women. I’m not play it ironically, insulating myself from whatever vulnerabilities arise in the performances with humour or distance.

And I’m going to leave the pronouns the same, because if it makes me uncomfortable to sing about Taylor’s “Stephen,” or about “his hands [being] in my hair,” I do enjoy the ability (one might say privilege) of challenging that discomfort so that it’s more acceptable for young men who know all the words to Taylor Swift, or Beyonce, or Lady Gaga’s songs to take the stage and belt it out.

Because these songs weren’t written as larks, or trivial, or silly: they were and are manifestations of tone,  character, and theme. They are expressions of an aesthetic in the tradition of songsmiths, where male voices have been disproportionately taken seriously as a matter of course by virtue of arising from male mouths.

Even Taylor Swift’s own songs became more highly regarded by critics once Mr. Adams had sung them. Ian Crouch at the New Yorker (which reviewed Adams’ record, but not Swift’s) wrote:

If anything, Adams’s version of “1989” is more earnest and, in its way, sincere and sentimental than the original.

There are a bunch of men’s songs I’ve shared and performed and taught the class in the past, and no doubt there will be in future semesters. But not because they’re any more sincere, authentic, or otherwise superior to any woman’s music.

And if that’s the case, I’d like to work to balance my catalogue of songs accordingly.

Adventures in Blended Learning

John A. Skype

As I mentioned in a brief thank you to Alec at our last class meeting, in many ways it feels as though I’ve been taking his course on The Blended Classroom for a few years now.

When I joined Twitter back in… can it really have been 2009? Alec was one of the first people I followed. Along with Will Richardson, Dean Shareski, Sylvia Martinez and a host of others who have spoken with us or been name-dropped throughout our time together this semester, Alec has helped form and inspire many of the ideas that have driven my blended practice in the years since, a journey that has been charted across the near-300 posts on this blog, as well as in other online spaces, physical artifacts, and dialogue with peers, colleagues and students.

Along with Dave Cormier I am interested in the blurring of the boundaries between formal and informal learning, and seek to integrate a more rhizomatic approach to institutional learning that makes use of the sprawling inquiries I have engaged in during my time as an open online educator. While it may be more chaotic, and difficult (if not impossible) to direct, this more organic approach has challenged me to make meaning of diverse experiences and connections in a manner which is far more in line with socio-cultural trends at the heart of the digital age and 21st century.

As a reflective practitioner, this has allowed me to plot a uniquely personal course of study that is relevant to my own interests and passions, classroom communities, and emerging perspective on my place in the world as an educator and member of the human project. But it has also offered the opportunity to engage in the type of emergent meaning-making that has become central to the philosophy of education underpinning my work as a graduate student. Taken together these experiences have influenced the type of learning opportunities I strive to create for my students, as well as the type of learning I hope they are able to engage in for themselves once they venture beyond the school.

This semester my own learning has met the gentle structure provided by Alec’s class and branched in what may be considered three overlapping directions: theory, practice and reflection.

Theory

I began my theoretical work in January with a look at the potential for Collaborative Inquiry to address teacher professional development interests, as well as put educators into the experiential role of learners as members of a community:

With increasing classroom needs, revolutionary changes in technology and information literacies, in an evolving culture dealing with widespread anxiety and mental health concerns, classroom teachers and extended school communities confront diverse language language needs and an increased awareness around gender and sexual identity, among other unique challenges. In British Columbia, public schools face the additional challenge of an ongoing and tempestuous negotiation between different stakeholders over curricular reform, teacher-contracts, and the role of education in society.

The convergence of these myriad adaptive challenges – “for which the necessary knowledge [does] not yet exist.” – seem an appropriate place to engage a process of collaborative inquiry which allows participants to “adopt new values and beliefs.”

In addition to the value that it might add to teacher-development and learning, this type of collaborative inquiry is in line with a conception of citizenship that is coming to ground my academic work around civic education. As the emergent view of knowledge described above may be seen to, the challenges presented by multiculturalism in pluralist democracies highlights the tension between creating and maintaining institutions that can bring about outcomes truly constructed out of their (ever-changing) constituent parts.

An ongoing theme in my work on this blog, the problematic view of emergence is described by Deborah Osberg and Gert Biesta:

“If we hold that meaning is emergent, and we insist on a strict interpretation of emergence (i.e. what emerges is more than the sum of its parts and therefore not predictable from the ‘ground’ it emerges from) then the idea that educators can (or should) control the meanings that emerge in the classroom becomes problematic. In other words the notion of emergent meaning is incompatible with the aims of education, traditionally conceived.”

Sigal Ben-Porath presents a potential resolution to this paradox in the form of Citizenship as Shared Fate, wherein “citizenship education ‘seeks forms of attachments, belonging and commitment that would enable children to become positive members of diverse communities of fate.'”

Such a citizenship, and thus citizenship education:

“aims to recognize differences in values, outlooks, language and preferences while developing institutional and conceptual concepts – particularly civic and political ones – in which different communities can develop ties and shared practices.”

Practice

In building on these theoretical underpinnings (among others), I sought during this semester to engage in my own professional learning, as well as facilitate my various classroom-activities, with an eye toward exploring the digital applications of these ideas in the service of both individual and community development.

Guitar

(One of) My own learning project(s) during the term took on the challenge of musical performance, both in my guitar classroom and the school community beyond, a process I documented and reflected upon in a series of posts both here and on the #IntroGuitar site:Murder at the Witch's Tavern

In addition to this somewhat formal performance (as well as those which will follow throughout the semester), I also took a stake in a fundraising evening of murder-mystery dinner-theatre for our drama department, writing and sharing a series of expository songs during the hastily produced play performed for local parents, colleagues and community guests.

In each of these examples, my aim was not only to develop and reflect on my own growth as a musician, but to engage in a process I regularly ask of my students so as to both cultivate empathy for the discomfort that often accompanies learning as well as share an example – successful or not – of stepping into Vigotsky’s Zone of Proximal Development for students and colleagues alike.

For my guitar students especially, whom I ask to document and reflect on their musical learning regularly, sharing my own journey as a guitar player is an integral part of cultivating an open course community within the structure of a for-credit classroom. Part of the ‘open’ ethos of the blended #introguitar environment creates the course site as a space for our students to cultivate and share their own narratives of learning among members of the class, but also those beyond.

But these individual and collective artifacts of learning also stretch beyond the classroom, leaving a lasting community of practice that is accessible – as the three iterations of the course that have used the course are – to future students of guitar, at Gleneagle and beyond.

TALONS Socials

The same might be said of the praxis of reflection and creation I have attempted to instigate in the TALONS Socials learning this semester, where members of the class have been asked to document various aspects of their learning: in blog posts, Tweets, pages of notes, and recorded class discussions and role plays.

With assignments separated into summative presentations and assignments, reflections and self-assessments, as well as documents of learning in progress (questions, notes on discussions, journal entries, marginalia in various readings, assigned and otherwise), the TALONS Social Studies semester orients itself toward students taking ownership over their own encounters with the course’s Ministry-mandated prescribed learning outcomes. Through a range of class activities and assignments, each is charged with the collection of various artifacts of learning that will be used in the creation of midterm, as well as final syntheses of learning, where these articles will serve as evidence that the curriculum has been encountered, critically interrogated, and integrated into their own emerging understanding.

Daily homework, if not otherwise specified, reflects the values of ongoing personal inquiry and is geared toward the TALONS being successful in what has become known as the Philosophy Pop Quiz:

  1. Did you read material for today’s class meeting carefully? (No – 0, Once – 1, Yes, more than once – 2)
  2. Did you come to class today with questions or with items you’re eager to discuss? (No – 0, Yes, one – 1, Yes, more than one – 2)
  3. Since we last met, did you talk at length to a classmate, or classmates about either the last class meeting or today’s meeting? (No – 0, Yes, one person – 1, Yes, more than one person – 2)
  4. Since our last meeting, did you read any unassigned material related to this course of study? (No – 0, Yes, one item – 1, Yes, more than one item – 2)
  5. Since our last meeting, how much time have you spent reflecting on this course of study and recent class meetings? (None to 29 minutes – 0, 30 minutes to one hour – 1, Over an hour – 2)

Working toward the highest possible class average score on the above quiz, the traits and habits required for daily success can become part of the cycle of personal learning without falling prey to being too prescriptive. The synthesis of a collective voice out of these various inquiries and encounters with the common course of study are able to become the task of the social curricula.

This has been particularly evident in the class’ recent study of Canadian Confederation, where an experiment in social media role-playing has built upon the debates and discussion various historical characters have been waging in the face to face classroom, realizing that multicultural difficulty:

“…to ‘teach’ toward these myriad truths is at once a curricular requirement and Quixotic pursuit, revealing the tensions of education for citizenship in a pluralist democracy, asking How do we create unity and cultivate diverse perspectives?

“In interpreting history, as well as our present moment, students ought be engaged in rehearsing this act, and with the dramatic role play the answer offered to the pedagogic problem lies at the heart of narrative.

“Of sensing an individual’s arc at the centre of a multitude of shared and individual lives.

“Of constructing ‘we’ out of many ‘I’s.

“Whether face to face or in the online sphere, this is the task of schooling in the multicultural society.”

Reflection

Perhaps apart from both the theory and practice summarized above, the learning engaged in on this blog regularly ventures into more personal reflections and syntheses of learning that go beyond the collection of classroom experiences or theoretical readings and attempt to articulate something of a larger polemic on the state of educational or cultural affairs.

In the past few months, these posts have charted a variety of themes encountered in my weekly wanderings, including some thoughts on the nature of Learning on (and of) the Web, My life as the Music Department Digital Archivist, and Teaching in the Patriarchy. On a more personal note, I looked back on more than a decade spent with the work of Ernest Hemingway.

Each of these musings serves to help synthesize and express an emerging interpretation of various themes in my teaching, learning and life, harkening back to an image I used in a post last December on Course Design and Narrative Discovery, where data is transformed to information, to knowledge, to wisdom.

By engaging in this open manner, and publishing this work and these thoughts alongside the TieGrad cohort which has inspired many of them in the past two years, each of these experiences – and their corresponding posts – represents at once the wisdom of today as well as the points of data that will be made into new meanings going forward.

In a way it’s been the lesson I’ve been learning from Alec for years, while at the same time a culmination and synthesis of everything I’ve been learning the whole time.

Just as learning should be.

Social Media/Studies

UntitledIn addition to more critical efforts to conduct inquiries into history as it intersects with our present landscape, the TALONS class has come to embrace dramatic efforts to enact and recreate history in their social(s) learning. Whether engaging in a mock trial of King Charles II, or making impassioned speeches as characters in the French Revolution, such theatrical turns have traditionally made for memorable classroom moments.

A few years ago, a group of TALONS grade tens approached me to see if they could ‘pitch’ a unit plan for our upcoming French Revolution study: in blog posts and classroom activities, members of the class would each adopt a character from the revolutionary period, and strive to realize and represent diverse perspectives on events in 18th century France.

In the years since, the unit has evolved to include Twitter, as well as a series of improvised discussions, debates and addresses – all in character.

Thus the class is able to imagine and take in the passionate decrees of a young Maximilien Robespierre:

In the future I believe that it is not enough for the monarchy to only lose a portion of its power. France should be a country run for its people by the people, a democracy! At this moment I do not have enough political power to share my views in such ways, but in time I shall express my desires. One day I assure you, I will find a way to improve the lives of the poor and to strike down those corrupt from power.

And see the story through to his betrayal of Georges Danton, who addresses his friend:

I curse you.

We once had, if not brotherhood, at least mutual understanding. We were creating a France that our children would be proud of. I know not when your idealism became madness but I must have failed to see the signs, because I was not prepared for all the murders, and all the terror that you instilled into this country.

Robespierre, you will follow me into dissolution. I will drag you down screaming, and we will fall together.

In addition to these perspectives developing on individual blogs in monologues and comment threads, classroom time is spent charting the development of significant revolutionary events against characters’ reactions which are presented in improvised debates or speeches. And the dialogue continues on Twitter, as each character adopts an avatar to not only promote and archive their blogged artifacts, engage in dialogue with their allies and nemeses, and exercise their own democratic rights in carrying out the final assessments in the unit:

Screen Shot 2015-03-23 at 9.38.18 PM

Screen Shot 2015-03-23 at 9.39.55 PMSensing that there might be a popular uprising against a tyrant teacher bent on sticking steadfast to an arbitrary deadline, I asked to see a show of support for the idea:

Screen Shot 2015-03-23 at 9.43.23 PMThe idea was taken up quickly.

By philosophers:

Screen Shot 2015-03-23 at 9.42.33 PMThe King of France:

Screen Shot 2015-03-23 at 9.44.41 PM

Feminist leaders:

Screen Shot 2015-03-23 at 9.45.54 PMAnd even the farmers:

Screen Shot 2015-03-23 at 9.47.26 PM

At the culmination of the unit, each of the TALONS delivered a final address that looked back on their contributions to the revolution, and how they might have done things differently with the benefit of hindsight. And while each member of the class was only tasked with creating one unique angle on the historical events being studied, the effect rendered by the series of addresses on the unit’s final day presented a nuanced and multidimensional look into the various subjectivities that (might have) helped shape the revolutionary period.

From each of their perspectives, what the French Revolution might be about would likely sprawl in a dozen different directions: a part of a historical march toward justice; political reform; a spark in the narrative of female activism; the story of scarce resources driving extreme behaviour. And to ‘teach’ toward these myriad truths is at once a curricular requirement and Quixotic pursuit, revealing the tensions of education for citizenship in a pluralist democracy, asking How do we create unity and cultivate diverse perspectives?

In interpreting history, as well as our present moment, students ought be engaged in rehearsing this act, and with the dramatic role play the answer offered to the pedagogic problem lies at the heart of narrative.

Of sensing an individual’s arc at the centre of a multitude of shared and individual lives.

Of constructing ‘we’ out of many ‘I’s.

Whether face to face or in the online sphere, this is the task of schooling in the multicultural society.

Room for Improvement: If and when we do Eminent again…

Slide14

Before the new year, I compiled a host of the TALONS‘ responses to reflective prompts on their work created during the Eminent Person Study, highlighting the means and methods they employed to create stellar examples of public speaking in their Eminent Addresses. Being able to have each of these reflections assembled in one place – thanks to Google Forms, and a bit of code that helps display the various responses – creates a different type of feedback that allows us to glimpse the how of what is inevitably a successful aspect of the project.

When we are successful, it appears, it is because we put an exceptional amount of work into the product: we rewrite, and edit, and draft, and rewrite again. This sort of work is generally undertaken with the help of supportive peers and parents, and presented alongside a cohort of individuals similarly striving to achieve something grand. These are important insights to hold onto as we look ahead at creating future memorable learning opportunities for ourselves and future classes.

Perhaps equally as inviting is the opportunity to investigate what happens when things could be better, though. And so now later than intended, but still hopefully of value to the class and readers of this blog, here is the flip side of the Eminent data.

During which assignment do you feel you created work you believe could be improved?When it comes to work the TALONS would have liked to improve, the results are more divisive than when asked about where they believed they had been successful. Where a majority of the class felt that their Eminent Address had been the most successful, different aspects of the project reveal themselves as areas for future growth.

Among the contenders are the Interview and Night of the Notables (either on the night itself, or capturing their work in a follow-up blog post), followed closely by Document of Learning, and Introductory post.

Traditionally, the prospect of obtaining an ‘expert’ interview on a related topic to one’s Eminent Study has proved a sticking point for many TALONS over the years, so it is perhaps unsurprising that it should lead the field for this particular question.

This grade ten response distills much of what generally constitutes this difficulty:

The problem with my interview was that I couldn’t get one. If an assignment like this ever comes up again, I would be sure to contact more people (even if there is only a slight chance they would be able to help with my research), and to contact people earlier on. 

Indeed, whether or not an interview can be obtained is generally the result of having cast one’s net wide enough, if not allowing enough time for meaningful responses to be offered.

A grade nine echoes this sentiment:

I feel like I could have sent out my emails earlier, so I’d have an interview by now. I was procrastinating on my interview and sent my emails rather late. I also could have emailed more people because I think most of the people I emailed didn’t see my message or they just didn’t want to respond. 

However, even with enough time and emails heading in the right direction, one of the grade nines cast more specific advice for themselves forward toward next year’s study:

Next time, I will prepare for my interview as early as possible, and send more convincing emails that will increase the chance of me getting an interview. Having conducted some research on how to form emails, I want to: 

  • Make the title / subject line less vague, and keep it short
  • Write less text, as people are lazy and won’t want to read all of it
  • Avoid lengthy introductions
  • Compliment the reader
  • Use bold / italics to emphasize important points

However, even when successful, this grade ten was able to take away valuable lessons from the experience:

Although I did end up conducting an interview, I later observed that my questions might have garnered more of a helpful response if I had chosen a specific and narrowed topic. For this assignment, the questions that I asked could elicit a very long and extensive response, and because I asked so many of these kinds of questions, it became difficult to delve deeply into one specific area, as the interviewee felt the need to address all of the questions. In the future, I would try to narrow my questions to the most important area of study for the purposes of my research and understanding. 

In the cases of other aspects of the study the TALONS would like to see improved, a common thread that emerges in reflection is the race against time. As in the interview assignment, many members of the class can likely empathize with their classmate who wrote,

I feel that I definitely could have done a better job with my [Document of Learning, Library Field Study, Biblography]. But, unfortunately, Night of the Notables crept up on me and I had to put all of my efforts into [my Speech, Learning Center]. 

Even when it came to Learning Centers, this sentiment is likely familiar:

I believe I did fairly well with my Learning Center. However, I believe it could be improved the most out of all of my assignments because since it is such a big assignment there are many places where it could be improved. I would firstly start my learning center sooner, for I had to work well past midnight many days in a row leading up to NotN to finish it. 

This grade nine agrees:

I was happy with my Learning Center, however I believe that I should have put more time, effort and thought into the creation and presentation of it. 

As does this one:

The one thing I would have liked is for more time. Between juggling math, the environmental project, being project manager, elective homework, and extracurricular activities, starting my learning center was slowly making its way down the list. 

Which is a real-world application of the experiential learning TALONS is proud of providing: we often choose which of our tasks will garner our utmost effort, and occasionally even large projects – or aspects of complex projects – don’t get the amount of time or effort we feel they deserve in a perfect world.

Time is, in the world of work as in life, unfortunately a scarce commodity, and we are each tasked with making decisions about how we allocate it. And I doubt that as an even trade, many of the TALONS would exchange success in their Eminent Speech for a more successful turn in one of these other aspects of the project.

However, the sensation that we have not used our time wisely this time around can often be the best impetus to using it differently in the future, and for those who this year felt that their swap wasn’t an even trade (inasmuch as they didn’t spend time on their speech instead of other eminent assignments), I would hope that this sentiment leads to a more informed use of time in future opportunities.

An Open Learning Project

Letter Song by @bryanjack

Photo courtesy of Giulia Forsythe

Each spring the TALONS undertake an In-Depth Study, a five month “passion project” wherein they are asked to document their growth and learning toward personalized goals in learning a skill or craft. There are two universal goals for the In-Depth Study:

1. Know something about everything and everything about something.

In school you are usually taught about many subjects.  In this project, the goal is to learn a great deal about one field of activity, usually not available in a school setting.

2. Learn what others tell you is important and learn what you decide is important.

In school you are told what to learn and how to learn it.  In this project, you will decide in what field and with what strategies, you will become an “expert.”

Along with the Fall Retreat, spring Adventure Trip and the fall’s Eminent Person project, the In-Depth Study constitutes a significant pillar in the TALONS Program that, because it is predominantly designed and facilitated by my teaching partner, hasn’t been much documented here. Though in past years I have undertaken a couple of different learning projects that have seen their way onto my blog:

Learning Pearl Jam’s “Daughter
Part I, Part II, Part III, Part IV
Banjournal

This year, as part of Alec Couros‘ appearance in my University of Victoria #tiegrad cohort, I have the opportunity to combine a few different aspects of my course work with my classroom teaching this spring. For Alec’s EDCI 569 class (The Distributed, Blended & Open Classroom), we are tasked with engaging in our own learning projects, as well as participating in an open online course or community. And as they have in the last few years, these new academic requirements find a worthwhile conspirator in our Music Department‘s #IntroGuitar class.

I’ve taught #IntroGuitar now at our school going on five years now, but only in the last few has the course opened up to facilitate music-making, teaching, and collaboration to a wider community of open online learners. There is a perfect marriage of sorts between the type of discovery-learning that attracts people to an instrument like the guitar, and the type of ethos espoused in the MOOC movement. As Dave Cormier says, “you can choose what you do, how you participate, and only you can decide when you’ve been successful, just like real life,” teenagers have been learning guitar in this personalized and peer-to-peer fashion as long as the instrument has existed. Even my own playing has followed this path, beginning in the early days of the social web when guitar tabs seemed to have already have leveraged the constructivist potential of the read-write web in ways other communities would adopt across the last fifteen years.

But these online resources – much my early learning took place before the advent of YouTube – were only part of the course of my life with guitar, as a year into the project I moved in with another beginner with whom I was able to commiserate over barre chords and blues scales. Even better, this roommate had a friend who played in a band, and he and his friends served as early mentors who were able to rapidly advance our learning.

Since those early strumming days in Arkansas, I’ve expanded my inquiry into music by writing songs, playing with groups of friends, and a few informal performances. But as happens in the lifelong learning of a thing – and in lifelong, personalized learning in and of itself – the process of discovery and progress can only continue so long as the learner is able to continually synthesize and build on prior learning. And in recent years, I’ve been fortunate to explore successive challenges with supportive peers and mentors in a variety of settings.

I’ve collected a brief summary of these learning communities here:

DS106 Radio

In the spring of 2011, the brainchild of Jim Groom and Grant Potter began as a means of sharing course work created in Jim’s Digital Storytelling class at the University of Mary Washington, and quickly spawned and supported a community of educators / music-makers who began using the distributed web radio station to share live rehearsals, themed shows of covers, and recorded original works. And for the next couple of years, the station became a digital version of my own coffee-house open mic: I would play new songs, covers, riff on others’ material, and listen to my friends when they would take over the airwaves.

Out of this digital community have come countless opportunities to jam in face-to-face rehearsal spaces and kitchens, living rooms and campfires in the years since, including up to a few weeks ago in East Vancouver.

Unplug’d

Bryan Six Nation Guitar V2In 2011, and again in 2012, I was invited to participate at the Unplug’d Educational Summit on the edge of Algonquin Park, where I was able to meet many of my online colleagues in a natural setting, and share a host of songs – Canadian-themed and otherwise – with educators from across Canada and around the world.

At the 2012 Summit, with Jowi Taylor and Voyageur the Six String Nation guitar, serving as the weekend’s welcoming keynote, I was invited to deliver what I consider my first “real” performance for guests at the summit hotel in downtown Toronto. And over the course of the weekend I was able to share an original song I wrote that weekend – on Voyageur – with participants at the culmination of the weekend. (I’ve written a longer post about this experience here.)

The Judy and the Town Sessions

A few summers ago, I set about assembling a few former students whose band had recently lost its lead singer (to a road trip back east, nothing tragic) to act as my own supporting group to work out a few of the original songs I’d written in recent years. Having always written and played on my own – solo acoustic, with the exception of some of the DS106 Radio jams – I had begun to hear the songs I was writing in fuller resolution, with drums, bass and more guitar to fill out an emerging aesthetic in my mind’s… ear. And while the Judy and the Town sessions were cut short as more members of the band eventually joined their lead singer back in Montreal, these recordings offer a warm reminder of the potential for my quiet solo songs to take on a life of their own in the hands of others.

Georgia Straight Guitar Society

This past fall, I was fortunate to join one of my dad’s friends and a colleague from school at the annual Fall Jam hosted by the Georgia Straight Guitar Society. A weekend retreat at a 100 year old camp in serene Crescent Beach, the Jam featured musicians from all over the Lower Mainland – and beyond – and offered an opportunity to participate in songwriting circles, endless middle-of-the-night jam sessions, and a Saturday night concert, where I again tasted the joy of bringing one of my songs to life with the help of talented friends.

He not busy being born is busy dying.

This summer I will turn 34 years old, and with these minor triumphs listed above the compulsion arises to continue to raise the stakes in my musical life.

To scare myself, if only a bit.

Because along with Dylan’s line about being busy being born, I’m reminded of Brene Brown, who offers the inspiration that our vulnerabilities are often the fear that keeps us from accessing our potential. And so the next place to take my guitar playing and my decade-plus inquiry into music, by looking back at the narrative thus assembled…

…is performance.

In his final address on the Tonight Show, Conan O’brien talked about people who asked him about his secret to success “like asking someone how they got struck by a meteor,” so unique are the pathways which lead us to exceptional personal achievements. But he did add that the thing he had always tried to do was “always put myself in a situation where I had no choice but to be great,” and I’ve always thought about this when faced with the opportunity to perform.

I surely haven’t ever always been great. But when I haven’t been I have most assuredly learned a lot about how I should proceed next time, and looking ahead at a spring that has already yielded a few opportunities to hone this emerging skill, I am grateful for the push offered by my classes’ Learning Project / In-Depth Study.

Rising to meet the Eminent Speech

Eminent Speech Evaluation

Almost without fail, the Eminent Person Speech reigns supreme as the element of the annual project that produces – in the estimation of teachers, peers, and self-assessment – the highest quality work. While there are inevitably remarkable pieces of work contributed to various aspects of the study, whether in Night of the Notables learning centers, interview coups, or blogged representations of learning, or in grade nine or ten, the Eminent Speech reigns supreme.

This year, when polled on the During which assignment do you feel you created your best work?aspect of the study during which they produced their best work, a full 60% of respondents (at the time of this writing, constituting about 85% of the two classes) highlighted their efforts to craft their speech.

Added to this insight, a follow up question asks the TALONS to “describe the process that led to the success highlighted in the previous question,” allowing the process leading to this highly successful aspect of the study to come more clearly into light.

A surprise finding? The best work is the result of tireless effort.

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Prepare, prepare, prepare

A grade ten describes their preparations:

I made sure to write my speech early on so that I had plenty of time to practice it. I practiced it until I knew it inside and out, so that I could recite it no matter what was going on. And having done that, when it was finally my turn to present, I wasn’t nervous at all.

Another thing that really helped was that a lot of the other tens took time to read my speech and help me edit it in the early stages. They guided me to what lines were a little awkward and how to fix my body motions.

Another ten offers the following:

First of all, this year I wrote my speech draft much earlier than the due date compared to last year. Due to this fact, I was able to receive a lot of great feedback from my peers during the writing process, which then allowed me to improve my speech even further. Once my draft was written, I was lucky that I had a lot of time to rehearse my speech. One step that led my speech to success during this stage was that I didn’t just rehearse the words, I also rehearsed body language and movement, and the use of the stage.

A grade nine dissects their drafting process further:

When I was writing, I didn’t limit my thoughts, writing down everything I wanted to include in the speech. By doing this, my speech originally was actually fifteen minutes long. I then took the time, with the help of my mom, to cut down the speech, take out details that weren’t needed, and rephrase events. I think that by writing down every single thought and event that occurred within the period of time the speech was focusing on, I was able to make the speech more thorough and interesting.

As does this one:

I believe it was the drafting process that led me to success on my eminent speech. I did a drafting process where I started writing, then got a better idea of what I wanted to say, and then I would start over. I did this until I didn’t quite start over, but edited previous parts until I was satisfied by the whole thing.

While this grade nine shares the evolution at the heart of his character’s metamorphosis:

During the process of writing the speech, I made a list of points that I wanted to include. After the first draft, I was struck with the idea of the extended metaphor of the caterpillar. I then wrote the second draft, taking the components of the first and smoothing it out. Finally, I edited and revised my speech to create more fluidity.

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Overcoming Fear

For many TALONS, the prospect of delivering an eminent address, whether in the classroom as the grade nines are asked, or on stage with the grade tens on Night of the Notables, is a daunting challenge. As Jerry Seinfeld humourously notes, for many of us public speaking is more popularly feared than death, meaning that “to the average person, if you go to a funeral, you’re better off in the casket than giving the eulogy.”

A grade nine offers this reflection on overcoming a longstanding fear:

I believe my speech was my best work because it was the one I exceeded my own expectations the most in. I used to be quite an abhorrent public speaker, always getting overly nervous, shaking, mumbling, and having a monotone; but in this speech I was able to overcome my nervousness and actually deliver it satisfactorily.

The key to overcoming this anxiety? Revision, feedback, and support:

“I think my speech content was pretty good, considering that it went through six drafts and many, many people gave me feedback.”

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In another question, the same TALONS learner reflects on the contributions of a patient parent:

“My dad, along with giving me feedback on many of speech drafts, put up with me reciting my speech over and over in the days leading up to November 24th. Without his patience with me, giving me feedback and listening intently during the many, many times I recited my speech to him, I wouldn’t have had nearly as good a speech as I did. He gave me important pointers, such as where I started rushing, and he gave me confidence. With that confidence, I was able to deliver my speech well.”

A grade ten reflects on the input of a sibling:

“My brother contributed with helping me write my speech. Before I had written a draft that I was happy with I had written about five different speeches. But I hated them all because I didn’t think I was getting my main message across to the audience, namely that we shouldn’t stop because something is hard to do, that we should keep going until it becomes easy to do.

“One day I went to talk with my brother about my speech and how I wanted the audience to feel, and he suggested that I go for something powerful and try to address what [my eminent person] goes through as daily obstacles. This advice really helped me take a second look at how I was writing my speech and which side of [them] I wanted to show. Without my brother I wouldn’t have been able to re-think my speech and really focus on what was imported.”

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Another deals with overcoming a primal fear:

“Probably everyone out there knows that I do not like speeches, so even the fact that I did mine made me extremely happy.

“The writing process was extremely difficult. After changing perspectives three times and either going way over or way under the time limit, I was close to admitting defeat. Finally, I was happy with a fifth draft of my third perspective change. I was very happy with my written speech, but then came the delivery.

“Presenting my speech was probably the most nerve wracking five minutes of my life, but with the help of my friends, I managed to get through it. Before my speech started, I gave myself some goals and guidelines to follow. I reminded myself that, having not done many speeches in my life, this was not going to turn out perfect, so instead of worrying about that, I would focus on eye contact and pacing.

“My biggest goal was to come off as confident and though I’m sure more people knew how nervous I was, I believe that I was able to reach this goal (well, at least to some extent). While I’m still not ready to perform speeches without any hesitation, I’m glad I got this opportunity to face my fears.”

In responding to another question, a grade ten offers a similar account of working through the fear of performing at Night of the Notables:

What will you (or do you want to) remember about this project? 

“I want to, and will remember the fact that I was able to manage my anxiety regarding the presentation of my speech on the Night of the Notables. I have never liked drama and performing arts, which is somewhat contradictory when you take my commitment and love of [competitive] piping into account. I can will myself to march calmly towards thousands of spectators, flashing cameras and judges at the world championships. Yet, when I have to deliver a two-minute speech to a hundred supportive and encouraging people I’m a wreck. When I perform with my band, I have a safety net; I have never needed it but I know it’s there. When I speak or play by myself, even if it’s exponentially easier than what I do with my band I doubt myself.

“I don’t give speeches in front of large audiences often, but I compete in solo piping competitions often and I have come to recognize the progression and stages of my anxiety. I have been working on becoming more comfortable in these situations for over a year and I think the Eminent Address was an important milestone for me. I was extremely nervous a few days before the night, but I was able to tell myself, ‘You always feel this way before something like this,’ and ‘Imagine how you will feel on December 4th’ and I was able to control my anxiety and give a speech I was happy with.”

Together, we are strong

Perhaps the theme running beneath all of this wild success though is the support and community that is taking shape in the TALONS room by late November, where each member of the class is learning that they are here to test themselves, and hold one another up above their prior expectations. Parents who get to see what the program is ‘all about’ for the first time at Night of the Notables often remark at how exceptional the grade ten addresses are – “I feel totally inadequate now,” the parent of an alumni told me this year – and wonder how it is their children and their peers have been so transformed.

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What they don’t know, or what cannot be seen, is what is often taking place behind the curtain, in those moments before the show, when greatness waits out on the stage under the lights to be seized.

Reflecting on this moment, a grade ten shares a glimpse of what community looks like:

“There was one moment when we were behind the stage, floating around and whispering encouragement to our peers. The atmosphere had become quiet and focused, as it was a couple of minutes until showtime. I was learning against a wall, breathing deeply.

“Our first speaker looked a bit nervous and was sitting against the wall next to the curtains. Someone, I can’t remember who, whispered something about the Superman pose, and how it was supposed to increase confidence and make you less stressed. So the majority of our class assumed this pose, and stood there in silence for about a minute. I remember looking at us and thinking that we were superheroes. Not just our first speaker, who looked relieved to have something to take his mind off the upcoming stress, but everyone standing there.

“We shared that moment behind the stage, trusting one another to make the night wonderful, and feeling that trust back in the tight, long-held hugs and the same emotions on everyone’s face. It was a really special experience.”

EDCI 335: Final Design Project

EDCI335 Final Design from Bryan Jackson on Vimeo.

You can read the full PDF of the paper here

Background Drawing identified-gifted learners from the Coquitlam School District, Gleneagle Secondary School’s TALONS (The Academy of Learning for Gifted Notable Students) Program offers Ministry-identified gifted learners interdisciplinary core curriculum (Social Studies, English, Math, and Science for grades 9 and 10, all at an honours level), as well as experiential opportunities to complete Planning 10, Leadership 11 and PE 11. TALONS learning is largely organized around inquiry-based projects that make use of outdoor education and community service elements to imbue learning objectives with a greater tangible relevance to students and their local, as well as global, communities. In addition to covering provincial Ministry of Education curricula in the above courses, the program is grounded in George Betts’ Autonomous Learner Model (Betts & Neihart, 1986), with an emphasis on metacognition and acquainting each member of the cohort with skills and habits uniquely tailored to their own social and emotional roles in cultivating interdependence and community.

This design project was conceived to align both the explicit and implicit foci of British Columbia’s Social Studies 9 curriculum (Social Studies 8 to 10 Integrated Resource Package 1997) with a larger narrative expressed in the personal and collective learning in the TALONS classroom. By bringing the “Hidden Curriculum” into the open in this manner, the learning design intends to conceive of means of engaging the course material which are congruent with its ends. 

Digital Environments, Emergent Knowledge & Citizenship Learning

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Mock trial of King Charles I

EDCI 335 Challenge 10: What are the strengths/affordances of the technology or learning environment you have chosen for your learning design that will promote or facilitate learning?

In preparing the TALONS socials units this semester, I have sought to align aspects of technology, assessment and unit planning within larger values of emergent epistemology and citizenship learning. By bringing these different elements of my teaching into congruence, it is my hope that the class’ individual and collective learning is enriched by uniting these various aspects of their experience into a coherent and transformative narrative that will build throughout the semester and beyond.

To reflect these principles, technology has contributed a means of collecting and sharing class knowledge: aggregating and vetting various resources for study in our prescribed unit, presenting and synthesizing different aspects of the learning at hand, and providing a venue for assessment and reflecting on the course of study thus far. As we proceed (after spring break) the process will then recur to provide the goals, direction and implementation of future units of study as prior knowledge is re-organized, reconstituted and re-contextualized within new course content and experience.

As I’ve written about the class’ collaborative unit planning, I want to use this challenge post to collect and point toward a few specific examples of technology at work in TALONS Socials this semester.

At the outset, the class began by taking the prescribed learning outcomes specific to the English Civil War Unit in Social Studies 9, and employed an embedded Google Form in the class’ Wikispaces site for participant/learners to submit potential study materials. The selected materials were then rated according to our interpretation of the CRAAP Test, and the form was edited to highlight different resources that were either “Good to Go” (green), “Acceptable” (yellow), or “Extra” (red).

This exercise was an important place to begin for me as it placed the onus of research and curation on the class – rather than a teacher or the textbook. The debate about which sources were best suited to our purposes put the relevance and context of the unit in the class’ hands to be then planned and executed within our timeframe (before spring break). It was also my hope that such a discussion would lead organically into an inquiry of what meaning we are (each) to make of the English Civil War and its historical importance, and provide a context within which our individual understanding would emerge as the process unfolded.

Building on the questions and themes arising from the assembled resources and materials, the class then set about employing media and technology in synthesizing and sharing their learning on a variety of topics associated with the unit. There were adaptations of popular songs written to narrate the lives of Oliver Cromwell and his son, Prezi’s made to illustrate the historical timelines of James and Charles I’s reigns, and documentary films made about the trial of the King, to name a few. And in addition to being shared in class – in mini lessons, presentations, mock-trials and other demonstrations meant to share discovered knowledge with the immediate community – digital artifacts of the projects were/are being collected on the class site (alongside past years’ collected work and resources on the same unit).

The class Wikispaces site has long-been a valuable addition to the class’ study of socials, collecting a variety of different resources and media both created by past TALONS as well as useful materials existing on the wider web. It is an online accompaniment and ongoing assemblage of knowledge pathways which navigate the Socials 9/10 curriculum in British Columbia; but beyond serving to complement the TALONS’ own studies, the wiki’s existence as a repository of class work goes on to have a life as an open educational resource that serves a global community of learners. For example, the site’s statistics show that only 1/5 (22%) of the wiki’s traffic is even Canadian, and that the United States is responsible for more than half of more of the site’s 100 unique visitors per day

Whatever value it has beyond our own purposes, however, the course wiki represents an ever-unfinished and imperfect project, constantly in need of a structure which organizes knowledge in an accessible manner reflecting such an exponentially complex process of discovery.  And while the class has yet to meaningfully undertake a significant renovation or reorganization of the site, I am inspired at the prospect such a project might represent as an opportunity for the class’ unique perspectives to shape and engage in the creation of course knowledge itself.

Where each of these first two opportunities have presented means by which technology has influenced and (hopefully) supported the TALONS collective learning, the unit’s individual assessment has incorporated technology as a means of creating and sharing personal reflections and synthesis of learning across the class cohorts. The morning group opted to submit more anonymous reflections (corresponding to their student number for my reference) by way of a Google Form that, upon completion, shares the assembled responses with respondents, while the afternoon class decided to answer similar questions in the form of a post on their individual blogs.

The individual assessment asks TALONS to reflect on their process, habits and contributions to their individual study of the unit, their group’s project, as well as the larger classroom learning. Each is asked to highlight examples of their own or others lessons, or discussions which informed their thinking on the topics covered, as well as to expand on themes and questions raised during the course of the unit. Additionally, there are questions about the organization and implementation of the unit itself, and opportunities to influence future studies that will begin to shape our very next topic, completing the cycle of critical praxis for a first time.

Next week we will be taking up Socials 9’s next revolution in Europe and making use of each of these threads of learning, as we continue to:

  • shape the lessons of the class’ emerging understanding of the course content in individual voices and meanings, and
  • reevaluate and reconstitute the means by which that understanding is created to best serve our unique community of learners.

Continually seeking ways by which the class might be more consistently and actively engaged with these processes is central to both my epistemological and social-political beliefs about teaching social studies. And in these and other experiments yet to be undertaken this semester, technology plays a vital role in creating the opportunity to realize these lessons’ practical application.

Assessment for Critical Literacy

This semester’s Socials 9 curriculum was conceived with an intention to cultivate critical literacy, which I have come to define more and more as an ability to develop a praxis of reflection and action to continually discover and define meaning in an increasingly complex system. In learning from curricula, relationships or experience, individuals and societies alike are tasked with reinventing and transforming their reality as necessity and changing circumstances may dictate.

As I have attempted to re-imagine social studies as a venue for citizenship education, each of the TALONS classes have begun the semester with experiments in collaborative assignment and unit planning from the start. In considering our study of the English Civil War, there has been discussion of several questions:

What do we need to know? 

The class began by considering course outcomes and evaluating text and online materials to help guide the discovery of the unit’s main ideas, events and historical personages. Then set about generating criteria, a schedule and daily means by which the agreed-upon content could be learned.

In collecting, distributing and summarizing a range of primary and secondary sources on early 1600s England, What do we need to know was joined by What is there to be known about the topic? And as the readings’ various themes and ideas were identified and organized, the discussion shifted to consider What is important to know about these topics? As well as What do I think about all of this? 

But this was only one aspect of identification and collaboration to engage an agreed-upon problem. This is merely the deconstruction - the breaking into a million little pieces that could then be assembled into coherence anew through each learner/investigator’s reflection and action.

And it introduced a new question (and it’s a mouthful):

How do we know that we know what we’re now supposed to know (now)? 

In terms of reconstructing that knowledge, effective learning should also address the question How do we assess the learning that has taken place? But in considering critical literacy and consciousness, it becomes important that this question in particular is asked in such a way that it continues to be driven by the collaborative acumen and expertise of the group itself, just as the unit has been planned and carried out thus far.

This aspect of assessment is traditionally a means of learning owned and operated by the teacher. But the crux of this type of collaboratively-designed learning, and of the development of a continual praxis of behaviour, teacher and student are each challenged to engage their critical literacy, which may also be described as a kind of empathetic design research.

In their paper, Rethinking Design Thinking: Empathy Supporting InnovationMcDonagh and Thomas describe a process during which,

“as designers use empathy to support their research, ‘design moments’ emerge which provide them with more design-relevant data and supports product innovation.”

Here we see the designer’s role shift to that of a co-investigator, where

“the designer and user engage as collaborators, and together develop knowledge and understanding in order to generate appropriate solutions for real needs.

“Empathetic design research relies on the user being an active and participating partner within the information creation and designing process.”

Design’s quest for innovation begins to find itself within an emerging confluence of educational philosophy. Isn’t this innovation what Gregory Bateson might have described as transformative learning, or what Paulo Freire deemed a ‘limit situation‘?  This “simplicity of cause” comes as an affirmation of the ongoing praxis of co-investigation and co-creation that we might conceive of as critical literacy.

In looking toward assessing the English Civil War unit learning, the critical element arising out of the classes’ progress is the need for learners to acquire habits of mind and relation that make this continual praxis possible. For the TALONS (including myself), we may have found ourselves stalled and struggling to define and enact the required action for the moment. But while it may appear so on the surface, this moment of negative momentum is hardly an insurmountable obstacle. Indeed, it is the moment of tension in which true critical intelligences are asserted.

Critical Literacy in Assessment Methods

So we are confronted with the question, How do we know that we know what we’re supposed to know? It is a question of assessment, and one which is traditionally held at the end of units and courses of study as the sole dominion of the teacher. But such are the assumptions which bind both teachers and students to outdated pedagogies that may have fallen out of step with our stated intentions for learning: the apparent impossibility of imagining another way stops us from even considering it.

For my own part, even in projects and courses during which I have taken pains to co-investigate and instruct alongside my students as much as possible, the means of the learning still arrive at a point where my own voice is heard alone.

I arrive at a mark, and distribute feedback based on rubrics, course standards and report card criteria. And this isn’t to say that there isn’t still a place for this within institutionalized learning; indeed our competency and necessity as learning professionals is in many ways bound to our ability to evaluate and assess student learning.

But without obliterating the role of the teacher altogether, it is still possible to re-imagine the role of teachers in helping students direct not only the initial aspects of a project or course of study, but the means of assessment as well. To adopt the praxis of Freire’s critical consciousness is to confront the inherent difficulty of creating learning institutions where

“knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other.”

While the teacher’s profession still involves the adjudication of academic or institutional success, the creation of a critical consciousness in schools still faces us with what Freire called “the teacher-student contradiction.” However, with the introduction of Russian philosopher Mikhail Bathkin‘s idea of polyphony, Alexander M. Sidorkin cultivates a third path between the ‘either or':

“Bakhtin’s principle of polyphony offers a radically new way of conciliation of power imbalance within mutuality of relation. According to Bakhtin, an author of the polyphonic novel creates heroes that are fully independent of their creator. The problem of authority imbalance may be misstated; it is the specific kind of monological authority that eliminates mutuality, not authority itself. The polyphonic authority creates mutuality, and only this kind of authority should be used in education.”

Remixes, CRAAP Tests and Collaborative Unit Planning

Twitter as Citizenship Learning

For my EDCI: 335 class, Learning Design, I’ve thus far been addressing our discussion tasks and various thought exercises to my work with #IntroGuitar – especially as the class has been revised and relaunched for this new semester. But it feels as though there is also a lot going on in the TALONS Socials classes that has presented an avenue to manifest a lot of the theory underlying my term project in last semester’s EDCI 338, as well as aspects of our learning in EDCI 335.

As we have embarked on Socials 9 this year (our two-year class alternates between years of Socials 9 and 10), I have approached the spring semester in TALONS attempting to practice collaborative assignment and unit planning, offering opportunities in individual inquiry, media literacy created as an implicit expression of citizenship learning. With #IntroGuitar effectively “launched” for the time being, my planning focus has shifted to the beginning of socials 9, and the dawn of the modern era.

Remixing the Great Book of Knowledge

Over the past few weeks, we started with the source material of Kirby Ferguson‘s “Everything is a Remix” and CBC Ideas‘ The Great Book of Knowledge and set about discussing “the greatest knowledge revolution in human history ([which] began in our lifetime).” Pertinent as a connection to Gutenburg’s role in fostering the social conditions that brought about the Enlightenment period as well as to our present informational context, The Great Book of Knowledge presents the advent of Wikipedia as a manifestation of an emergent, socially created Truth. It seemed an apt place to begin talking about the advent of the bourgeois public sphere, and the creation of modern democracy.

From the hour long episode, each of the TALONS classes was left to organize and delineate the various themes and key ideas presented in the show. During each of these class discussions, I pledged not to talk unless necessary to clarify a technical aspect of information or procedure. In the vacuum created by eliminating the teacher’s voice, various individuals rose to the occasion to help bring about and represent the group’s thinking.

Momentum built slowly in either class’ discussion, with notes emerging on the board, and votes being taken to determine the show’s key themes and concepts.

Once the episode had been divided into as many segments as there were groups in the class, each ‘quad’ (group of four TALONS) was tasked with the creation of an audio remix that expressed the theme or thesis of their selected section. Each class brainstormed and supplied their own criteria for the assignment, and set about experimenting with the classroom technology – iPads, personal computers, Snowball Microphones.

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As a finale, the finished remixes were presented on K12 web radio station 105 the Hive live as a debut broadcast from the TALONS classroom. Class members took on the duties of slotting the remixes into an order reflecting their content, preparing copy and questions to read as MC/hosts, learning to navigate the broadcasting software and attending to the group’s various social media. With a few hiccups (network connectivity, a tripped extension cord), both morning and afternoon classes made auspicious debuts in presenting the live broadcasts, and archived their work on the class blog.

We even received a note from the producer of The Great Book of Knowledge, the CBC’s Philip Coulter:

Hey talented TALONS people!

I heard some of the remixes you posted on Soundcloud of The Great Book of Knowledge. They were terrific! Really imaginative work- you had a great feel for the ideas behind the programme and for how to take those ideas to another level, which is what remix is all about, and you obviously get it.

You’re lucky to be in such a great programme, and from a little cruising around your site its obvious that you’re doing really interesting work. Keep it up with creating things that no-one ever thought of before- thats called Art, and that brings us a better world!

Philip Coulter

Producer, The Great Book of Knowledge “Ideas” CBC Radio

CRAAP Testing the English Civil War

This week we have moved into a different sort of crowd-sourced media literacy, emulating Jim Groom and Paul Bond‘s Internet Course at the University of Mary Washington, and CRAAP Testing resources on the English Civil War.

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After applying the CRAAP Test to a reading that I supplied, we collected various resources and materials using a Google Form that was published in a wiki page dedicated to the activity. Next, each of the sources was evaluated and highlighted to indicate Good to Go (green), If you have time (yellow) or No Go (red).

In examining the resources Purpose(s), I provided the classes with the government’s prescribed learning outcomes for Socials 9, and asked which resources best fit the following tasks:

Students will: 

  • analyze factors that contribute to revolution and conflict
  • analyze the contributions of the English, French and American Revolutions in the development of democratic concepts
  • evaluate the changing nature of law and its relation to social conditions of the times

Collaborative Unit Planning 

Building on the questions raised by elements of the CRAAP Testing exercise, as well as the minimally guided dissection of The Great Book of Knowledge episode, collaborative unit planning has become a forum for developing the Ministry of Education’s “Applications of Social Studies,” wherein 

It is expected that students will: 

  • identify and clarify a problem, an issue or an inquiry
  • select and summarize information from primary and secondary print and non-print sources, including electronic courses
  • defend a position on a controversial issue after considering a variety of perspectives
  • co-operatively plan, implement, and assess a course of action that addresses the problem, issue or inquiry initially identified

Each of the morning and afternoon TALONS have pursued slightly different courses of action this week, as they have made their way through discussions about projects and readings, generating criteria and a two-week schedule (that will take us to Spring Break). In addition to addressing many aspects of the TALONS leadership curriculum in the spring semester – In-Depth Studies, Adventure Trips, and the culmination of an yearlong (and for the grade tens, a two-yearlong) exercise in community building – this approach is an extension of the reading and thinking I did last semester on developing an emergent curriculum.

Gert Biesta and Deborah Osberg describe a curriculum of emergence as one where:

“…knowledge is neither a representation of something more ‘real’ than itself, nor an ‘object’ that can be transferred from one place to the next. Knowledge is understood, rather, to ‘emerge’ as we, as human beings, participate in the world. Knowledge, in other words, does not exist except in participatory actions.”

Having had the opportunity to experiment with the concept last semester in Philosophy 12, I am getting more and more comfortable with the idea that

“…to encourage the emergence of meaning in the classroom, then the meanings that emerge in classrooms cannot and should not be pre-determined before the ‘event’ of their emergence.”