In today's complex and interconnected world, understanding the lived experiences of underserved and marginalized communities is of paramount importance. Traditional qualitative research methods often fall short in capturing the rich, multifaceted narratives of these communities. This book seeks to address this gap by introducing "Photostories" as an innovative and transformative method for conducting qualitative research. Photostories harness the power of participatory photography to enable individuals from underserved and marginalized communities to visually articulate their stories, experiences, and perspectives. “Photostories” aims to be a pioneering resource for researchers, educators, and practitioners seeking to add a participatory visual method to their menu of research approaches, while at the same time offering ways to empower marginalized communities and amplify their voices through the transformative power of photography. By delving into the nuances of Photostories, readers will gain valuable insights into a groundbreaking research method that has the potential to reshape the way we conduct qualitative research and engage with underserved populations. Scholars in the social sciences, anthropology, sociology, psychology, and related disciplines will benefit from the methodological insights, practical guidance, and case studies presented in the book.
To mark their fifth anniversary Hoxton Mini Press are publishing a compilation book that will feature photography from the bestselling book series 'East London Photo Stories.' Appearing alongside new text and a map of East London showing where the projects were taken, each chapter of selected images captures a unique aspect of the area's colourful character: from Hackney's eccentric inhabitants and tranquil waterways to famous flower markets, 1980s Dalston and wild nightlife in Shoreditch. Featuring work by Dougie Wallace, Zed Nelson, Jenny Lewis, David Campany & Polly Braden, David George and many more.
Gain useful practical knowledge of participatory visual methods in adult and continuing education. Bringing together relevant theories and imaginative practices from formal and non-formal adult education contexts, this volume discusses: photo-story, digital storytelling, photovoice, filmmaking, and painting. Also discussed are ways to use fabric, fashion shows as political messages, and engaging adult learners at museums in participatory ways. This sourcebook bridges the theory and practice and seeks ways to provide adult education practitioners with practical insights into the methods of participatory visual approaches. This is the 154th volume of the Jossey Bass series New Directions for Adult and Continuing Education. Noted for its depth of coverage, it explores issues of common interest to instructors, administrators, counselors, and policymakers in a broad range of education settings, such as colleges and universities, extension programs, businesses, libraries, and museums.
"The great purpose of landscape art is to make us at home in our own country" was the nationalist maxim motivating the Group of Seven's artistic project. The empty landscape paintings of the Group played a significant role in the nationalization of nature in Canada, particularly in the development of ideas about northernness, wilderness, and identity. In this book, John O'Brian and Peter White pick up where the Group of Seven left off. They demonstrate that since the 1960s a growing body of both art and critical writing has looked "beyond wilderness" to re-imagine landscape in a world of vastly altered political, technological, and environmental circumstances. By emphasizing social relationships, changing identity politics, and issues of colonial power and dispossession contemporary artists have produced landscape art that explores what was absent in the work of their predecessors. Beyond Wilderness expands the public understanding of Canadian landscape representation, tracing debates about the place of landscape in Canadian art and the national imagination through the twentieth century to the present. Critical writings from both contemporary and historically significant curators, historians, feminists, media theorists, and cultural critics and exactingly reproduced artworks by contemporary and historical artists are brought together in productive dialogue. Beyond Wilderness explains why landscape art in Canada had to be reinvented, and what forms the reinvention took. Contributors include Benedict Anderson (Cornell), Grant Arnold (Vancouver Art Gallery). Rebecca Belmore, Jody Berland (York), Eleanor Bond (Concordia), Jonathan Bordo (Trent), Douglas Cole, Marlene Creates, Marcia Crosby (Malaspina), Greg Curnoe, Ann Davis (Nickle Arts Museum), Leslie Dawn (Lethbridge), Shawna Dempsey, Christos Dikeakos, Peter Doig, Rosemary Donegan (OCAD), Stan Douglas, Paterson Ewen, Robert Fones, Northrop Frye, Robert Fulford, General Idea, Rodney Graham, Reesa Greenberg, Gu Xiong (British Columbia), Cole Harris (British Columbia), Richard William Hill (Middlesex), Robert Houle, Andrew Hunter (Waterloo), Lynda Jessup (Queen's), Zacharias Kunuk (Igloolik Isuma Productions), Johanne Lamoureux (Montreal), Robert Linsley (Waterloo), Barry Lord (Lord Cultural Resources), Marshall McLuhan, Mike MacDonald, Liz Magor (ECIAD), Lorri Millan, Gerta Moray (Guelph), Roald Nasgaard (Florida State), N.E. Thing Company, Carol Payne (Carleton), Edward Poitras, Dennis Reid (Art Gallery of Ontario), Michel Saulnier, Nancy Shaw (Simon Fraser), Johanne Sloan (Concordia), Michael Snow, Robert Stacey, David Thauberger, Loretta Todd, Esther Trepanier (Quebec), Dot Tuer (OCAD), Christopher Varley, Jeff Wall, Paul H. Walton (McMaster), Mel Watkins (Toronto), Scott Watson (British Columbia), Anne Whitelaw (Alberta), Joyce Wieland, Jin-me Yoon (Simon Fraser), Lawrence Paul Yuxweluptun, and Joyce Zemans (York).
An examination of why so few people suffering from environmental hazards and pollution choose to participate in environmental justice movements. In the coal-mining region of Central Appalachia, mountaintop-removal mining and coal-industry-related flooding, water contamination, and illness have led to the emergence of a grassroots, women-driven environmental justice movement. But the number of local activists is small relative to the affected population, and recruiting movement participants from within the region is an ongoing challenge. In Fighting King Coal, Shannon Elizabeth Bell examines an understudied puzzle within social movement theory: why so few of the many people who suffer from industry-produced environmental hazards and pollution rise up to participate in social movements aimed at bringing about social justice and industry accountability. Using the coal-mining region of Central Appalachia as a case study, Bell investigates the challenges of micromobilization through in-depth interviews, participant observation, content analysis, geospatial viewshed analysis, and an eight-month “Photovoice” project—an innovative means of studying, in real time, the social dynamics affecting activist involvement in the region. Although the Photovoice participants took striking photographs and wrote movingly about the environmental destruction caused by coal production, only a few became activists. Bell reveals the importance of local identities to the success or failure of local recruitment efforts in social movement struggles, ultimately arguing that, if the local identities of environmental justice movements are lost, the movements may also lose their power.
In the context of the growing diversity of contemporary societies and the central importance of the electronic media, the place of popular culture in the school curriculum has become an increasingly controversial political issue. Based on in-depth research in an ethnically mixed, working-class secondary school, Cultural Studies Goes to School is concerned with the relationships between young people's involvement in popular culture outside school and their experiences of media education within the formal school curriculum. The first part of the book provides a detailed analysis of students' readings and uses of popular media, ranging from computer games and soap operas to comics and rap music. It offers a further challenge to received notions of young people as passive victims of ideological manipulation by the media and develops a social theory of reading that acknowledges the complex roles of gender, race and social class. The second part describes a number of classroom projects involving both critical and practical aspects of media education. Through analysis of students' work in a range of media, including photography, video and print, the authors develop a challenging theory of learning about popular culture and its place in the school curriculum. This book offers an exciting and accessible account of young people reading and making popular culture, which challenges many of the political claims and received wisdoms of academic Cultural Studies.
Adult ESL/Literacy from the Community to the Community: A Guidebook for Participatory Literacy Training tells the story of a university-community collaboration to develop, implement, and evaluate a project designed to train immigrants and refugees as adult ESL and native literacy instructors in their own communities. Beyond the story of this one project, the book is also a clear and powerful explication of the underlying principles and premises of the program model it describes: community leadership development, a participatory approach to literacy instruction and instructor training, native language adult literacy instruction, and collaboration.
The River Lea runs from Hertfordshire down to the Thames in East London. Once a busy commercial waterway, it is now a nature reserve and leisure area. From the grand site of the 2012 Olympic Games it passes industrial estates, sports centres, new build homes and council estates. Escape from the city; the reinvention of social spaces; the attraction of water; the meeting of different cultures; the persistence of nature. Adventures in Lea Valley collects a decade's worth of photographs from Davaid Campany and Polly Braden, telling the story of this changing land.
