Issues

Interactive Technology for More Critical Service-Learning?: Possibilities for Mentorship and Collaboration within an Online Platform for International Volunteering / By Willy Oppenheim, Joe O’Shea, and Steve Sclar
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Interactive Technology for More Critical Service-Learning?

Possibilities for Mentorship and Collaboration within an Online Platform for International Volunteering

Willy Oppenheim, Omprakash
Joe O’Shea, Florida State University
Steve Sclar, Omprakash EdGE

Abstract

International service-learning programs have rapidly expanded in higher education in recent years, but there has been little examination of the potential uses of interactive technology as a pedagogical tool within such programs. This paper explores a case study of an interactive digital platform intended to add more reflexivity and critical rigor to the learning that happens within international service-learning programs at colleges and universities. The digital platform under consideration, Omprakash EdGE (www.omprakash.org/edge), facilitates collaboration between students, international grassroots social impact organizations, and a team of mentors that supports students before, during, and after their international experiences. The authors represent both sides of a collaboration between Omprakash EdGE and a program at Florida State University which works to help students find affordable, ethical, and educational opportunities for international engagement. The paper begins with an overview of the troubled landscape of international service-learning within higher education, and an explanation of the authors’ rationale for collaborating to develop a new program model revolving around a digital platform. Then it discusses the ways in which the authors have sought to cultivate international learning experiences that are dialogical, reflexive, personal, and experiential, and it explains how a digital platform has been central to this effort by enabling students to build relationships with host organizations, engage in pre-departure training, and receive support from mentors. It then explains some of the challenges and successes the authors have encountered in their collaboration thus far, and concludes with reflections on the pedagogical constraints and possibilities for interactive technology within programs aiming to generate critical consciousness through international engagement.

I. Introduction

Within the broader trend of internationalization sweeping through colleges, universities, and even some high schools in the United States and elsewhere (Gacel-Avila 2005; Harris 2008), the phenomenon of international service-learning raises a number of interesting pedagogical and programmatic questions. As educational institutions in resource-rich countries (the so-called “Global North”) increasingly endorse opportunities for students to travel to resource-poor countries (the so-called “Global South” or “developing world”) to volunteer or intern in settings that include schools, clinics, orphanages, and community centers, what forms of student learning are they hoping to promote, and how do they assume that this learning actually unfolds? What are the ethical and pedagogical principles  —if any—that inform the design and implementation of international service-learning programs?

It is well-established that young people are leaving their home countries to volunteer abroad at an unprecedented rate (Dolnicar and Randle 2007; Hartman et al. 2012; Mcbride and Lough 2010, 196; Ouma and Dimaras 2013). Some aspects of this trend are not new: its roots reach back at least as far as the founding of the United States Peace Corps in 1961 and the United Kingdom’s Voluntary Service Organisation (VSO) in 1958, and are entwined with older trends of faith-based international mission work. Yet regardless of these various historical precedents, researchers agree that the trend has spiked dramatically in recent decades, spurred on by both government programs and a huge range of program offerings in the private sector (Rieffel and Zalud 2006; Leigh 2011, 29). Recent data suggest that over 350,000 individuals aged 16–25 engage in some form of international volunteering each year (Jones 2005). Within the United States, tens of thousands of young people per annum volunteer through non-profit organizations such as churches and charities and through for-profit companies that chaperone group volunteer trips or “place” volunteers with foreign “community partners” (Rieffel and Zalud 2006). Recent reports estimate the value of this emergent “voluntourism” industry at anywhere from $150 million to over $1 billion per annum (Mintel 2008; Stein 2012).[1] Meanwhile, whether under the banner of creating global citizens, preparing students to compete in a global knowledge economy, or fostering intercultural competence, colleges and universities are seeking new partnerships, developing new programs, and mobilizing new discourses that all celebrate the value of immersive, non-traditional educational experiences in international settings. Within this context, programs that revolve around international service-learning have become increasingly popular, and such programs have been the subject of a considerable amount of recent academic research (e.g. Crabtree 2008; Green and Johnson 2014; Hartman et al. 2014).

Against this backdrop, academics and mainstream media outlets alike have recently put forth well-justified criticism of international volunteering (e.g. Biddle 2014; Hickel 2013; Zakaria 2014). Some authors (e.g. Ausland 2010) have usefully delineated between various forms of this phenomenon within and beyond universities—distinguishing, for example, between mission trips, slum tourism, middleman companies that “place” individual volunteers, and faculty-led group service trips. Many argue that the practice of sending untrained, unskilled young people into sensitive foreign contexts on short trips for the purpose of “serving” is a paternalistic impulse that smells of neocolonialism (e.g. Crossley 2012; Simpson 2004). At the same time, a growing body of peer-reviewed research has argued for the socially and personally transformative potential of student volunteering through university service-learning programs, especially when those programs take an explicitly critical stance and explicitly orient themselves towards the pursuit of social change (e.g. Crabtree 2008, 2013; Hartman and Kiely 2013; Mitchell 2008).

The authors of this paper represent a collaboration between the director of Florida State University’s Center for Undergraduate Research and Academic Engagement and the directors of Omprakash EdGE, a web platform that connects prospective volunteers with autonomous grassroots social impact organizations and provides intensive volunteer training and mentorship via an online classroom. We share many of the same concerns and hopes described above, but our aim here is not to restate the common refrain that “good intentions are not enough,” nor to offer another aspirational but abstract vision of what service-learning programs “should” achieve. Instead, we identify three common characteristics of service-learning programs that we find to be deeply troubling, and then explain our ongoing attempt to confront and improve upon these programmatic features via an innovative model that revolves around an interactive digital platform. By sharing the case study of our own experience, we aim to raise new questions about the educative capacity of interactive technology within the sphere of international service-learning, and to generate further debate and collaboration in this direction.

Our collaboration grew out of a shared concern that many, if not most, organizations in the business of selling or facilitating volunteer opportunities meet one or more of the following three conditions: 1) they act as a middleman; that is, they “place” volunteers with organizations or in communities from which they are distinctly separate; 2) they charge high fees for this service and more or less guarantee a placement to those who pay these fees; and 3) they promote their work by insisting that a) volunteers will be “making a difference” regardless of their background or qualifications, b) even a little bit of help is “better than nothing,” and therefore c) no significant pre-departure training or preparation is necessary (see Ausland 2010; Citrin 2011; Hartman et al. 2012). We contend that the convergence of these common program features is deleterious to student-volunteers and the organizations they purport to serve.

This paper centers on our attempt to develop an interactive digital platform that enables alternatives to these trends, and its central question is whether this model is indeed a viable one. Circling around this question are many others: If international service-learning is inherently a distance-based and loosely-defined educational experience, then how do we track learning, and what can be the role of technology in this tracking? How can a digital platform be used to remediate many of the broader problems of service-learning and ‘voluntourism’? How can an interactive digital classroom and mixed-media curricula be integrated toward that end? What role can a trained mentorship team play in facilitating learning before, during, and after students’ international trips? And most crucially, in a world characterized by stark inequalities, is it possible to use an interactive digital platform as a vehicle for critical pedagogy that sparks social and personal transformations?

In what follows, we attempt to answer these questions by sharing data and reflections from our own experience. We begin by elaborating our guiding pedagogical principles and then describing the online volunteer-matching platform, classroom, and mentorship system that are central to our program. Then we offer qualitative and quantitative data to illustrate some of the challenges and successes we have encountered thus far. We conclude by reflecting on the possibilities for interactive technology as an avenue towards more critical and transformative service-learning.

II. Programmatic Origins and Pedagogical Principles

Founded in 2004, Omprakash is an interactive digital platform that enables vetted international partner organizations to build profiles, post positions, and recruit volunteers. Prospective volunteers search and apply for positions posted by Omprakash partners, and partners have full autonomy to determine when and if they offer a particular position to a particular applicant. Volunteers pay for their own travel and in-country living expenses, but pay no program fee to Omprakash in exchange for the connective services offered by the Omprakash platform. In early 2012, Omprakash administrators launched Omprakash EdGE (Education through Global Engagement) as an attempt to actively confront the most problematic aspects of the service-learning industry described above: namely, that volunteers are often provided with little to no pre-departure training and mentorship, and that the learning half of “service-learning” is often a disconcerting grey area. The EdGE program couples volunteer trips with a 12-week pre-departure online classroom, a dedicated mentor, and a required field-based inquiry that culminates in a Capstone Project documenting local perspectives about the social issue(s) that the volunteer’s host organization is working to confront. The program is tuition-based, and one of the motivations for its design was to create sustainable, not-for-profit revenue to support the broader Omprakash platform. Omprakash sought university collaborators for the pilot year and found a strong partner in Florida State University (FSU).

In the fall of 2012, Omprakash and Florida State University’s Center for Undergraduate Research and Academic Engagement (CRE) partnered to create an FSU Global Scholars program (http://cre.fsu.edu/Students/Global-Scholars-Program) that would offer a combination of online training and immersive international volunteer opportunities to several dozen FSU students per year. A particular focus of the program is to recruit participants who are from low-income backgrounds and are first-generation college students, as this population is often underrepresented in these types of experiences and stands to benefit greatly (Finley and McNair 2013). In the first iteration (’12-’13 academic year), 37 students were selected to be Global Scholars by CRE administrators. These students each participated in the EdGE online classroom during the spring semester and then spent at least two months during the summer with one of Omprakash’s international partner organizations. In the second iteration (’13-’14 academic year), 28 students participated, and the online classroom was complemented with weekly in-person meetings among the Global Scholars on the FSU campus. At the time of writing, we are in the midst of the third iteration of the EdGE/Global Scholars collaboration, with 49 students involved.

Our work together has revolved around four pedagogical principles. First, we believe that the learning in international service-learning should be dialogical: learning should emerge via interactions with others and exploration of different perspectives, and various “truths” should be uncovered and interrogated in an ongoing process of exploration, rather than received as static “facts.” Second, learning should be reflexive: it should encourage students to reflect on their own positionality, to recognize and share their own biases, and to understand the process of learning about others as inextricable from a process of learning about selfhood and subjectivity. Third, learning should be personal, meaning that it should emerge through human relationships characterized by empathy, camaraderie, compassion, and humor. Finally, learning should be experiential, meaning that it should be grounded in empirical inquiry and exploration, and that students’ international experiences should recursively inform each other’s ongoing learning.

We make no claim to the originality of these guiding principles—indeed, we readily acknowledge the extent to which our own work has drawn inspiration from the broader trends of constructivist epistemology and critical pedagogy, in particular the work of Paulo Freire (1970). Yet our unique challenge has been to apply these principles to the creation of interactive technology intended to facilitate and support international engagement. The next section provides further details about why and how we have attempted to do so.

III. The Omprakash EdGE Digital Platform: Rationale, Functionalities, and Possibilities

Rationale for Using Interactive Technology

The prominent role of interactive technology within the EdGE/Global Scholars program is a response to several key contextual points. The first contextual point is one of geography and logistics: a digital platform is the most obvious solution to the parallel challenges of enabling students to connect directly with potential host organizations around the world, and also enabling students to maintain contact with each other and to maintain some semblance of intellectual continuity before, during, and after their field positions. Likewise, the chronological flexibility of digital learning means that a wider range of students can find ways to integrate the EdGE pre-departure curriculum into busy schedules.

The second contextual point concerns program costs and accessibility to a diverse group of students: in contrast to chaperoned “voluntourism” trips, the Omprakash digital platform can operate at scale for relatively minimal overhead costs, and thus Omprakash experiences are financially accessible to students whose less-privileged backgrounds might render them unable to afford more expensive “voluntourism” trips.[2] The key difference is that Omprakash does not spend administrative resources on placing volunteers or chaperoning trips; instead, its digital platform allows individuals and organizations to connect organically and arrange their own plans via direct communication. Omprakash invests time and resources into the initial vetting of its partner organizations to ensure a degree of quality and reliability, but the ongoing vetting process is largely driven by users’ reviews of their experiences, and this is another example of the ways in which Omprakash has been able to expand and strengthen its network without incurring expenses that must be passed on to users.

The third contextual point concerns the institutional and bureaucratic inertia faced by administrators at FSU and many other universities: despite a genuine intent to integrate rigorous academic content with students’ international experiences, universities often lack the funding and institutional will to incentivize or allow faculty to teach accredited interdisciplinary courses that explicitly prepare students to approach international service-learning with intellectual seriousness (Crabtree 2013; Hartman and Kiely 2014). Against this contextual backdrop, it made sense for FSU’s CRE to use the Omprakash EdGE online platform instead of developing a new on-campus course.

Browsing and Applying for Volunteer / Internship Positions

Omprakash administrators developed their volunteer matching platform as a deliberate alternative to the dominant “placement” model in which middlemen restrict direct contact between volunteers and their host organizations prior to arrival, and volunteers are not required to apply for specific positions. The basic rationale for this platform is that it provides greater power and autonomy to host organizations that tend to be marginalized within the dominant “placement” model.

In the dominant model, middleman organizations have little incentive to allow for direct dialogue between volunteers and hosts, because doing so might allow the volunteer to sidestep the middleman and avoid paying the middleman’s fees. Consequently, host organizations possess little to no autonomy to determine which volunteers might (or might not) be a good fit for their organization’s needs, values, and specific position openings. Likewise, volunteers have limited to no opportunity to learn more about different potential hosts and decide which one might be the best fit for their specific skills and interests.

The Omprakash model reverses this pattern by empowering partner organizations with full autonomy to solicit applications for specific positions, and to accept or reject applicants as they see fit. In addition, this programmatic feature is also an important component of students’ learning experiences: by requiring students to apply for specific positions and communicate directly with Omprakash partners, Omprakash challenges the embedded paternalistic assumptions that NGOs working in resource-poor contexts are desperate for foreign help, and that “anyone can do it.”

The EdGE Classroom

Course content in the EdGE digital classroom is divided into separate weeks that are sequentially accessible. Weeks are clustered into thematic sections, and each week is oriented around a single essential question. For example, the theme of Weeks 1–3 is “Good Intentions and Unintended Consequences,” and the essential question of Week 1 is “What might be wrong with international volunteering?”

Each week is divided into three sections: Learn, Respond, and Browse. The Learn section (see Figure 1) of each week is further divided into slides in which Omprakash administrators arrange learning content: a reading excerpt, an embedded video, a photo collage, a public service announcement from the Omprakash narrator, or any combination of the above. At the base of each slide, students are able to write observations and browse the observations of their peers. The Learn section of each week contains anywhere from ten to twenty slides and is designed to require 1–2 hours to complete. Upon completing the Learn section of a given week, students enter the Respond section (see Figure 2) and submit a written reflection or recorded video to a prompt related to the week’s essential question and associated content. After submitting their weekly response, students enter the Browse section (see Figure 3), where they explore and comment upon the responses of their peers. The end result is three ways for students to interact with classroom content and each other on a weekly basis: observations in the Learn section, responses in the Respond section, and comments in the Browse section. All participants are notified with an email whenever their response receives a comment, and mentors are notified with an email whenever their mentees post an observation or response.

EdGE/Global Scholars classroom.

Figure 1. Cropped screenshot of a slide within the Learn section of last year’s EdGE/Global Scholars classroom.

 

 

Respond section from EdGE/Global Scholars classroom.

Figure 2. Screenshot of Respond section from last year’s EdGE/Global Scholars classroom.

Browse section of EdGE/Global Scholars classroom

Figure 3. Cropped screenshot from the Browse section of last year’s EdGE/Global Scholars classroom.

EdGE Mentorship

In contrast to a typical Massive Open Online Course (MOOC), we sought to ensure that student experiences within our online classroom would involve a significant degree of personalized mentorship and instruction. With this in mind, Omprakash administrators solicited applications and built a team of EdGE Mentors who would work with FSU Global Scholars as they worked through the EdGE online classroom. The EdGE Mentor team is comprised mostly of graduate students and young professionals with deep experience as researchers and practitioners in fields such as international development, public health, gender studies, and anthropology. EdGE Mentors are geographically dispersed—the current team of seventeen Mentors is spread across locations including Atlanta, Berlin, New York, Oxford, Quito, Port au Prince, and Toronto—but collaborate with students and with each other via the EdGE digital classroom. For each cycle of the Global Scholars program, each mentor is matched with a handful of mentees and is expected to maintain contact with his or her mentees before, during, and after the mentees’ field positions. Mentors are compensated on a per-student basis.

The mentorship team has multiple nodes of contact with mentees. Firstly, mentors make themselves available to mentees via email and video calls. As students progress through the online coursework, mentors schedule “office hours” with their mentees, usually via Skype or Google+. Omprakash administrators request that mentors hold office hours at least four times throughout the 12-week pre-departure classroom, and mentors use this time to answer questions and build personal rapport with their mentees. Secondly, within the classroom itself, mentors are engaged in almost exactly the same way as their mentees: each week, mentors write observations, responses, and comments. Within the Browse section, mentors are required to provide a substantial comment to each of their mentees’ responses. Mentors are welcome to provide comments to any student, even if the student is not one of their designated mentees. While these comments are public to all users, the online platform also affords mentors the opportunity to send private weekly feedback to their mentees.

Blended Learning

Upon acceptance into the Global Scholars program, students are enrolled in a one-credit, pass-fail course during the spring semester. The on-campus course is facilitated by CRE administrators and meets weekly. These meetings are usually devoted to answering logistical questions and giving students time to discuss content encountered in the EdGE classroom thus far. These meetings constitute a key feature of the collaboration between Omprakash EdGE and the CRE: while the EdGE digital classroom provides space in which students can explore content and discuss with mentors and each other, the weekly on-campus meetings add another layer of personal interaction to the experience.

EdGE Curriculum and Capstone Projects

Rooted in Paulo Freire’s notion of conscientization (“raising critical consciousness”), the EdGE curriculum is designed to help students move beyond the superficial urge to ‘help others,’ and to work towards more holistic and reflexive understandings of the intersecting contexts in which they and their host partners are situated. The curriculum begins by challenging students to reflect upon the intentions and assumptions that underlie their desires to volunteer abroad. It dedicates a week to deconstructing the catch-all term “culture.” Another week is devoted to exploring the complexities of conflicting local interest groups and power dynamics that are often obscured by overly-romanticized notions of “helping the community.” Three weeks explore intersections of social, economic, and environmental inequality, and thereby help students locate themselves and their host organizations in relation to global configurations of power. The latter part of the curriculum teaches research methods—particularly the tools of ethnographic observation and community-based participatory research (CBPR)—so that students can complete observer-activist Capstone Projects which document the roots of a complex social issue and are meant to be shared with all members of the Omprakash network as well as other audiences back home.

Monitoring and Evaluation

The Omprakash digital platform allows Omprakash administrators to easily track each student’s observations, responses, and comments throughout the duration of the twelve-week pre-departure curriculum, and to qualitatively assess how a given student’s understandings seem to shift (or not shift) over time. Likewise, the platform also allows Omprakash administrators, EdGE Mentors, and FSU administrators to easily answer quantitative questions such as which pieces of classroom content elicit the most student responses, which mentors have the most consistent back and forth dialogue with their mentees, and how trends in classroom participation vary between students with differing background characteristics.

To supplement these data sources, we also administer surveys to our students on a periodic basis. Students complete a pre- and post- survey that builds upon established survey instruments, such as the Global Perspectives Inventory (https://gpi.central.edu/) and the College Senior Survey (HERI), and also includes original questions and constructs. In addition, students offer qualitative feedback and reflections on the quality of our program via surveys administered at the midpoint and conclusion of the pre-departure curriculum and upon returning home from their field positions. Finally, Omprakash administrators also solicit feedback from Omprakash partners about the contributions of each student-volunteer.

All of this is to say that we have managed to accumulate abundant data reflecting student experiences within our program. However, we will be the first to acknowledge that conducting meaningful analysis of this data is much more challenging than simply collecting it. In the next section, we attempt to draw some inferences from the various forms of data we have collected thus far.

IV. What We’ve Learned—Challenges and Successes

Having provided an explanation of the roots and structure of our program and collaboration, we now offer a deeper analysis of the challenges and successes we have encountered during our collaboration thus far. We focus on three core aspects of our digital platform: the volunteer matching system, the EdGE classroom, and the remote mentorship model.

Matching Volunteers and Partner Organizations

By requiring potential volunteers to apply for positions, establish dialogue, and build rapport with potential host organizations before they leave home, we encourage a bridging of the real and imagined gulfs that separate the two parties. In addition to reducing our administrative burden and thus making our program more affordable and accessible to students from a wide range of backgrounds, this aspect of our program actualizes a key dimension of our ethos: by allowing volunteers and hosts to engage autonomously, exchange information freely, and establish a preliminary relationship, we enact a preventive strategy to discourage distorted relations, perverse incentive structures and perpetuated biases.

Omprakash has been refining this aspect of its platform for a decade, and the platform has facilitated thousands of fruitful collaborations between volunteers and partner organizations. However, our experience with this platform has also uncovered some troubling ironies related to digitally-based dialogue and collaboration. To state the obvious: technologies intended to connect people do not always result in increased connectedness or in successful collaborations. Prospective volunteers can be very fickle when communicating with partners: in many cases, they delay in answering emails; they forget about scheduled meetings—whether due to time zone confusion or other distractions—and they express themselves in casual, lackadaisical terms which partners sometimes interpret as immature or unprofessional. Given that Omprakash partners are real organizations confronting real social issues and are not pop-up projects that exist only to facilitate feel-good volunteer experiences, this sort of digital interaction with prospective volunteers can be disconcerting or even offensive.

Omprakash prides itself on its commitment to providing an alternative to the dominant “placement” model, and collaborators at FSU and other universities share this commitment. However, at times it seems as though some students would be much more comfortable if Omprakash would just “place” them on a volunteer trip and save them the trouble of needing to browse real organizations and apply for specific positions. Likewise, some parents and university administrators balk at the lack of “on-site supervision” within the Omprakash model. Of course, all partners provide their own “on-site supervision,” but it seems that the embedded concerns of some parents and administrators will not be soothed unless supervision comes in the form of a well-credentialed American or European chaperone. The Omprakash digital platform is meant to facilitate direct collaboration between diverse people and organizations, but some prospective volunteers, parents, and university administrators seem that to prefer paying a high premium for a guaranteed “placement” rather than grapple with the complexities and uncertainties of building relationships with locally-run social impact organizations that may or may not actually want their help. The irony here is that volunteering abroad is ostensibly a process of collaboration, but many prospective volunteers seem intimidated by the fundamentally collaborative ethos that underpins the Omprakash platform and would prefer crisply packaged “voluntourism” products designed for mass consumption.

The EdGE Classroom

On the whole, FSU Global Scholars have interacted deeply and positively with the Omprakash EdGE online classroom. There was marked improvement in the level of engagement from the first year of the program (’12–’13) to the second (’13–’14). We attribute this to two main factors. First, FSU administrators facilitated on-campus weekly meetings in the second iteration of the program. Providing this structure seemed to help spur participation. Second, Omprakash administrators gave the EdGE curriculum a thorough makeover before the second year based on feedback from first year students. Omprakash administrators added a great deal of new content, removed content that had not resonated, and developed new tactics for structuring the material in the Learn section. For example, in the first year only one piece of content (reading, video, etc.) was put onto each slide, which meant that some weeks had over 20 slides. In the second year, to whatever extent possible, slides were crafted to deliver a specific message and multiple pieces of content were arranged on a single slide to tell that story.

The post-course evaluation completed by 82% (23/28) of the 2013-2014 Global Scholars provides a clearer snapshot of students’ experience in the online classroom. Only one student disagreed with the statement “I found the classroom intuitive to navigate,” and all students agreed that “the classroom was well-organized.” Nineteen of 23 (83%) students agreed that the weekly content was “stimulating” and 20 (87%) agreed that “the flow of the course from week to week was logical.” Nineteen (83%) agreed with the statement “I valued the opportunity to engage with peers and mentors in the weekly forums.” In response to a request for general feedback, one student wrote:

I liked how it had a curriculum set up that consisted of a learning, responding, and browsing stage. It really makes me feel engaged with my peers and administration. I liked how it felt like we were in a live class. It was enjoyable to learn things online at our own pace.

With regard to self-reported learning in this evaluation, 100% of students agreed with the statement “I am a better prepared international volunteer because of this course” (of which 14 (61%) “strongly” agreed). This is encouraging, but even more encouraging is the overwhelmingly positive written feedback, such as:

I really loved how Omprakash opened my eyes to a whole new world of international aid, public health, anthropology, and research that I’ve never known about.

This program changes your perspective on international volunteering and issues like no other. It helps you reevaluate any prejudices and biases you may not even be aware you have, and learn how to best be an informed and engaged intern. It gives you extremely valuable resources and a network of people to help along the way.

I’m sure that if I were left to my own devices, I would have been more likely to literally wait until possibly even now to START preparing. It made me consider a lot of things that I wouldn’t have considered, and throughout taught me several things I will use over the course of my volunteering experience.

IT was the absolute BEST program I could ever recommend to anyone looking to volunteer abroad. It was the most eye opening experience of my undergraduate experience.

It is exciting to find students expressing this level of appreciation for a web-based learning platform. The final quoted comment reads like a typical testimonial about a ‘life-changing’ experience in another country, and thus is all the more fascinating given that it was written weeks before the volunteer even left home.

Feedback like this makes us confident about the depth of learning that occurs in our online classroom, but we still see a great deal of room for improvement. The structure of our Learn section requires students to click through each slide, but it is difficult to gauge how carefully or carelessly students are engaging with weekly content unless they submit observations or responses that blatantly demonstrate a lack of understanding. Such instances are not rare and are certainly disheartening, but it is worth noting that the student tendencies of taking shortcuts and skimming are hardly problems unique to digital learning environments.

One of the most common critiques about digital learning is the high rate of attrition, estimated to be 93.5% for MOOCs such as Coursera (Jordan 2014). In this credit-bearing collaboration, we do not face this problem. If Global Scholars do not participate in the EdGE classroom, they will fail a course that appears on their FSU transcripts. But because it is a pass-fail course, our challenge is making sure that students are doing more than the bare minimum to pass.

Online Mentorship

EdGE Mentors are a crucial component of our effort to ensure that our online classroom is dialogical, reflexive, and personal. Our expectation that mentors provide thoughtful comments on each of their mentees’ weekly responses is the cornerstone of our strategy to ignite dialogue in the weekly forums. In ideal circumstances, every student’s weekly response will garner comments from his mentor and peers. In reality however, most but not all responses in any given weekly forum will spur this level of dialogue.

At the conclusion of the most recent Global Scholars session, we reviewed each mentor’s engagement with his or her mentees and provided substantial quantitative and qualitative feedback to each mentor. We analyzed mentor engagement and coded it according to seven possible categories: supportive, i.e. “This is a great post”; affirmative, i.e. “I liked when you said…”; follow-up, i.e. “How would you explain…?”; own opinion, i.e. “My perspective on this is…”; personal anecdote, i.e. “When I was in grad school…”; refer-to-material, i.e. “Freire would say…”; for-further-reading, i.e. “Check out this article about…”. This coding system allowed us to identify major trends in each mentor’s style of engagement. For example, one mentor’s evaluation reads that 93% of her comments were ‘supportive’ and ‘follow-up,’ while 40% were ‘affirmative’ and 7% were ‘own opinion.’ In addition, 27% of her comments resulted in a ‘back and forth’ (student responds to her comment at least once).

We believe our mentorship system is one of the most vital aspects of the EdGE program. It provides the personal touch that keeps students honest and involved. In the post-course evaluation mentioned earlier, all 23 respondents agreed that their mentor “makes himself/herself available to answer my questions”; 21 (91%) agreed that their mentor was “helpful” (two were neutral), and 20 (87%) agreed that their mentor “provided good comments on my weekly responses.” Nineteen (83%) Global Scholars agreed that mentorship was a “very valuable” aspect of EdGE and “plan to maintain communication with my mentor during and after my field position” (the remaining four were neutral to both questions).

V. Using Interactive Technology to Raise Critical Consciousness?

Interactive technology and service-learning are both on the rise within higher education, but there is little reason to assume that either will be a driver of social change rather than social reproduction. Despite the hype about egalitarianism and democratization that surrounds emergent digital learning platforms, we worry that the implementation and evaluation of such technologies are sometimes directed towards the goals of increasing efficiency and profit margins at the expense of student learning and transformation. Likewise, despite the buzzwords of global citizenship and collaborative partnerships that surround the proliferation of service-learning programs, we worry that many such programs lack substantive pedagogical vision and are oriented around placement models and paternalistic narratives that are intrinsically disempowering to those they purport to serve (Baillie Smith and Laurie 2011). The authors of this paper have sought to integrate the two trends of interactive technology and service-learning with the explicit aim of going beyond the buzzwords to cultivate critical inquiry and authentic collaboration in pursuit of social change. Our pedagogical vision derives from Freire’s notion of ‘raising critical consciousness’: a conviction that ‘knowing the world’ through dialogue and reflection is the first step towards creating change. The question, then, is whether or not such a vision can be actualized through an interactive digital platform—or at all.

It is surely too early to attempt any conclusive answer to this question, but the case study offered in this paper suggests that interactive technology might indeed be a useful tool for facilitating the sort of learning and collaboration that “critical service-learning” would seem to require. Further research should investigate not just what students are learning via the digital platform, but also how they translate this learning into their work on the ground while volunteering abroad and into the rest of their lives upon returning home.

Acknowledgements

Willy and Steve would like to thank the Omprakash EdGE Mentorship team, without which this article would not exist: Alex Frye, Eric Dietrich, Kalie Lasiter, Emily Hedin, Mayme Lefurgey, Miyuki Baker, Kit Dobyns, Shelby Rogala, Anabel Sanchez, Laura Stahnke, Matt Smith, Barclay Martin, Nathan Kennedy, Meredith Smith, Devi Lockwood, Nina Hall and Mary Jean Chan. W&S would also like to thank Lacey Worel for making sure the Omprakash trains run on time and Sonu Mahan and Adarsh Kumar for being brilliant web developers who can turn stale mockups into truly interactive technology. Finally, W&S would like to thank the other half of this great collaboration: Joe, Latika Young and Kim Reid. Joe would also like to thank Latika and Kim for making sure the FSU Global Scholars program runs so well.

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Ausland, Aaron. 2010. Poverty Tourism Taxonomy 2.0. From <http://stayingfortea.org/2010/08/27/poverty-tourism-taxonomy-2-0/>. Accessed 31 May, 2014.

Baillie Smith, Matt, and Nina Laurie. 2011. “International volunteering and development: global citizenship and neoliberal professionalisation today.” Transactions of the Institute of British Geographers. 36 (4). OCLC 751323473.

Biddle, Pipa. 2013. The Problem with Little White Girls (and Boys): Why I Stopped Being a Voluntourist. From <http://pippabiddle.com/2014/02/18/the-problem-with-little-white-girls-and-boys/>. Accessed 31 May, 2014.

Citrin, David M. 2011. “Paul Farmer made me do it”: a qualitative study of short-term medical volunteer work in remote Nepal. Thesis (M.P.H.), University of Washington. OCLC 755939202.

Crabtree, Robbin D. 2008. “Theoretical Foundations for International Service-Learning.” Michigan Journal of Community Service Learning. 15 (1): 18-36. OCLC 425540415.

Crabtree, Robbin D. 2013. “The Intended and Unintended Consequences of International Service-Learning.” Journal of Higher Education Outreach and Engagement. 17 (2): 43-66. OCLC 854574208.

Crossley E. 2012. “Poor but Happy: Volunteer Tourists’ Encounters with Poverty.” Tourism Geographies. 14 (2): 235-253. OCLC 792841012.

Dolnicar, S., and M. Randle. 2007. The international volunteering market: market segments and competitive relations. International Journal for Non-Profit and Voluntary Sector Marketing, 12(4), 350-370. OCLC 826185553.

Finley, Ashley P., and Tia McNair. 2013. Assessing underserved students’ engagement in high-impact practices. OCLC 872625428.

Freire, Paulo. 1970. Pedagogy of the oppressed. [New York]: Herder and Herder. OCLC 103959.

Gacel-Avila, Jocelyne. 2005. “The Internationalisation of Higher Education: A Paradigm for Global Citizenry.” Journal of Studies in International Education 9 (2): 121-136. OCLC 424733796.

Green, Patrick, and Matthew Johnson, eds. 2014. Crossing Boundaries: Tensions and Transformation in international service-learning. Sterling, VA: Stylus. OCLC 877554267.

Harris, Suzy. 2008. “Internationalising the University.” Educational Philosophy and Theory 40 (2): 346-357. OCLC 4633544389.

Hartman, Eric, Richard C. Kiely, Jessica Friedrichs, and Judith V. Boettcher. 2013. Building a Better World The Pedagogy and Practice of Ethical Global Service Learning. Stylus Pub Llc. OCLC 866938358.

Hartman, Eric, Cody Morris Paris, and Brandon Blache-Cohen. 2012. “Tourism and transparency: navigating ethical risks in volunteerism with fair trade learning.” Africa Insight 42 (2): 157-168. OCLC 853073233.

Hartman, Eric, and Richard Kiely. 2014. “A Critical Global Citizenship.” In Green, Patrick, and Matthew Johnson. Crossing boundaries: tension and transformation in international service-learning. OCLC 877554267.

Hickel, Jason. 2013. “The ‘Real Experience’ industry: Student development projects and the depoliticisation of poverty.” Learning and Teaching 6 (2): 11-32. OCLC 5528846526.

Jones, A. 2005. Assessing international youth service programmes in two low income countries. Voluntary Action: The Journal of the Institute for Volunteering Research 7 (2): 87-100. OCLC 658807900.

Jordan, Katy. 2014. “Initial trends in enrolment and completion of massive open online courses.” The International Review of Research in Open and Distance Learning 15(1). OCLC 5602810303.

Leigh, R. 2011. State of the World’s Volunteerism Report. United Nations Development Programme. OCLC 779540815.

McBride, A., and Lough, B. 2010. “Access to International Volunteering.” Nonprofit Management & Leadership 21 (2): 195-208. OCLC 680823597.

Mintel. 2008. Volunteer Tourism – International. London: Mintel International Group Limited.

Mitchell, Tania D. 2008. “Traditional vs. Critical Service-Learning: Engaging the Literature to Differentiate Two Models.” Michigan Journal of Community Service Learning 14 (2): 50-65. OCLC 425540125.

Ouma, B., and H. Dimaras. 2013. “Views from the global south: exploring how student volunteers from the global north can achieve sustainable impact in global health.” Globalization and Health 9 (32): 1-6. OCLC 855505685.

Rieffel, L., and S. Zalud. 2006. International Volunteering: Smart Power. Washington, DC: The Brookings Institution. OCLC 70134511.

Simpson, Kate. 2004. “‘Doing development’: the gap year, volunteer-tourists and a popular practice of development.” Journal of International Development 16 (5): 681-692. OCLC 5156622715.

Stein, N. 2012. “Is 2012 the year of the volunteer tourist?” From <http://www.travelmole.com/news_feature.php?news_id=1151074>. Accessed 31 May 2014.

Zakaria, Rafia. 2014. “The White Tourist’s Burden.” Al Jazeera, 21 April 2014.

[1] The neologism “voluntourism,” though lacking a precise definition, is generally used in a pejorative manner to describe programs that combine volunteering with tourism. Throughout this essay, we use the terms “service-learning,” “volunteering,” and “voluntourism” somewhat interchangeably—not because we are unaware that many commentators have attempted to delineate between them, but rather because we believe that such delineations often obscure more than they illuminate, and that our criticisms and suggestions are applicable to programs that fall into all of these categories as well as the grey area between them.

[2] To offer one example of the sort of high-cost “voluntourism” program against which we work to offer an alternative: an organization branding itself as “the gold standard of global engagement” sells ten-day trips to Uganda under the slogan of “short term trips; long term impact.” Customers pay a program fee of $1,990 plus airfare, and travel in groups of at least eight. In contrast, a student participating in Omprakash EdGE and working with an Omprakash partner in Uganda for sixty days would pay a total of roughly $1,350 plus airfare ($750 for the EdGE program fee, and $10 per day in country), and would receive pre-departure training and mentorship that is unavailable in the typical “voluntourism” model.

 

 

About the Authors

Willy Oppenheim is the founder and Executive Director of Omprakash, a web-based nonprofit that connects volunteers, interns and donors directly with social impact organizations in over 40 countries. Willy received a BA from Bowdoin College, where he completed a self-designed major in religion, education and anthropology. In 2009, he received a Rhodes Scholarship and is currently pursuing a Ph.D. in education from the University of Oxford. As an educator and educational researcher, Willy has worked in classrooms in the United States, India, Pakistan and China, and in the wilderness as an instructor for the National Outdoor Leadership School. For over 10 years, Willy has been working through Omprakash to transform the field of international service-learning to make it more affordable, more ethical, and more educational for everyone involved.

Joe O’Shea serves as the Director of Florida State University’s Center for Undergraduate Research and Academic Engagement and is an adjunct faculty member in the Department of Philosophy. He received a BA in philosophy and social science from Florida State University, where he served as the student body president and a university trustee. A Truman and Rhodes Scholar, he has a master’s degree in comparative social policy and a Ph.D. in education from the University of Oxford. Joe has been involved with developing education and health-care initiatives in communities in the United States and Sub-Saharan Africa. His research and publications are primarily focused on the civic and moral development of people, and his recent book, Gap Year: How Delaying College Changes People in Ways the World Needs, was published by Johns Hopkins University Press. Joe serves on the board of the American Gap Association and as an elected Councilor for the Council on Undergraduate Research, the leading national organization for the promotion of undergraduate research and scholarship.

Steve Sclar is the co-founder and Program Director for Omprakash EdGE (Education through Global Engagement). Steve received a BBA from the College of William & Mary, where he majored in Marketing and Environmental Science. He is finishing up an MPH in the Global Environmental Health department at Emory University’s Rollins School of Public Health. Previous volunteer or work experience in Tibet, Ghana and Iceland led Steve to his current role for Omprakash.

#FYCchat – A Case-Study of Connected Learning and Educators / By Lee Skallerup Bessette
1

#FYCchat – A Case-Study of Connected Learning and Educators

Lee Skallerup Bessette, University of Kentucky

Abstract

In January 2011, #FYCchat held its first Twitter chat. Created to connect those teaching Freshman Writing, #FYCchat became a powerful tool for collaborative learning, professional development, reciprocal mentoring, and community formation. The following essay explores the origins of the chat, theories around Twitter chats for educational professional development, and a close reading of one #FYCchat around the topic of community and collaboration.

We have opened up this article as an experiment in collaborative, open peer-review. JITP has always been committed first and foremost to teaching and learning, and we intended that the journal itself—both in process and in product—provide opportunities to reveal, reflect on, and revise academic publication and classroom practice. We are so grateful to Lee Skallerup Bessette for allowing her article to be part of this experiment that we hope will reveal and reflect on the peer review process in order to develop a model for better pedagogy in professional practice.  Continue reading, and participate in the conversation.

 

 

About the Author

Lee Skallerup Bessette is Faculty Instructional Consultant at the Center for the Enhancement of Learning and Teaching (CELT) at the University of Kentucky. Her interests include Digital Pedagogy, Connected Learning, and Student-Centered Pedagogy. She has a PhD in Comparative Literature and is also interested in translation, both literal and figurative in literature and in education. She blogs at College Ready Writing and you can find her on Twitter as @readywriting.

Table of Contents: Issue Six

Introduction
Kiersten Greene and Stephen Brier, Issue Co-Editors

Africa is a Country? Digital Diasporas, ICTs, and Heritage Development Strategies for Social Justice
Marla L. Jaksch and Angel David Nieves, Guest Co-Editors

Runaway Quilt Project: Digital Humanities Exploration of Quilting During the Era of Slavery
Deimosa Webber-Bey

Teaching Online Journals in Tanzania: Knowledge Production and the Digital Divide
Tom Fisher

How the San of Southern Africa Used Digital Media as Educational and Political Tools
Philip Kreniske, Photography by Jesse Kipp

Transcultural Dialogue Mashup
Richard Kabiito, Christine Liao, Jennifer Motter, and Karen Keifer-Boyd

“All Corners of the World”: the Possibilities and Challenges of International Electronic Education
Sheila T. Cavanagh

 

Issue Six Masthead

Issue Editors
Kiersten A. Greene
Stephen Brier

Guest Editors
Marla L. Jaksch
Angel David Nieves

Managing Editor
Leila Walker

Copyeditors
Stephen Brier
Anne Donlon
Carlos Hernandez
Michelle Johnson
Andrew Lucchesi
Benjamin Miller
Leila Walker

Style & Structure Editors
Benjamin Miller
Dominique Zino

“All Corners of the World”: the Possibilities and Challenges of International Electronic Education

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Sheila Cavanagh, Emory University

Abstract

The World Shakespeare Project (WSP) uses videoconferencing to link students in the US, UK, India, Morocco, Argentina, Brazil, and North American Tribal Colleges. This essay discusses the practical and theoretical bases of this project, including its background in brain-based learning. The WSP engages students in wide-ranging discussions and performance exercises, facilitating pedagogical communication between a disparate group of international institutions.

The World Shakespeare Project (WSP) uses new media to enable college and university students to interact academically across several continents, including North and South America, Europe, Asia, and North Africa. We also collaborate with incarcerated students studying Shakespeare at Monroe Correctional Facility in Washington State and have begun partnership discussions with universities in Ethiopia. Though an increasing number of online educational models rely on asynchronous communication, the WSP focuses on live interaction whenever possible. Some of the WSP’s partners are located in urban centers, with access to diverse modes of information and communication technology. Others reside in comparatively isolated rural regions, with limited technological facilities. Nevertheless, as much as possible, the WSP promotes “real time” academic and cultural conversation between disparate groups of students who are studying Shakespeare.

This essay details some of the pedagogical, philosophical, and technological facets that simultaneously invigorate and challenge this project. Since the beginning, the WSP has benefitted greatly from the kind of collaborative engagement that undergirds so many electronic academic projects. At the start, the WSP included co-instructors who inhabited different continents: Sheila T. Cavanagh (author of this piece), Professor of English at Emory University in Atlanta, had just been named Emory College Distinguished Teaching Professor. Kevin Quarmby, a long-time professional actor in the United Kingdom, had recently completed his PhD and was teaching for a variety of academic programs in London.[1] Cavanagh had taught a “Shakespeare in Performance” course for many years and the pair determined that introducing an actor turned scholar into the academic mix might prove valuable. At the outset, neither participant had any real idea of what would happen and how students would receive it. Needless to say, however, this initial foray became a resounding success. After a few months of linking classes between London and Atlanta, Cavanagh (with support from the Halle Center for Global Learning) called an international meeting of expert faculty and educational technologists and began exploring the promises and pitfalls of global education through videoconferencing. Soon afterwards, the World Shakespeare Project was born. Within a couple of years, the WSP had expanded its partnerships across many continents, time zones, and cultural differences, creating vibrant exchanges between students, faculty, and technologists in widely disparate settings.

The WSP uses videoconferencing, iPads, iPhones, Blackboard, email and other electronic resources to redesign traditional classroom encounters. In some sessions, participants from multiple venues participate in what we term “on yer feet” performance modules designed to recreate the rehearsal process followed by actors at the Royal Shakespeare Theatre or Shakespeare’s Globe Theatre in London. Other times, students in places such as Atlanta and Casablanca join email or videoconference conversations that range from textual analysis to cultural exchange and discussions about educational, historical and familial differences related to Shakespearean drama. This essay uses the WSP to illustrate the kinds of educational opportunities and questions that modern technology can facilitate. While these benefits are not exclusive to Shakespeare, his drama appears to offer unusual ways to engage people from multiple cultures, something that London’s 2012 Globe to Globe Festival illustrated magnificently when 37 Shakespeare plays were presented in 37 different languages. Shakespeare’s recurring presence in theatres and classrooms around the world makes it particularly valuable for cross-cultural conversations and collaborations, although the techniques we employ are designed to be transferable across disciplines. Shakespeare may not achieve universality, but the canon still provides access to an international academic conversation that many, including the College Board’s Lawrence Gladieux (1999), worry could be undercut by expanding technology use. As he suggests, “the virtual campus may widen opportunities for some, but not generally for those at the low end of the economic scale. [. . .] The Internet has great power and potential for good, which we must harness to the cause of educational opportunity. We must not let information technology become a new engine of global inequality” (3). Noted educational theorist Philip Altbach (2007) raises similar concerns, remarking, “Contemporary inequalities may in fact be intensified by globalization” (2).

If employed judiciously, however, electronic communication creates portals for international and other cross-institutional interactions that were previously unimaginable. As the WSP has grown, it established partnerships with a range of distinctive institutions. The exchanges are vibrant and valuable for those involved. Often, however, these collaborations do not fit the profile regularly invoked at Emory when academic linkages are discussed. WSP partnerships frequently do not involve “peer institutions”; they do not necessarily formalize ties with the kinds of prestigious colleges and universities Emory typically races to embrace. Instead, the specific WSP collaborations emphasized today bring together Emory students—enrolled at an American private university that prides itself on its US News & World Report “top 20” ranking—with students who are commonly the first members of their families to participate in tertiary education. Some of the non-Emory students come from families completely lacking in formal education. Distinctive from most Emory undergraduates, these WSP collaborators often come from homes and communities where educational opportunities have been extremely limited, where English is rarely or never spoken, and/or where role models for economic, professional, and academic success remain hard to find. Rather than seeking personal advancement by attending a wealthy, well-established private university, many of these students study, for example, in tribal colleges, institutions that were created specifically to bring higher education to what is often, though controversially, called “indigenous” populations. As Ladislaus Semali and Joe Kincheloe (1999) suggest, “indigenous knowledge is an ambiguous topic that immediately places analysts on a dangerous terrain. [. . .] Nevertheless, we perceive the benefits of the study of indigenous knowledge sufficiently powerful to merit the risk” (3). They further encourage goals closely resembling those of the WSP, namely, “enhancing the internationalization of the curriculum of academic institutions by giving faculty and students ready access to a global network of indigenous knowledge resource centers” (Semali and Kincheloe 1999, 5). This essay emphasizes the value of including eclectic international, indigenous, and incarcerated students with more mainstream partners and teaching materials. The WSP promotes these kinds of “asymmetrical” academic collaborations. In a 1947 UNESCO symposium on “The Universal Right to Education,” I. L. Kandel notes that “even when equality of educational opportunity is provided, certain social and economic classes feel that the opportunities are not intended for them” (quoted in Spring 2000, 16-17). While this situation arguably continues today, the WSP operates from an assumption that opposes such educational divides. As Michael Peters (2006) argues,The economics of knowledge and information is not one of scarcity [. . .] but rather one of abundance, for, unlike most resources that are depleted when used, information and knowledge can be shared and can actually grow through application” (96). If this is the case, the Shakespeare world and the broader educational community has much to gain by sharing information and concerns with faculty and students who were essentially impossible to reach prior to the availability of modern technologies such as videoconferencing.

Typically, WSP interactions by email or videoconferencing focus predominantly on Shakespeare, but they also allow participants the opportunity to converse on other topics. Emory undergraduates, for example, tend to know little or nothing about African literature. In the midst of discussions about Shakespeare’s prominent place in British drama, therefore, Moroccan students frequently urge the Americans to read significant global authors such as Tahar Ben Jelloun and Driss Chraïbi. Other international classes have provided similarly unforeseen but fruitful interventions. During a session linking Emory with undergraduates in Argentina and director Tom Magill in Northern Ireland (director of Mickey B, a film version of Macbeth acted by prisoners in Belfast), for instance, the conversation took an unexpected detour after a chance comment about frequent journalistic comparisons between Lady Macbeth and diverse contemporary and historic female political figures. At the mention of then recently deceased Margaret Thatcher in this context, everyone in Argentina and Belfast cringed, while Emory students looked on without comprehension. The ensuing discussion circled back to Macbeth, but also included illuminating accounts of British actions in the Maldives/Falkland Islands and their treatment of political prisoners during the Irish “troubles.” Such unanticipated, fruitful results from our encounters with far-flung partner colleges are common. In the middle of a segment devoted to passages from Shakespeare’s The Tempest, for example, one student’s face appeared transformed as realization dawned. For this young mother, a full time student at Saginaw Chippewa Tribal College in Michigan (www.sagchip.edu) and a leader in her tribe, a section of Shakespeare’s text suddenly hit home, as documentary maker Steve Rowland’s film of the class indicates:

 

 

Shakespeare describes Prospero, the exiled Milanese Duke in The Tempest, arriving by ship at a remote island. In the years that followed, Prospero claims sovereignty over the land and its inhabitants, namely, a magical being called “Ariel” and the locally-born “monster” Caliban. Numerous Shakespeareans in recent years have written about postcolonial interpretations of this play (Thomas Cartelli, for instance), but this nontraditional Chippewa student needed no post-colonial insights to grasp familiar implications from the text. As soon as the words were spoken aloud, she exclaimed about the parallels between the history of American tribal populations and what had happened to the natives of Shakespeare’s unnamed island. Shakespeare was clearly telling the story of her people despite the centuries separating his writings from contemporary society.

 

 

As often happens, Shakespeare’s narratives found immediate resonance with a temporally and geographically distanced audience. As this American Indian student explained, the challenges associated with Shakespeare’s language did not overpower the cultural connections his drama forged with the students at this Midwestern Tribal College, one of the thirty-seven colleges forming AIHEC or the American Indian Higher Education Consortium.

A few months earlier, students at Sido Kanhu Murmu University, an institution established for the local tribal population in Dumka, Jharkhand, India, experienced a similarly striking Shakespearean moment. Performing the trial scene from The Merchant of Venice in their native Santali dialect, these first-generation learners then shared childhood stories of watching their parents being beaten by local moneylenders and discussed how these memories helped shape their representation of the moneylender Shylock in Shakespeare’s play.

Figure 1. Students at Sido Kanhu Murmu University

Figure 1. Students at Sido Kanhu Murmu University

The power of these students’ stories and the resonance between their life histories and the details of Shakespeare’s texts was palpable for all who witnessed it in person or through viewing the flawed electronic record. Dumka, a recipient of financial support from India’s “Backwards Regions Grant Fund,” has not typically been involved in international educational dialogues. Until the advent of widespread modern technology, they had no opportunity to discuss intersections between their lives and these plays with anyone outside their local environments.

The tribal colleges and universities the WSP works with in India are located in comparatively remote regions that suffer from poverty and geographical isolation compounded by the significant presence of armed Maoist rebels. Those conditions often make travel dangerous and occasionally interfere with the possibility of electronic communication. In March, 2014, for example, 15 policemen were ambushed and killed by Maoist insurgents in the state of Chhattisgarh, a region adjacent to WSP partner communities. The students who attend these tribal colleges typically reside in homes with only basic amenities or they stay in local hostels. Faculty often provide supplementary meals as well as education for their undergraduates. During site visits to homes of several WSP educational partners in Purulia, West Bengal and Dumka, Jharkhand, students regularly comment that they have never met a “foreigner” before. The students majoring in English literature typically plan to teach English in elementary or secondary school, although occasionally, the WSP encounters students with aspirations for advanced degrees. One student in Dumka, for example, who performed Shakespearean scenes during site visits in 2012 and 2013, plans to translate all of the Merchant of Venice into Santali as part of the doctoral study he hopes to undertake after he completes the M.A. he is currently pursuing. In this same environment, however, where doctoral education can now be imagined, several local women are killed every month after accusations of witchcraft, an occurrence documented in the international press as well as in student and faculty narratives. In studying plays such as Macbeth, the combination of such contradictory perspectives within the same villages opens up remarkable possibilities for discussion and research. Students’ own experiences enable them to respond to many facets of the drama, such as Shakespeare’s integration into his plays of folk beliefs, intellectual conceptualizations, and common human emotional experiences.

The dynamic pedagogical snapshots described above occurred during site visits undertaken by the WSP in preparation for its subsequent live videoconferencing sessions. Created with seed grant funding in 2011 from Emory’s Halle Institute for Global Learning (halleinstitute.emory.edu) and Emory’s Center for Interactive Teaching, in 2012 the WSP became the sole recipient of Emory’s “High Risk/High Potential Initiative” grant (Guo 2012). Throughout its development, the WSP has collaborated with a team of talented educational technologists in order to create a template for synchronous global educational exchange that can facilitate a similar linking of international institutions seeking a range of pedagogical and disciplinary goals. Collaborators are chosen both through strategic planning and through less structured means. As noted above, collaborators encompass students and institutions from a broad spectrum of religious, national, linguistic, and socioeconomic backgrounds. While the partnerships involved vary considerably, the WSP always seeks to align with the tenets Renate Nummela Caine and Geoffrey Caine (1994) associate with “brain-based learning” which, in their terms,

involves the entire learner in a challenging learning process that simultaneously engages the intellect, creativity, emotions, and physiology. It allows for the unique abilities and contributions from the learner in the teaching-learning environment. It acknowledges that learning takes place within a multiplicity of contexts—classroom, school, community, country and planet. It appreciates the interpenetration of parts and wholes by connecting what is learned to the greater picture and allowing learners to investigate the parts within the whole. (9)

As much as possible, the WSP employs these and other concepts of brain-based learning.[2] As we expand our scope, we hope to create additional ways that cooperative international education can draw from key pedagogical and technological advances in order to enhance the educational experience for all concerned. Since an expansion in contemporary research focused on cognition and learning has paralleled the growth in educational technology, the WSP actively draws from experts in both areas as it develops its curriculum.[3]

The performance exercises that remain central to WSP classes were initially transmitted through Skype, more through default than design. The instructors already communicated regularly through Skype and the platform was relatively available and reliable. While the WSP’s reliance on fairly basic technology originated without conscious deliberation, however, it has now become an important philosophical tenet of the project, employed whenever possible. Although the WSP regularly tests more sophisticated videoconferencing platforms, such as Vidyo, the Blue Jeans Network, and others, we insist upon widespread availability. Sometimes our partners can take advantage of Emory’s site licenses to gain access to advanced technologies; nevertheless, we remain committed to using the most affordable avenues possible for interactivity. While Emory’s educational technologists are thrilled, therefore, when we partner with an institution that boasts cutting edge equipment or expertise, we resist limiting our interactions to colleges or universities with robust electronic infrastructures. To do so would undermine our primary goal of bringing together widely diverse academic populations. Comparative affluence is not a barrier to participation in the WSP’s educational endeavors, but it is not a demand either. Some of our most memorable exchanges—such as our initial communication with Nistarini Women’s College in Purulia, West Bengal—have relied solely upon an instructor’s laptop, iPad, or iPhone.

Figure 2. Nistarini Women's College, Purulia, West Bengal

Figure 2. Nistarini Women’s College, Purulia, West Bengal

 

Figure 3. The Macbeths in Purulia, West Bengal, India

Figure 3. The Macbeths in Purulia, West Bengal, India

Keeping technological requirements as minimal as possible facilitates access with a broad range of institutions and populations. While we still need to confront practical issues, such as time zone differences and varying curricula and exam schedules, therefore, we embrace the joys and frustrations accompanying widely available videoconferencing platforms, such as Skype and FaceTime.

Collaborating with the WSP often leads, however, to expanded technological resources at our partnering institutions, as our affiliation with Université Hassan II Ben M’sik in Casablanca, Morocco demonstrates. In this instance, the WSP traveled to Morocco in late February, 2012, in order to assess local interest in the project. Since we were working predominantly with Hindu communities in India at this time, it seemed appropriate to explore collaborative possibilities with an Islamic institution. At Hassan II, we encountered an enthusiastic group of students, who relished the opportunity to perform scenes from Shakespeare, even though this drama is not currently a regular part of their curriculum. They also eagerly participated in classroom discussions with students in Atlanta, where both groups confessed ignorance about each other’s cultural and educational circumstances. While the Moroccan technological infrastructure was limited, electronic challenges were offset by the collective energy contributed by actively engaged students on both sides of the Atlantic. These international dialogues also reflected what Jay Caulfield (2011) identifies as the power of learning that integrates a “blended classroom” with “online and experiential activities”:

A learner constructs knowledge primarily through dialogue. It is a process whereby the learner internalizes what is being learned by finding a personal application for the new concepts while determining the worthiness of those concepts. (21)

Technology did not enable a “perfect” dialogue, but it did offer students the opportunity to put this Shakespearean study into a context that made sense to them.

In addition, the technological landscape at Hassan II soon changed. Traveling back to Morocco in order to facilitate class meetings during Emory’s inaugural intensive, three-week “Maymester” term, the WSP encountered a completely different technological landscape. Inspired by classroom links with Emory, Université Hassan II had generated sufficient governmental support to institute immediate and extensive upgrades to their facilities. In contrast to the outdated computer used during connections in early March, the May class sessions enjoyed state-of-the-art equipment housed in newly renovated classrooms. As this clip indicates, the local technological support team enthusiastically welcomed these changes, which opened up a host of new electronic possibilities for their campus. As remarkable as this transformation at Hassan II was, the WSP finds that this kind of renewed investment in technology often accompanies institutional involvement in our cross-cultural educational partnerships.

 

 

The technological advances enjoyed in Casablanca and elsewhere resulted from the enthusiasm generated when WSP participants recognize the exciting possibilities of such connections, even though most WSP interactions take place only for a few short sessions. For several semesters, however, the WSP experimented with lengthier virtual classroom collaborations. In August, 2012, Quarmby began a tenure-track appointment as an assistant professor of English at Oxford College of Emory University. Oxford College is situated on the site of Emory’s original founding in 1836, about thirty-eight miles from the main campus in Atlanta. Serving first- and second-year students only, Oxford College enrolls about 900 students who move to the Atlanta campus to complete their degrees. For three terms after Quarmby relocated from London, UK to Oxford, Georgia, the WSP offered a “Shakespeare in Text and Performance” class simultaneously to students on both campuses. Using a Cisco High-Definition Videoconferencing system, the students were seated in semi-circles in their respective classrooms, forming a virtual Shakespearean “O” (Henry V, Chorus, prologue 13) to provide space for discussion and performance. Screensharing facilitated joint presentations between students in the two locations, while technical crews supported our regular, extended sessions.

For this shared class, we wanted to eschew premiere technology in order to replicate the experience and resources of our non-Emory partners. Unfortunately, technical issues proliferated, threatening to undermine student patience with the vagaries of electronic communication. As a result, we decided to use the sophisticated room system available to us, while concentrating on how best to integrate students from different locations into a unified classroom experience. Concurrently, we enlisted the expertise of Emory’s Educational Analyst Leah Chuchran, who works on developing appropriate assessment tools to monitor student satisfaction and their dismay with this unconventional configuration. Our periodic adjustments in technological practices and philosophies indicate some of the complicated issues emerging during these electronic pedagogical interactions. We still employ many common videoconferencing tools, but remain open to change, as needed. At the moment, WSP connections with domestic and international partners generally occur in distinct modules. Sometimes these sessions include interactions with multiple sites simultaneously, but they are limited to a few days in duration. These structured parameters provide opportunities for students to engage directly with each other during class and afterwards, but they reduce the scope for the frustration that can develop with longer collaborative units. In our experience, the challenge of keeping a three- or four-site connection live and stable for a few classes does not unduly distract students. When the regular Oxford College / Emory College shared meetings began, however, it quickly became clear that students were not prepared for regular electronic disruptions. Typically, students accommodated the occasional audio or visual glitches with apparent good humor; but more frequent or extended interruptions were not patiently tolerated. While the novelty of videoconferencing has not yet worn off completely, it is no longer sufficiently exotic to override student demands for consistently high-quality exchange when they are communicating with a fairly comparable population. Students typically remain relatively sanguine about electronic mishaps when they are linking up with their peers in culturally distinctive locations, but appear to expect a more seamless connection with those close to home. It seems as though distances that cannot be easily traversed without technology generate more patience than the forty miles separating the two Emory classrooms, particularly since those Georgia conversations include students from reasonably similar backgrounds.

As suggested above, the WSP includes a number of separate, but interrelated elements, including site visits, videoconferencing, visiting fellows, and shared guest speakers. Occasionally, students are even able to meet in person, as when two Emory students served as WSP interns for the 2012 International Theatre Festival hosted by our partner university in Casablanca (www.fituc.ma). Typically, classes share common features, whether the sessions bring together students from abroad, from American Tribal Colleges, or from the relative proximity of urban or rural Georgia. During sessions with performance exercises, for instance, we solicit a “casting director” from each location, who assigns dramatic roles to students on a campus other than their own. This maneuver offers students a way to participate even if they prefer not to recite aloud. At the same time, it gives everyone a chance to interact and makes the casting process less predictable than it might be if students were choosing from a group they are familiar with. A casting director from Morocco, for example, will not know which American students tend to shy away from discussion and which grab the spotlight whenever possible. In comparatively small gatherings, such as those incorporating Emory College, Oxford College, and Saginaw Chippewa Tribal College, it also allows students to build on their growing knowledge of each other.[4] After a few classes, students can refer to one another by name, rather than identifying each other predominantly by gender and clothing. Such shifts both mark and deepen the level of community feeling that the program strives for. Even before such enriched communication becomes possible, however, students exchange significant information about themselves and their cultural backgrounds that provide insights into their lives and environments, while simultaneously illuminating Shakespeare’s texts. An early class session between Atlanta and Casablanca, for example, focused on A Midsummer Night’s Dream. Students in Morocco, who initially were unnecessarily concerned about their level of fluency in English, were emboldened by realizing that Shakespearean vocabulary is difficult even for native speakers of the language. Watching American students struggle with deciphering the surprisingly unfamiliar word “auditor,” for example (Act 1, scene 1), reduced the Casablancan undergraduates’ hesitancy about admitting that there were words in the text they did not know. Soon, a shared willingness to experiment with the unknown brought the students together in a mutual endeavor.

These performance modules invite students to present sight-readings of a given text, an exercise that invariably produces verbal stumbling. After an initial presentation of the lines, the instructors and students start to unravel the chosen passage before the students are invited to offer it again, with their newly found knowledge and insight informing subsequent readings. As Colin Beard and John P. Wilson (2006) note, dramatic exercises such as these can prompt both strategic and fortuitous educational results: “The concept of planned and unplanned learning can be further explored in dramaturgy, which recognizes that learning design and learning outcomes can be both anticipated and unanticipated” (112).

In WSP classes, these modified rehearsal techniques not only increase student comfort with the text, thereby supporting formal curricular goals, but they also open up space for significant unscripted cultural exchanges. In A Midsummer Night’s Dream, for instance, many of the central characters are fairies. In discussions between the two countries, students are asked to recount their personal knowledge or experience with fairies. Typically, American students offer lighthearted accounts of these creatures. Happily ignoring the darker side of famous “Western” fairies such as Tinkerbell, Emory undergraduates describe fairies as being playful and effervescent. For American students, fairies spark happy childhood memories. In Morocco, however, fairies evoke malevolence and danger. Students there tell stories of modern day security guards abandoning their posts when fairies were reported in the vicinity. For these undergraduates, fairies connote danger. Some of the Moroccan students we’ve encountered express belief in fairies, while others deem them fantastical, but everyone we have spoken to in Morocco categorizes fairies as evil. Shakespeare’s fairies incorporate both playful and malicious tendencies (Act 2, scene 1). Puck, for example, contains a vicious streak that American students generally overlook until this aspect of the character is specifically highlighted, while Moroccan undergraduates often miss the benign traits associated with the Fairy Queen Titania’s followers. Having peers introduce these topics gives them added resonance, however, that cannot be matched by an instructor’s intervention into discussion. After sharing their cultural preconceptions of this otherworldly set of characters, both groups of students recognize complications in the text that were previously hidden.

 

Figure 4. Université Hassan II Ben-M'sik, Casablanca, Morocco

Figure 4. Université Hassan II Ben-M’sik, Casablanca, Morocco

In addition to incorporating concepts supporting current theories of cognition and learning, the WSP exemplifies what is popularly, though often confusingly, known as “hybrid” or “blended” learning, a model that combines face-to-face interactions with electronic classroom involvement (Caulfield 2011), via such tools as videoconferencing and email. This type of pedagogy offers students ways to partner with each other and with visitors before, after, or instead of, meeting personally. This particular aspect of hybrid learning is something the WSP frequently explores. As noted, this project has received considerable moral and financial support from Emory University, which has wholeheartedly embraced the goals of the project. As part of this close collaboration with the broader university, the WSP has been able to invite a series of significant visitors to its live and virtual class meetings in order to determine how such hybrid interactions might work in different settings. We were honored the past two years, for example, to welcome University Distinguished Professor Sir Salman Rushdie to participate in sessions about Shakespearean drama and for an evening of “on yer feet” scenes where he undertook the role of Iago from Othello, playing opposite a student’s Roderigo.

In addition to performing, Rushdie was able to introduce the unique perspective of one acclaimed writer discussing another. While involving internationally renowned writers in videoconferencing sessions is unusual, the WSP incorporates theatrical and technological professionals in the physical and virtual classrooms as often as possible in order to deepen the impact of each interaction both within and beyond Emory’s physical boundaries. We regularly include international actors and directors in our sessions with overseas and American Indian partners and invite a number of Shakespeare in Prison practitioners, such as Curt Tofteland (Shakespeare Behind Bars) and Tom Magill (Mickey B) to join our classes.

This pedagogical examination of the technology supporting the curriculum is most pronounced in the WSP “Maymester” course offering “International Shakespeare in a New Media World,” which balances a pedagogical focus equally among the “international,” the “Shakespeare,” and the “new media” elements of the course (Jacobs 2012).

 

The “new media” aspect of the syllabus includes readings, guest speakers, and assignments designed to encourage student engagement with both theoretical and practical aspects of electronic communication. During these discussions, introducing the trajectory leading from 19th century international telegraphy to Skype often transforms students’ understanding of how information is communicated and the similar ways that disparate technologies can foster international dialogue. Students typically have never given much sustained thought to the role of technology in their undergraduate educations. In this course, however, they are asked to deepen their familiarity with a diverse range of current and historical technologies and to give thoughtful consideration to philosophical and ethical issues that arise when these media are implemented. They are concurrently required to make individual connections with international students and others that enrich their Shakespeare work as they grapple with intersections between the drama and their cultural differences. With rare exceptions, these transnational conversations involve ICT (information communication technology), whether the students communicate through phone, email, or videoconferencing. The course also includes discussions and writing assignments exploring the ways that both media and internationalization transform Shakespearean drama.

The final student project assignment guides participants in drawing together these varied course components. Students are asked to use “new” media to create an internationalized Shakespearean product in conjunction with a standard academic essay whereby they present and analyze the electronic, international, and Shakespearean material that led to their creation. Some students fashion electronic books, score operatic compositions, or make movies. Others find innovative ways to bridge cultural and academic divides through multiple media. In one instance, a Mexican and a Korean student joined forces in order to make a complex image merging Macbeth with an Aztec calendar. They then decided to emulate Shepard Fairey by posting copies of their art at different points in Atlanta, using Emory as the epicenter of a four-quadrant grid. Once the posters were hung, they waited for people to view the art, then interviewed passersby about their reactions to the drawing. Finally, in addition to writing the assigned analytical essay, they filmed and edited a documentary video that recounted their process and included segments of their interviews, including a conversation about Macbeth with a local self-described witch.

Figure 5. Aztec Calendar Macbeth

Figure 5. Aztec Calendar Macbeth

Given that the entire semester lasted only three weeks (with intensive daily meetings), the students’ projects and the analysis they offered were remarkable. By the end of the short term, Emory students in this course had spoken with people in Africa, Asia, Europe, South America, and the Middle East, while engaging in serious consideration about the ways that Shakespeare, the world, and new modes of electronic communication intersect. As the image below suggests, such international interactions consistently generated enthusiastic responses. These students from Universidad del Salvador in Buenos Aires, Argentina, joined the WSP in live sessions in 2013, then performed and discussed Shakespeare for the next two years via videoconferencing with Emory students. Students in each location requested email addresses so that they could continue their conversations privately.

Figure 6. Universidad Del Salvador, Buenos Aires, Argentina

Figure 6. Universidad Del Salvador, Buenos Aires, Argentina

The WSP remains an evolving entity, but the significant progress made since its relatively recent inception suggests that this approach to cooperative, international electronic education holds great promise. Now that many WSP links are well established, we look forward to expanding the number of partners we can effectively communicate with simultaneously and to increasing the ways that students from the diverse participating institutions can work collaboratively. We recently submitted a grant proposal, for instance, to develop partnerships with universities in Ethiopia. We know, of course, that any shifts in or additions to our collaborations or our techniques will introduce new issues that will need to be addressed. Our commitment to international technological and pedagogical cooperation creates both opportunities and pitfalls. The modern electronic technology journey continues to provide a host of challenges and possibilities that the WSP hopes to confront productively. As Shakespeare might have said, the course of true learning never did run smooth, but the opportunities for global educational exchange continue to stimulate pedagogical advancements. The intersection of Shakespeare and videoconferencing portends a dynamic pedagogical future.

Bibliography

Altbach, Philip G. 2007. “Globalization and Forces for Change in Higher Education.” International Higher Education. The Boston College Center for International Education. Number 50. OCLC 62585048. http://www.bc.edu/content/dam/files/research_sites/cihe/pdf/IHEpdfs/ihe50.pdf

Beard, Colin and John P. Wilson 2006. Experiential Learning. London: Kogan Page. OCLC 71145611.

Caine, Renate Nummela and Geoffrey Caine. 1994. Making Connections: Teaching and the Human Brain. Menlo Park, CA: Addison-Wesley. OCLC 30475673.

Cartelli, Thomas. 1987. “Prospero in Africa: The Tempest as Colonialist Text and Pretext.” In Shakespeare Reproduced: The Text in History and Ideology, edited by Jean E. Howard and Marion F. O’Connor. New York: Methuen. 99-115. OCLC 15790380.

Caulfield, Jay. 2011. How to Design and Teach a Hybrid Course. Sterling, VA: Stylus. OCLC 750943378.

Emorysummerprograms. 2012. “International Shakespeare in a New Media World.” Sheila T. Cavanagh and Kevin Quarmby. Maymester, Emory University. http://www.youtube.com/watch?v=PDhqA73ISpg.

Gladieux, Lawrence E. 1999. “Global Online Learning: Hope or Hype.” International Higher Education: The Boston College Center for International Higher Education. Number 18. OCLC 62585048. http://www.bc.edu/content/dam/files/research_sites/cihe/pdf/IHEpdfs/ihe18.pdf.

Guo, Ling. 2012. “Research Funds Available for Faculty Research in All Disciplines.” Emory Report. May 30. http://news.emory.edu/stories/2012/05/er_university_research_committee_funding/campus.html

Halle Institute. 2012. “World Shakespeare Project.” http://halleinstitute.emory.edu/research/world_shakespeare_project/.

Jacobs, Hal. 2012. “Skyping Shakespeare.” Emory Quadrangle. Accessed 25 September, 2014. http://www.college.emory.edu/home/news/quadrangle/2012fall/pages12_15.html.

Peters, Michael A. with Tina Besley. 2006. Building Knowledge Cultures: Education and Development in the Age of Knowledge Capitalism (Critical Education Policy and Politics). New York: Rowman and Littlefield. OCLC 62322201.

Semali, Ladislaus and Joe L. Kincheloe, eds. 1999. What is Indigenous Knowledge? Voices from the Academy. New York: Falmer Press. OCLC 52467562.

Shakespeare, William. 1986. The Oxford Shakespeare: The Complete Works. Edited by Stanley Wells and Gary Taylor. Oxford, U.K.: Clarendon Press. OCLC 15548918.

Spring, Joel H. 2000. The Universal Right to Education: Justification, Definition, and Guidelines. Mahwah, N.J.: Laurence Erlbaum Associates. OCLC 45732162.

Wikipedia Contributors. 2014. “Shepard Fairey.” In Wikipedia, The Free Encyclopedia. 24 September, 20:09 UTC. Accessed 25 September. http://en.wikipedia.org/w/index.php?title=Shepard_Fairey&oldid=626939361.

World Shakespeare Project. Directed by Sheila T. Cavanagh. www.worldshakespeareproject.org.

[1] Quarmby is no longer participating in the WSP, but we appreciate his involvement in the early development of this project. We also thank all the educational technologists at Emory who support the WSP, including Jason Brewer, Brenda Rockswold, Barbara Brandt, Wayne Morse, Jr., Stewart Varner, and numerous others. Emory’s ongoing commitment to this project is gratefully acknowledged.

[2] Long after I received my PhD, Emory provided support for me to complete a Master’s Degree focused on cognition and learning through the University of New Hampshire’s Center for Teaching Excellence. I wish to acknowledge both Emory and UNH with gratitude.

[3] In an effort to support future innovation, all theses sessions are recorded. The students sign consent waivers, so that a pedagogical archive can be fashioned while simultaneously serving immediate teaching goals.

[4] Classes in India and Morocco tend to include dozens of students. Class sizes in Argentina vary considerably between institutions: some class sessions include a handful of Argentinean students; others fill an auditorium. At the two Emory campuses, the WSP Shakespeare courses are limited to 20 students per site. The drama class linking Saginaw Chippewa Tribal College with the WSP was a new course, specifically established in order to facilitate this partnership, with only a handful of students enrolled. Our Tribal College collaborators, Cankdeska Cikana Tribal College in North Dakota (http://www.littlehoop.edu) and Saginaw Chippewa Tribal College in Michigan, have total student populations that comprise no more than 200 students. Currently, we are working with Scott Jackson of Shakespeare Notre Dame in order to further our Tribal College initiative, which is being supported by the Royal Society of the Arts (http://www.blog.rsa-us.org/2013/05/the-world-shakespeare-project-received-challenge-grant/).

 

 

About the Author

Dr. Sheila T. Cavanagh, founding director of the World Shakespeare Project (www.worldshakespeareproject.org), is Professor of English and Distinguished Teaching Scholar at Emory. She also held the Masse-Martin/NEH Distinguished Teaching Professorship. Author of Wanton Eyes and Chaste Desires: Female Sexuality in the Faerie Queene and Cherished Torment: the Emotional Geography of Lady Mary Wroth’s Urania, she has also published widely in the fields of pedagogy and of Renaissance literature. She is also active in the electronic realm, having directed the Emory Women Writers Resource Project (womenwriters.library.emory.edu) since 1994 and serving for many years as editor of the online Spenser Review.

Transcultural Dialogue Mashup

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Richard Kabiito, Makerere University
Christine Liao, University of North Carolina Wilmington
Jennifer Motter, Co-president of the National Art Education Association Women’s Caucus
Karen Keifer-Boyd, Pennsylvania State University[1]

Abstract

The Transcultural Dialogue project presented and discussed in this article can be used, and adapted accordingly, as an effective approach to learn about self and others. By facilitating transcultural dialogue, teachers can guide students of all ages in diverse locations in powerful collaborative meaning-making through group artworks that deconstruct and reconstruct visual culture. The Transcultural Dialogue contemporary approach to global group work embraces and supports peer-to-peer learning and generative knowledge construction. We discuss challenges, possibilities, and opportunities of collaborating online between two higher education institutions: Makerere University in Kampala, Uganda, and Penn State at University Park, Pennsylvania, USA.

Visual Culture Mashup

Transcultural Dialogue is an action research project, begun in 2007 by Karen Keifer-Boyd, with colleagues at Makerere University in Kampala, Uganda, and University of Helsinki. The Transcultural Dialogue concerns contemporary visual culture in U.S., Ugandan, and Finnish contexts in a project designed to erode assumptions, ignorance, and misunderstandings about each other’s lives, beliefs, and values through reciprocal reflections, in the form of a conversation, as a mashup of perspectives.[2] Mashup is a term most often associated with a musical genre of new work composed of selected elements of other songs, seamlessly blending diverse lyrics, vocals, riffs, and instrumental soundtracks. Typically, the purpose is to critique music culture. The Transcultural Dialogue project is a techno-cultural mashup–that is, a hybrid mixed reality of virtual and physical, participatory pedagogy and online architecture for learning about self and others. We adapt the term “mashup” to describe the Transcultural Dialogue process of critiquing visual culture through participatory pedagogy.[3] Visual culture is an economical and powerful medium for creating artwork, as it involves using images that are easily accessible, surround us daily, and subconsciously impact our worldviews and beliefs. In collaborative visual culture artworks, meaning is made through the collective art-making process and interpretations of the finished work. Multiple voices have the potential to create rich artworks that lead to deep interpretations. Group effort can generate unanticipated new knowledge and unique learning experiences that vary based on participant grouping.

The Transcultural Dialogue project was created in order to find ways to breakdown cultural stereotypes and misunderstandings between people from different cultural backgrounds. We achieved our goals through the use of social media to facilitate learner conversation and collaborative art-making (see Figure 1). This is based on three theoretical arguments. First, visual culture is a powerful space to explore social justice issues and one of the means to teach through visual culture is through creative mashup art-making (Darts 2004; Freedman 2000; Garoian 2006; Knight, Keifer-Boyd, and Amburgy 2004). Second, collaborative constructivist learning (such as creative mashup art-making) creates a community of learners[4] who work together to transform their learning experience (Hung et al. 2005, Mintrop 2004, Whitcomb 2004). Third, after establishing a reflexive understanding of the learning process in a local setting, social media is an effective means to promote dialogues among people across different cultures and geographic locations (Ertmer et al. 2011; Higgins, Wolf, and Torres 2013; Leppisaari and Lee 2012; Rautenbach and Black-Hughes 2012; Sun and Puterbaugh 2013). From researching Transcultural Dialogue participants’ reflections and experiences, we argue that our approach of using social media to create a community of learners and facilitate learner collaboration of visual culture mashup art-making to disrupt misconceptions about different cultures is effective and meaningful for use in art courses from sixth grade to higher education to help students learn about self and others in relation to societal expectations and embodied place-based experiences.

Presented here is the third iteration of our Transcultural Dialogue project, in 2010, which involved students at Makerere University in Kampala, Uganda in dialogue with students at Penn State, University Park, Pennsylvania, USA. The authors share their experiences of teaching and learning using social media to collaborate in creating art from dialogue between two groups of art students who are culturally and geographically distant from each other.

Mashup Process

Ladson-Billings (1995, 2012) introduced culturally relevant pedagogy as a theoretical model to understand student achievement in developing critical perspectives that challenge inequities. The pedagogical approach, also referred to as culturally responsive teaching (Gay, 2000), incorporates and explores, through a dialogic and collaborative learning project, the culturally situated knowledges and standpoints of students and facilitators. The Transcultural Dialogue project, based in culturally relevant pedagogical theory, provides collaboration opportunity for project participants to make visible to self and others their cultural beliefs, practices, and values.

The project began with participants bookmarking websites that they perceived represented the visual culture of Uganda and the United States. We used a free Web 2.0 tool, Diigo, that could be used with low bandwidth, an issue for the Ugandan participants. The original plan was to use Dabbleboard,[5] an online whiteboard, to create artworks collaboratively between Ugandan participants and U.S. participants. However, Dabbleboard would not work on the weak Internet connection in Uganda. Diigo is a social bookmarking tool that has a plug-in for web browsers. Participants used the plug-in with their browsers to bookmark websites. A Diigo group was set up on the Diigo website as a virtual space for the interactions between participates. The U.S. and Ugandan participants were asked to bookmark websites they think related to the culture or visual culture presentation of the other country and add their comments on these sites. All the bookmarked sites and commentary fed into the project’s group in Diigo set-up by Keifer-Boyd, the facilitator who designed the online pedagogical architecture, and participated in all stages of the project and artmaking while in Uganda. Each of the participants in the project commented on why they selected the particular representations to bookmark. Participants next explored what was bookmarked regarding their own country by those not from their country. They read the rationales for the selected visual culture representations and commented in response regarding if and how the representation relates to their life. The commentary and selected representations were the source for collaborative artworks. Participants dialogued about the images in relation to their lives, and constructed art that visually conveyed a particularly meaningful exchange in their dialogue about how the image portrays or does not portray their lived experiences. At this collaborative artmaking stage, participants worked together via email to send their individual visual response to the dialogue and to discuss how to collaborate so that the individual artworks inspire a work created by all in the smaller groups of two or three participants from each country. After uploading the finished collaborated artwork into VoiceThread, [6]participants discussed the artworks and recorded their responses to these three questions: How is subjectivity constructed in the image? Whose subjectivity is constructed? What prior knowledge is assumed? The five collaborative artworks generated from the dialogue concerned specific references to familiar activities, daily-life objects and themes, as well as to larger issues such as power differences, absence of taboo topics, and cultural pride (see Figure 1).

keifer-boyd

Figure 1. Five collaborative artworks created by groups comprised of both Ugandan and U.S. participants during the 2010 Transcultural Dialogue project.

Throughout the world, people are connecting with free, open source applications such as online collaborative workspaces, social networking tools (Human Rights First 2012), and mobile devices (Johnson, Levine, and Smith 2009, 5). “Improved collaboration can enrich learning when people come together to discuss a topic, especially when the participants have different backgrounds and can amend one another’s knowledge,” claim Tétard, Patokorpi, and Packalén (2009, 5). Importantly, collaboration among educators fosters dialogue that can be reflective about teaching with suggestions from collaborators and can further curriculum and resource development. We asked the following questions in reflecting on a 2010 iteration of Transcultural Dialogue:

How will faculty and students in institutions of higher learning initiate and sustain online collaboration under the constraints of cultural and geographical distance? What are cultural differences between the Ugandan and U.S. institutional and personal contexts and how would these potentially affect online collaboration? How will students relate to each other online in terms of their own cultural orientation and what effects would this have on collaborative learning? Which types of social software are familiar to students and how would they enable the creation of communities of learners?

Although other studies of transcultural collaborations have diverse goals and backgrounds as well as rules of engagement, almost all show that participants learned to appreciate their cultural differences and others’ perspectives (Ertmer et al. 2011, Camardese and Peled 2014, Leppisaari and Lee 2012, Lindberg and Sahlin 2011) and learned more about their own cultural identity (Leppisaari and Lee 2012, Lindberg and Sahlin 2011). Even though “social matters prove to be the main obstacles for successful virtual collaborative learning” (Tétard, Patokorpi, and Packalén 2009, 5) and language and time zone differences can create difficulties (Camardese and Peled 2014; Sun and Puterbaugh 2013; Higgins, Wolf, and Torres 2013; Leppisaari and Lee 2012; Ertmer et al. 2011), the value of transcultural projects outweighs the challenges in the context of classroom learning for students who do not have many experiences with in-depth dialogue about their cultural beliefs and practices and with creating art with people from other cultures.

Several studies have shown that transcultural collaboration motivates the participants because of the opportunity to collaborate with people with different backgrounds (Camardese and Peled 2014; Sun and Puterbaugh 2013; Higgins, Wolf, and Torres 2013; Leppisaari and Lee 2012; Ertmer et al. 2011; Rautenbach and Black-Hughes 2012; Lindberg and Sahlin 2011). Abramo, D’Angelo, and Solazzi (2011) demonstrated that transcultural collaborations provide diversity that leads to greater learning, understanding, and innovation for researchers. Based on their research into collaboration that utilized social media between two academic libraries, one in the U.S. and the other in China, Sue and Puterbaugh (2013) conclude that “the dissimilarities in language, culture, and general outlook provide a richer work relationship” and more meaningful outcome (64). Higgins, Wolf, and Torres (2013) studied collaboration between comparable undergraduate marketing classes in the U.S. and Ireland, in which both U.S. classes used the social media platform ValuePluse[7] but one class did not have the international component. Their research shows a significant difference in students’ learning from their peers in the international group and indicates that the transcultural component adds engagement and interest for students’ learning. The examples above and the Transcultural Dialogue project’s participants’ reflection below all indicate that transcultural collaboration provides meaningful learning experiences and creates an important space for sharing and exchanging perspectives through written text, spoken audio recordings, and images. Moreover, participants, as conveyed in Kabiito’s reflections below, were able to learn how others from a different country view their country.

It has been an exciting but challenging engagement with the Transcultural Dialogue project. It provided an opportunity to produce works of art in different ways. I mostly create art with physical objects. In this class, I was able to work with a digital medium, which is not only an end in itself, but also a material for artistic engagement. Secondly, it was revealing to learn about how people from outside Uganda view us, and how Ugandans view the United States. (R. Kabiito, personal communication, November 26, 2011)

The Transcultural Dialogue project presented here stems from learners’ participation in culturally relevant pedagogy where one’s cultural orientation comes into play (Lu 2008). The Transcultural Dialogue project is designed as a culturally relevant pedagogy with a community of learners. This practice is aligned with what these studies have identified as the significance of transcultural collaboration.

Challenges Across and Within Communities of Practice:
Time Constructs, Cultural Difference, and Geographical Distance

Social media can further communities of practice with constructivist learning principles. Constructivist learning begins with learners collaborating with others from their own interests and concerns (Tétard, Patokorpi, and Packalén 2009). Transcultural dialogue makes visible social relations, behavior, beliefs, preferences, and orientation toward others.

Ligorio and Van Veen (2006) note: “The community of learners approach focuses on the social dimension of learning and considers collaboration to be the engine of learning” (105). To create a community of learning requires three component parts: cognitive presence, teaching presence, and social presence (Anderson 2008). Cognitive presence refers to learners’ reflective and sustained dialogue to challenge their assumptions and construct new understandings, a transformative learning. Students perceive teaching presence when facilitators are engaged in making and sustaining the dialogic space of learning. With social presence in particular, students establish supportive environments in which they “feel the necessary degree of comfort and safety to express their ideas in a collaborative context, and to present themselves as real and functional human beings” (Anderson 2008, 344). Presence in contexts with the potential for dialectic and dialogic learning can be democratic spaces “whose relationships mediate learning as much as the processes and tools that are in play” (Ravenscroft et al. 2008, 6). In dialogic educational spaces, new forms of intersubjective orientations are created in which transformative learning can happen. It is from these premises of democratic spaces for culturally relevant practice with a community of learners that the Transcultural Dialogue project was launched in spring 2010.

In the Transcultural Dialogue model, the intersection between visual culture, stereotyping, and transcultural communication may present problematic issues. For example, transcultural communication has the potential to unveil participants’ hurtful false beliefs and stereotyping of others that stem from mass media consumption. Unfortunately, mass media provides a limited portrayal of others’ reality, and it has the power to (mis)inform and mold our beliefs and opinion of others based on narrow perspectives. If this is the case, a participant’s comments may offend other participants. Also, there is the possibility for misrepresentation, miscommunication, and misinterpretation to occur when participants from different cultures interact with one another using the Transcultural Dialogue model. However, in our experience some participants expressed fear that they might unwittingly offend and none mentioned they were offended, only misinterpreted. Differences in interpretation were discussed in the exchanges. Long waits for responses was the main frustration expressed by U.S. students.

Time Constructs

Similar to other studies on transcultural collaboration, challenges of scheduling and technology were part of our Transcultural Dialogue project experience. Language was not as great an issue in the 2010 Transcultural Dialogue as it was found to be in other studies involving collaboration between different language speakers (Sun and Puterbaugh 2013; Higgins, Wolf, and Torres 2013; Leppisaari and Lee 2012; Ertmer et al. 2011). Scheduling with time zone differences is a challenge (Camardese and Peled 2014, Sun and Puterbaugh 2013, Leppisaari and Lee 2012). The U.S. students in the Transcultural Dialogue project had regular class meetings twice a week. They often had to wait for the Ugandan participants to respond to their posts because of the different scheduling. This sometimes created disappointment if U.S. participants did not receive responses within their time expectations. Ugandan students participated outside of a structured course, and while this choice to participate motivated involvement, obstacles such as frequent electrical outages and slow bandwidth kept them from responding as frequently as the U.S. students expected. Ugandan participants seemed to be patient with electricity and technology. Some Ugandan participants found particular times of the day provided faster Internet connectivity. Several commented that the Internet is faster when the United States sleeps. Similarly, the concept of time as a constraint or being integral in the constitution of culture may not be understood in the same way. In Uganda, time may appear as a given, whereas in the United States, time is often interpreted as a constraint. For most Ugandan participants, time as a given meant there is a schedule but adherence depends on other life circumstances and situations. For most U.S. participants, they expected to work within the time constraints allotted for the project in a course that had a specific ending date.

In addition, technical difficulty was a huge challenge. Munguatosha, Muyinda, and Lubega (2011) state that for developing countries to adopt learning with social media, it requires “self efficacy, reliable technical and administrative support, infrastructure, system interactivity, adequate budgeting and accountability, and a flexible organisational culture” (307). This highlights the challenges in many transcultural collaborations with social media. Sue and Puterbaugh’s (2013) study of collaboration with China and Rautenback and Black-Hughes’ study of collaboration between U.K., U.S., and South Africa also found that technology difference is an obstacle. For our Transcultural Dialogue project, the bandwidth problem altered the original plan of using certain technology, such as Dabbleboard. The art-making collaboration therefore moved to e-mail communication, which is more difficult to track.

Social software that is available and accessible in Uganda and the U.S. should provide a platform for collaboration with minimal physical contact, yet it is mired with challenges. The challenges include differences in how students relate online in terms of conversation, understanding of self in relation to others, understanding of others’ concept of time and how time is spent by other cultures, human activity, sources of truth, commitment to school, friends, or family, and cultural understandings of giving and receiving respect. For example, one participant reflects on her notions of time in relation to the 2010 Transcultural Dialogue project:

Time and technology presented challenges and restricted the project. Instant feedback could not be expected due to the time difference and Uganda’s slow Internet speed. At times, this made it difficult to engage in dialogue with others. As a participant in a group art project in which communication was vital, I waited hours/days for Ugandan participants’ responses and contributions. This was challenging for me living in a culture of instant gratification. However, delayed response time served as a reminder of the distance and difference between our locations and cultures. Reflecting on time and technology constraints, I find our Web 2.0 artmaking/meaning-making accomplishment admirable. We were able to connect, learn, and create with others in an enlightening way. (J. Motter, personal communication, November 26, 2011)

Difference in time and timing in several other ways is one of the greatest challenges to both online and face-to-face (F2F) collaboration. F2F brings everyone into the same time space and promotes richer learning experiences than online if the time immersed in another culture can be for ten weeks or more. Short visits are mired with problems of tourist views. Ten or more weeks can still be within a semester, making a F2F visit possible for a group of university students. However, ten weeks in an online collaboration may be too short if the time during the ten weeks is divided among many other responsibilities, including work, study, and family. From our experiences, projects spanning less than ten weeks do not work well because shorter durations fail to allow for flexibility with holidays, electrical outages, and other unforeseen events like university faculty strikes or other environmental, cultural, or political crises. Ten weeks is the minimum we have found and fifteen weeks might be the optimal length of time for an online Transcultural Dialogue project so that the focus on creating collaborative art is not lost.

Cultural Difference

Culture is commonly understood as attitudes, beliefs, and daily practices that distinguish one group of people from another. Cultural practices are both sustained and changed through language, material objects including art, and educational, social, religious, and political institutions. However, one’s own culture is often invisible when there is not dialogue about attitudes, beliefs, practices, and material objects with cultural groups different from one’s own culture. Through dialogue and art-making with those from cultures different from one’s own, misunderstandings surface, making visible the nuances and complexity of cultural comparison across space and time. The Transcultural Dialogue project examines issues of cultural difference within and between groups, as well as cultural differences understood through the lens of place and identity—that are socially, historically, politically, and psychologically constructed and practiced.

The 2010 online Transcultural Dialogue project revealed cultural differences in conceptualization, dialogue, and application of knowledge and resources available to the collaborating students from both regions. Students in Uganda viewed culture as something that had already been constructed. For the U.S. students, culture existed in the present and was therefore always in a state of becoming; for the Ugandan students, on the other hand, Ugandan culture is perceived in the distant past, prior to colonial legacies that control the present. This represents a contrast in the understanding of culture between the two groups of students.

U.S. participants learned about themselves through others’ misconceptions. Knowing how others understand their culture gave them a chance to reflect on the influence of media and visual culture. However, Ugandan participants did not seem to benefit from this because U.S. participants generally lack knowledge about Uganda’s culture. The following are reflections from participants on the process of the 2010 Transcultural Dialogue from a cultural-difference lens.

Admittedly, I was unsure of what to expect when beginning my participation in the project. However, I was excited about the opportunity to utilize Web 2.0 to converse and collaboratively create with others whom I likely would not meet otherwise. When thinking about my exposure to the contemporary visual culture of Uganda, I recalled a colorful yet simplistic batik that my cousin purchased in Uganda and now decorates her home. I envisioned the contemporary visual culture of Uganda as handmade artifacts.

When asked to bookmark digital visual culture that conveyed how I perceived Uganda and to comment on the websites I selected, I bookmarked Uganda Travel Guide,[8] a site for tourists, which includes information about the traditional crafts of Uganda including pottery, basketry, and wood-carving. I also bookmarked Ugandart,[9] a Uganda Online Art Consortium that includes a video of a 2009 sponsored workshop that facilitated children’s exploration of art in Namungona. The children partook in drawing and jewelry-making, as well as collaboratively created a large oil on canvas mural by contributing painted symbols of familiar objects and living beings including houses, vehicles, and wildlife. This video, while only a glimpse of Uganda, influenced my understanding of the culture represented. Uganda Wildlife Education Centre (UWEC)[10] is another website that I bookmarked. It exists as a conservation education model to educate the public, including youth, on preservation of wildlife. All animals at UWEC have been rescued from poachers, illegal traders, or accidents (Uganda Wildlife Education Centre 2010). My bookmarked websites represented my perceptions of Uganda, as well as my personal interests.

When contributing to collaborative artwork, these bookmarked websites influenced the imagery that I selected for inclusion in our digital piece. The imagery that I contributed included a child beading a necklace, a heart-shaped beaded necklace, and a child’s painting that depicted a woman, bloomed flower, fish, water, and connected people in the background. My group’s artwork is titled Hope (the lower middle artwork in Figure 1) and is visual culture that represents my understanding of Uganda via visual culture exposure and transcultural dialogue. Makerere University students’ clarifications of Penn State students’ contemporary visual culture selections, descriptions, and questions helped me to better understand Ugandan visual culture by providing missing context that can influence meaning. (J. Motter, personal communication, November 26, 2011)

I also participated in creating a collaborative artwork (see Figure 2) and helped facilitate U.S. students’ art-making. My visual response to my small group of Ugandan and U.S. participants was to create an image that reflected the experience of dialogue with people from different cultures so I began by composing an image of participants’ portraits from screenshots that I took of the participants as posted in our Diigo forum. Besides learning from our conversations, I loved the idea of communicating with others through an online platform. Therefore, the artwork showed the process of this project. Later, other participants in my group added question mark symbols to reflect the questions that arose in the communication process. Making changes and adding to the artwork was a way to collaboratively reflect on our common experience. The action of other participants in my group showed that we all considered the questions exchanged between participants an important part of this experience. (C. Liao, personal communication, November 26, 2011)

keifer-boyd-2

Figure 2. Artwork created by participant Christine Liao.

The dialogue, for me, began when I made a remark, out of a cultural misconception, that people in the U.S. do not know much about the outside world. This was a remark based on Sarah Palin’s misinformed statement that “you can actually see Russia from land here in Alaska” (Walls and Stein 2008, para. 9).[11] When asked about what people from Uganda knew about the U.S., I based my analysis on film images and the mass media, which regularly project contradicting images. On the one hand, the U.S. is portrayed as a land of plenty, where everything is in abundance, yet on the other, we see images that project violence and extreme crime. Indeed, my last night in the U.S. in 2009 was spent in New York’s neighborhood of Harlem, a place I have “known” for crime. I was so uncomfortable that I did not move out into the streets or even peep through the window. I did not, however, find any difficulty walking to the train station the following morning. More so, the warm reception that I received in the U.S., specifically at Penn State, was not what I had anticipated. I had anticipated a numb and detached people, self-conceited due to the vices of capitalism. This and other misconceptions were expressed in the dialogue as we gave rationales for our visual culture selections of the other country and those living in the country responded if and how the visual culture conveyed their experiences. The dialogue, which became the content for our collaborative artworks from our collective reflection on the dialogue, often revealed and challenged stereotypes perpetuated in popular culture or news media representations. (R. Kabiito, personal communication, November 26, 2011)

One challenge for this project was to start with asking questions. One of my students said that she did not know where to begin because she did not know anything about Uganda. This is an interesting imbalance in this project. One group of participants believes they know “more” about the other group of participants. Some people from Uganda learned about U.S. culture through the pop culture export and globalization. However, most U.S. university students did not know much about Uganda. Their almost nonexistent knowledge about Uganda could lead them to have misconceptions about Uganda’s culture(s). The beginning of Transcultural Dialogue, thus, from my observation, started with U.S. students searching for information on the Internet to learn, for the first time, about Uganda. Their understandings of Uganda came from the Internet. Then the dialogue began. They posted what they found about Uganda on the Diigo discussion forum. Some of the Ugandan participants responded, but not everyone’s post received a response. Some participants from Uganda talked about their perception of the United States. For example, one Ugandan participant mentioned that the U.S was uninhabitable because U.S. is often portrayed as violent in the movies. The U.S. students replied, thus sparking discussions about how the media creates stereotypes. Learning happened with such discussion. However, to increase learning, participants needed to do more research about each other’s country before or at the beginning of this project. The U.S. participants appreciated direct answers to their questions, but this did not challenge their previous knowledge, and would be similar to an initial exchange with a foreigner, such as learning about a holiday in a different country. Hence, the learning of Ugandan participants could be different from what U.S. participants learned. (C. Liao, personal communication, November 26, 2011)

Geographical Distance

Unlike in the transcultural dialogues research previously conducted (e.g., Tupuola 2006, Gilberti 2006), this study takes a new twist. In the studies cited above, the interlocutors are mainly fact-to-face with the members of the dialogue team. In some instances, we have virtual environments in play, but such environments are not the focus of the study. In Tupuola’s transcultural study, for example, she creates an engagement process that in a sense was imaginary, whereby dialogue between youth from different geographical locations was mediated by a transnational researcher who relayed the words of one group to another across borders. This is a far different model from the one adopted in this study where dialogue is in real time, only mediated by technological interfaces. This provides a more inclusive basis for participation in the dialogue. The participants’ location introduces a new dimension to the dialogue where educational technologies are used as a set of tools to facilitate the dialogue.

There is an intrinsic connectivity between the platforms under use to facilitate dialogue and the nature of the dialogue itself. The concept upon which the dialogue is built comes with demands of democratic spaces for interaction between dialoguing members. This demand is facilitated by the free access of social media such as Diigo, a tool used in this particular study. Within this space, members are able to exchange views, ideas, and even engage in art-making, even though many of them have never been in real-time encounters outside the virtual environment. The transactional borders are immediately erased to allow real-time dialogue within a common space accessible to everyone regardless of location.

In this way, since members in the dialogue are free to enter, exit, and re-enter the space, more democratic means of dialogue are established and the result is a rich collection of trans-cultural texts—texts not bound by borders, ethnicity, age, or gender insofar as the dialogue is shaped into a whole, meaningful text. At the end, all these texts are built into a tangible outcome that constitutes a common structure of texts that bring together new ideas, understandings, and knowledge within a diverse group of people. This is a unique aspect not part of the design of other transcultural dialogue projects. The following is a reflection from one participant in the 2010 Transcultural Dialogue project regarding use of social media with those who are geographically distant and how social media interaction between two groups of people reveals the impact of visual culture.

The greatest benefit of using social media in this project is that it provides images and texts of visual culture that are easily accessible on the Internet and going online is most people’s daily experience, at least among the U.S. participants. My first thought about the project came from my own transcultural experience—from Taiwan to the United States. I thought it would be like learning cultural traditions from friends who were born in and grew up within the United States when I first came to the U.S. I knew little about Uganda before participating in the project. I had not even heard much about Uganda from news and other media. The images and stereotypes I had about Uganda were generically similar to my stereotypical understanding about African countries—poor, underdeveloped, and war-torn. I thought it would be a good chance to hear from Ugandans about their own country and culture. However, it was not until starting the project that I realized that Transcultural Dialogue is much more than learning traditions of a different culture from friends of a different country. Through social media, we can see how visual culture and images are prevalent on the Internet and how easily we can obtain mis/conceptions through these visual culture presentations of a country. Knowing how Ugandans learned about the U.S. from these presentations was like putting a mirror in front of the U.S. participants and provided them a different angle to see the impact of visual culture. It is a way to create reflexivity for one’s belief and understanding of culture. Reflexive means turning things back toward itself. Through hearing others’ (people from another country) mis/conceptions of what one (the person from the country that is discussed) believes to know better, the exchange shapes one’s knowledge and critical thinking about truth and myth (C. Liao, personal communication, November 26, 2011).

Development of Transcultural Dialogue

We present reflections on our experiences forming and participating in the 2010 Transcultural Dialogue project using a dialogic first-person writing form to weave a narrative of distinct experiences and positionalities of the four authors of this article. The potential of transcultural dialogue emerges from our collective reflections.

Richard: In 2006, while pursuing my doctoral studies at the University of Art and Design Helsinki–TaiK (now Aalto University), I became interested in joining a class titled “Virtual Learning Communities in Art Education: Current Issues and Practices,” taught by Dr. Keifer-Boyd, a Fulbright professor. One of the things I had promised myself before I left Uganda was to create as many linkages and initiate as many collaboration opportunities with foreign universities as possible in order to introduce indigenous Ugandan arts and culture to the world. I presented my ideas for collaboration between Makerere University and Penn State to Dr. Keifer-Boyd. The Margaret Trowell School of Art and Design (MTSIFA) at Makerere University was in the process of transforming its programs to integrate local indigenous cultures into its arts curricula. The Transcultural Dialogue project could support our efforts in revisioning the MTSIFA programs with a focus on Ugandan culture, rather than the current MTSIFA art curriculum based on a modernist European art education curriculum established by the British founder of the school, Margaret Trowell.

In March 2009, I visited Penn State, attended some of the classes, and made presentations about Ugandan culture in general. The visit was not only an academic presentation, but also an initial exchange between faculty—those from the U.S. and Uganda. This visit included meetings with university administrators to propose a student/teacher exchange between both institutions. Several students were curious to know about Uganda and how people there lived. A student in one of the classes asked whether they could freely walk into an Internet café and surf the net. I replied that Uganda has Internet cafés. It was an eye-opening experience indeed.

While visiting the U.S. at Penn State, it became apparent that we were already moving forward with one of the ways of continuing our collaboration—an online and onsite exhibition of work by MTSIFA and Penn State students. Since we did not have a source of funding that would allow students and teachers to travel abroad, social media would be an inexpensive yet effective option for collaboration. Moreover, our online collaboration would build support networks for teachers and students to travel and study in both university visual arts programs in Uganda and the United States. To begin an exchange, I requested that Dr. Keifer-Boyd visit Uganda. During her trip, she would visit our physical facilities, learn about our infrastructure, study our curriculum, attend some of our classes, and generally make recommendations to collaborating partners on how to proceed with an exchange. She would also facilitate a Transcultural Dialogue project as one of the ways of crossing cultures and transcending the barriers that have, over time, created misconceptions about our own cultures and others.

Karen: In preparing a grant proposal, I asked Dr. Venny Nakazibwe and Dr. Richard Kabiito, professors at Makerere University who had visited Penn State in 2007 and 2009 respectively, for feedback on the proposal and a letter of support to include with the funding application. Nakazibwe, the Deputy Dean of the Margaret Trowell School of Industrial and Fine Arts, wrote a letter of support that emphasized the development of “mutual understanding, cultural, and academic exchange.” After introducing the Transcultural Dialogue project to students at Penn State, I traveled to Kampala, Uganda, to introduce the project there with these goals.

Christine: I first learned about Transcultural Dialogue from Dr. Keifer-Boyd. In preparing for her visit to Uganda, Dr. Keifer-Boyd asked if I would be willing to participate and lead students at Penn State in the “Visual Culture and Educational Technologies” course during the semester she visited Uganda.

Karen: I planned for Ugandan and United States participants to get involved in different stages in the Transcultural Dialogue project in spring 2010. I met with the students at Penn State who would be participating as part of their course taught by Christine in order to explain the project and to inspire their involvement. I also drafted a plan and discussed it with Venny and Richard via e-mail and Skype so that we could launch the Transcultural Dialogue project during my five-week visit to Makerere University.

In the first week of my visit to Uganda in March 2010, I met with MTSIFA faculty and studied through observation, artifact exploration, interviews, and reflective journal writing about MTSIFA’s curricula, types of pedagogy, and student and faculty teaching and learning culture. During the second week, through critical reflection from week one at MTSIFA and from my presentation to faculty members about possibilities with Web 2.0 free applications—such as VoiceThread, Diigo, Second Life, Google Docs, and wikis—we developed a plan of action for transcultural critical dialogue with art students and art teachers in Uganda and the United States. In the third and fourth weeks, I participated with faculty and students at MTSIFA and Penn State in the Transcultural Dialogue project. Also, I visited high schools in Kampala to meet art teachers, see their art teaching facilities, and ask if they were interested in a future Transcultural Dialogue project with a high school class in the U.S. The English language is used in the Ugandan schools and there was interest. Almost all students had e-mail addresses. Some of the high school students used e-mail regularly, often after school at Internet cafés.

Jennifer: My interest in Web 2.0 technologies’ potential for collaborative, generative, and transformative learning and knowledge stems from my enrollment in New Media Pedagogy, a graduate course taught by Dr. Keifer-Boyd, in spring 2009. During this course, I facilitated Challenging Gender Stereotypes, a week-long online learning activity in which I asked art education graduate students to use Diigo to post critical comments that unveiled their assumptions about the identities of creators of postcards displayed on PostSecret (http://www.postsecret.com) based on the revealed secrets, imagery, color palette, handwriting, and other potential visible indicators of gender stereotypes.[12] This online learning activity led to my further exploration of the potentials for meaningful informal art education via Web 2.0.

In spring 2010, I accepted Dr. Keifer-Boyd’s invitation to participate in the Transcultural Dialogue project, as I found it to be an excellent opportunity for powerful transcultural collaborative art-making and exploration using Web 2.0 tools. My cousin Natalie Sara Weaver’s stories about her recent trips to Kampala, Gulu, and Pader in Uganda also inspired my participation in this collaborative project. My cousin’s goal was to teach songwriting as a tool for empowerment by enabling youth to tell their stories of oppression, resilience, and hope in creative and transformative ways, which resulted in repeated trips to Uganda. Natalie piloted a songwriting program for young women living in Uganda who were previously enslaved as child wives, child soldiers, and/or who had been orphaned by HIV/AIDS, poverty, and war (The SONG Project Live 2011). What little knowledge I had of Uganda, prior to participating in Transcultural Dialogue, derives from stories of my cousin’s experiences working with youth and music in Uganda and my own exposure to minimal Ugandan media coverage.

Future Transcultural Dialogues

Gilberti (2006) cautions against reducing reality to a limited space in dialogue, suggesting instead that we should work toward entering a third space “where differences are understood to be complementary to each other” (33). In this space (also referred to as “relational space”), there is commitment to learning and understanding each other. This outlines the future of transcultural dialogue. Transcultural dialogue emphasizes relations with others, which effectively changes people’s approach to others, in real situations (Mangano 2009). Transcultural dialogue is crucial, as an approach, in eroding assumptions and misconceptions about different cultures and transcending the borders of a single culture to develop a transcultural model of analysis and debate (Dagnino 2012). In an increasingly interconnected world, “cultures are increasingly intertwined and people often constitute their cultural identities by drawing on more than one culture” (Dagnino 2012, 6). Indeed, in addition to creating an open atmosphere where we become more tolerant and get to know new friends, it also creates a space for fundamental explorations of ideas from different perspectives.

Although there are still many challenges as outlined in the earlier section, the potentials of transcultural dialogue exceed these challenges. The greatest potential is that it opens up new spaces for collaborations and understandings. This is supported by the belief that new understandings within new cultural contexts open up new ways of interacting, building networks, and creating platforms upon which future interactions are built. Lindberg and Sahlin’s (2011) study on transcultural collaboration found authenticity in students’ learning about a different culture because they were in conversation with those they were studying. Our Transcultural Dialogue project also provided an authentic experience of conversation between the U.S. and Ugandan students. Such an experience motivated some students to want to collaborate further and to travel. Similarly, Ertmer et al. (2011), who used Web 2.0 technologies to facilitate pre-service teacher’s global perspectives, found that because of the transcultural collaboration experience, the pre-service teachers were more likely to incorporate similar activities into their future teaching. Most of the U.S. participants of the Transcultural Dialogue project were pre-service teachers planning to teach art in k-12. Transcultural dialogue in pre-service curriculum could motivate students to include transcultural collaboration in their teaching and participate in cross-cultural activities (Ertmer et al. 2011). Indeed, one of the 2010 U.S. participants, inspired by the 2010 Transcultural Dialogue project, expressed interest in creating a transcultural collaboration with people in Belize, where she has connections.

The online collaboration between two groups of people at different locations creates a mashup space where online virtual spaces host real learning experiences. The selected websites, discussion texts, artworks, and voice reflections are the elements that constituted our transcultural mashup experiences. With changing technologies, we expect that ways of communicating between distances will improve. We envision that some of the misunderstandings between cultures will change, but also caution that new misconceptions may arise. Transcultural Dialogue is a space where students from different cultures can develop new knowledge about each other, and visual culture, texts, images, and voices can be mashed up to create new meanings.

The Transcultural Dialogue project utilized Web 2.0 technologies to create a mixed reality experience in which participants brought their physical lived experiences into virtual space and created unique insight and knowledge that was not easy to obtain through classroom lectures alone. Accessible Web 2.0 technologies afforded participants the opportunity to deconstruct, construct, and reconstruct cultural narratives through the sharing of the personal in a global public space via transcultural, collaboratively generated user-content that disrupted stereotypes and preconceived notions. This approach can be developed further in the future when technology and energy infrastructure improve worldwide.

Translation, transfer, critique, and questioning of relevance to the context were important to setting up the online architecture and facilitating the dialogue in this project. The Transcultural Dialogue strategies are intended to further understanding and to celebrate and sustain difference. In our work to pedagogically enact this goal, we have identified challenges, tried solutions, and continue to develop an arts-based research and teaching methodology.

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[1] There is no lead author. Instead, we used a collaborative exchange of writing to develop the article. We list our names in alphabetical order with one exception to this order for Keifer-Boyd, whose leadership style is one of initiating, motivating, and joining forces. Correspondence regarding this submission should be sent to Karen Keifer-Boyd at kk-b@psu.edu

[2] Martina Paatela-Nieminen, Richard Kabiito, and Karen Keifer-Boyd developed the first iteration of the Transcultural Dialogue project in 2007 titled Intertextual House. The goal was to foster an intertextual approach to inquiry and engagement with others concerning the subjective process of producing meaning from relationships between images, discourses, and cultures of house as experience, symbolism, and metaphor (e.g., governing houses as in House of Parliament, body as house as in Louise Bourgeois’s art (1947-1993, see http://maddicara.com/2013/12/10/documents-of-memory-the-house-and-the-body-in-the-work-of-louise-bourgeois/), and house as site of identity and societal expectations as explored in WomanHouse (1970-71) and At Home in Kentucky (2001-2002) art installations. An intertextual interpretation emphasizes social and cultural contexts of images as the necessary framework for understanding meanings and functions of signification systems. Other Transcultural Dialogue iterations included Keifer-Boyd’s courses with Kabiito’s or Paatela-Nieminen’s courses, or both together. Kabiito and Keifer-Boyd continued to incorporate the Transcultural Dialogue project in our courses in fall 2010, 2011, and 2012 semesters (Keifer-Boyd 2012). The fifth iteration is being planned for 2015.

[3] Participatory pedagogy refers here to the participation of many people in a dialogue about visual culture in which their dialogue is the artistic medium and material from which collaborative artworks are created.

[4] Communities of learners, also referred to as communities of practice, are formed from shared interests in which the community utilizes collective resources of experience, skills, and shared access to materials and facilities (Wenger-Trayner 2006).

[5] Dabbleboard was an online whiteboard for collaboration. Users can type, draw, or import images to create a board together. It was shut down in August 2012.

[6] VoiceThread enables users to post images, documents, or videos, and others can make comments using voice recording, video recording, or text.

[7] ValuePluse (ValuePulse.com) is a social media platform that allows users to download and share news with others via RSS news feed. It enables real time discussion on news.

[8] Uganda Travel Guide. 2010. “Welcome to Uganda Travel Guide.” http://www.ugandatravelguide.com/.

[9] Ugandart. 2008. “Uganda Online Art Consortium: A Project of KISA Foundation USA.” http://ugandart.com.

[10] Uganda Wildlife Education Centre. 2010. http://www.uweczoo.org.

[11] Sarah Palin was the governor of Alaska from 2006 to 2009 and the Republican candidate for vice president of the U.S. in 2008.

[12] For further information about the Challenging Gender Stereotypes activity, see “PostSecret: Disrupting Gender Stereotypes” (Motter 2010).

 

 

About the Authors

Karen Keifer-Boyd, Ph.D., is professor of art education and women’s studies at the Pennsylvania State University. She is past president of the National Art Education Association (NAEA) Women’s Caucus (2012-2014), NAEA Distinguished Fellow Class of 2013, and 2012 Fulbright Distinguished Chair in Gender Studies at Alpen-Adria-Universität Klagenfurt, Austria. She serves on the NAEA Higher Education Research Steering Committee; on the Council for Policy Studies; and as past coordinator of the Caucus on Social Theory. She is co-founder and co-editor of Visual Culture & Gender, and has served on 15 editorial and review boards. She has been honored with leadership and teaching awards, including two Fulbright Awards (2006 in Finland and 2012 in Austria) and the 2013 Edwin Ziegfeld Award. Her writings on feminist pedagogy, visual culture, inclusion, cyberart activism, transcultural dialogues, action research, social justice arts-based research, and identity are in more than 50 peer-reviewed research publications, and translated into several languages. She co-authored Including Difference: A Communitarian Approach to Art Education in the Least Restrictive Environment (NAEA, 2013); InCITE, InSIGHT, InSITE (NAEA, 2008); Engaging Visual Culture (Davis, 2007); co-edited Real-World Readings in Art Education: Things Your Professors Never Told You (Falmer, 2000); and served as editor of the Journal of Social Theory in Art Education and guest editor for Visual Arts Research. She is coordinator of the Judy Chicago Art Education Collection.

Christine Liao, Ph.D., is an assistant professor in the Watson College of Education at the University of North Carolina Wilmington. She received her Ph.D. in Art Education with a minor in Science, Technology, and Society from The Pennsylvania State University. After receiving her Bachelors and Masters degrees from National Hsinchu University of Education she was an elementary school art teacher in Taiwan, where she originates. She taught Visual Culture and Educational Technologies from 2008-2011 at Penn State. Currently, she is teaching arts integration to elementary undergraduates and graduates at UNCW. Her research interest focuses on avatar creation, embodiment, identity, and new media in art education. She has published in journals and book anthologies including Journal of Art Education, Visual Culture and Gender, Journal of Virtual Worlds Research, and Visual Arts Research. She is also the Chair of Art Education Technology Issues Group (2014-2016) in the National Art Education Association.

Jennifer Motter, Ph.D. graduated from The Pennsylvania State University in May 2012. Her doctoral research “Feminist Art Curriculum: Politicizing the Personal via Cyberpost Activism” involves socially-responsible and culturally-responsive art education. Through Motter’s research and praxis, she aims to encourage meaningful experience-based artmaking and strategic social media interventions in order to promote and facilitate social justice. Motter is particularly interested in the empowerment potentials of new media for marginalized groups, such as girls and women. She is co-president of the National Art Education Association Women’s Caucus. Motter is a new media art program developer and teacher at a middle school in Western Pennsylvania.

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