Production 4 - Nancy
How do the authors interweave inquiry-driven learning and learning outcomes to video production (the process of ‘analysis and production)? How does the reading address the ‘paradox’ of teaching ‘curriculum outcomes’ (Common Core Standards; EQAO) and open-ended inquiry and production-based learning? How can educators create conditions for students to enact and/or even exceed the ‘standards’?
Through documentary video production, what Doerr-Stevens (2017) depicts as “DV composing” can greatly influence the inquiry-driven learning pedagogy in education. This is due to the critical inquiry that is involved in video production (Doerr-Stevens, 2017). This process requires participants to problem solve as well as embody personal pursuits and interests that can benefit communities in the works they are creating (Doerr-Stevens, 2017). Furthermore, in the production stage of DV composing students have to reimagine and reconstruct narratives through various modes of expression (sound, visuals), this process requires a critical lense and deep understanding of purpose of content creation. Many transferable learning skills that DV creates can be applied to real life such as analytical thinking and being engaged in ideas and arguments with the creation of the video allows composers to weave and refine their ideas (Doerr-Stevens, 2017).
With the rise of the post truth era in political ideology, DV composing can become a driver of debunking and bringing narratives to stories that exist and are ignored. By encouraging students to participate in ‘embodied inquiry,’ they are able to position themselves as ethnographers who study culture and are fully immersed in the research (Doerr-Stevens, 2017). As students become active participants in their learning as it transcends literacy as we have discussed in earlier weeks to a verb. Not only are students on the field gathering observations but they can express those messages through multimodal design (Image, videos, words, music) (Doerr-Stevens, 2017). The ideology that exists in education is that it is historically premised on a banking model, wherein learning is a ‘noun’. The focus teaching premised on predicated environments and regulated improvements develop students into what Thumlert, de Castell & Jenson (2015) constitute as “learning actors”. Students then, become implicit in their learning, do not question knowledge and therefore become trapped in the dogma of education. Students begin to understand that there are common core standards and expectations that need to be fulfilled in order to achieve and that individual inquiry or creativity is not required to excel. Paradoxically, open-ended inquiry and production-based learning relates to learning as a verb (Brayboy & Maughan, 2009). By moving towards multiliteracy, complexity pedagogy and Actor Network Theory through the use of technology, students begin ‘doing’ the work of learning. Knowledge than, is translated into a verb, where there is more purpose and value in education. These pedagogical frameworks can assist in the development of educational experiences in a more palatable or globally-connected way for students that goes against the banking model of education (Thumlert, de Castell, & Jenson, 2015; Luke, 2018). For instance, production pedagogy creates a space where learners can engage in a multi literacy, through designing a network of cultural artefacts that have use value and as well as involves a self-directed construction of new knowledge through art (Thumlert, de Castell, & Jenson, 2018).
As educators, it is important to empower students to see themselves as meaning makers and knowledge producers. By framing our classroom through a multiliteracy perspective, one that does not emphasize or illustrate what “learning”, “literacy” and “competency” looks like we can break down hierarchical knowledge structures in the classroom. A situative theory of media literacy can assist in the creation of this space, as it provides ample opportunities in our classrooms for multiliteracy. For instance, Young (2011) suggests that situative theory, creates a learning process through participation with the world which can inform research and allow students to empathize with diverse narratives. Similar to Doerr-Stevens (2017) notion of the documentary DV process and embodied inquiry, students step out of their comfort zone and approach learning through social critiques and personal identities. This is clearly demonstrated in the Pedagogies of production video as well as the DIY Science Fiction Video in Nigeria. By co-constructing projects and success criteria to document learning in the classroom, it can create an elusive space where there are no “boxes” to be checked for what is expected to be learned. This creates a space for unlimited knowledge production and exceed “standards” because their work is driven by their own interests which also encourages them to be activists in their communities and spaces. Students who become independent thinkers in their communities can becomes leaders and inspire others in the pursuit of democratic livelihood. As Doerr- Steven (2017) states, literacy in digital communications and the critical process of the creation of that media maintains viable democracies.
References
Brayboy & Maughan (2009). Indigenous Knowledge and the Story of the Bean, Harvard Educational Review, 79(1)
Doerr-Stevens, (2107). Embracing the Messiness of Research: Documentary Video Composing as Embodied, Critical Media Literacy, English Journal, 106.3 (2017): 56–62.
Luke, A. (2018). Digital Ethics Now. Language and Literacy, 20(3). (Short)
Thumlert, K., de Castell, S., & Jenson, J. (2015). Short cuts and extended techniques: Rethinking relations between technology and educational theory. Educational Philosophy and Theory & In Press (Chapter): Routledge.
Thumlert, K., de Castell, S., & Jenson, J. (2018, October). Learning through Game Design: A Production Pedagogy. In Proceedings of the 12th European Conference on Game-Based Learning ECGBL.
Young, J. (2011). Pedagogies of production: Investigating What works for teaching media literacy. Research for Action Foundation.
