Earlier this year, I was invited by The Ediths to participate in a new project they are undertaking called: A feminist initiative towards reading with reciprocity.
The Ediths wanted to explore what it might look, feel and be like to work with #Collabary practices as a way towards becoming generous and accountable scholars.
For me, it was a toss-up between A/P Fikile Nuxmalo and Dr. Laura Rodríguez Castro. Both these scholars work have direct overlaps with my research interests.
In the end, given the direct application of Post-humanist/New Materialist approaches and because of the place-base(ness) of site-specific work (aligns with emplaced bike trails and accounting for other-than-academic/outside environments) with a deliberate engagement with First Nations, Black and People of Colour perspectives (which I have an ongoing interest in), I chose:
Once chosen, you get sent a copy of your selected book – and of course, that copy is yours to keep as a token of appreciation for participating in the project. Woohoo!
3) Using the Collaborary and Dumit resources/links above as inspiration, we are encouraged to experiment with one or more of these reading practices (close reading, constructive reading, positive, generous, slightly genealogical, methodological in focus, and ethical).
4) Then write a 600–800-word review that is informed by one or more of these above reading practices to show how a reciprocal, generous, and accountable review might be done.
We had a generous 6-weeks turn-around to get out work back to the organiser-editors who will then feedback our piece before release.
Once finalised, all project contributions will be publicly available on The Ediths website.
I’ll let you know how it goes!
On March 8th, A/P Deondre Smiles and A/P Max Liboiron did a #Collabrary Zoom session. Here, they discuss: Feminisms from Unthought Locations: Indigenous worldviews, marginalized feminisms, and revisioning and Anticolonial social science by Gaile Cannella & Kathryn Manuelito from the Handbook of Critical Indigenous Methodologies
I’ve been missing meeting with other like-minded writer-researchers. So August this year, I had an idea to form a ‘student club’ where we could meet to talk about writing and share skills and hold events that helped us become better writers and researchers.
Well… I pitched the idea to three friends, and we made it happen!
We called it the Research & Write Studio or RAW for short.
(Actually, we called it GAWLERS first… see more below)
I just found out that RAW has been award Griffith’s New Club of the Year!
Woohoo! I am so proud!
A big thanks to all the inaugural members for trusting in me!
And an especially heartfelt thanks to Janis, Rebecca and Jenny for all their great input and effort in forming the Executive Commitee with me.
You guys all rock!
See below for more about RAW.
Nina (R) with other Griffith Uni Club Awards Friends.
Origins
Like most other educational institutions, Griffith University life and work changed profoundly in response to the recent COVID-19 ‘educational scramble’. Soon after moving online in April 2019, EPS HDR candidate Nina Ginsberg established an online ‘Show Up & Write’ space for students she knew as a way of staying connected, focused and productive. These sessions were regularly attended and participants said how useful it was to have a collegial space to talk, share, and create academic work. In break times, we asked questions, offered support, discussed our writing, and gave suggestions for improvements in a low-stakes and impactful way.
While Griffith responded to COVID and snap lockdowns by reducing staffing, decreasing services, and suspending many student professional development and networking opportunities until further notice, our study group flourished. As word of mouth about our group passed to others, ‘new’ people joined from all over Griffith. It was clear there was an immediate need for this group and so in June 2021, the main proponents (Nina, Janis, Rebecca and Jenny) decided to formalise this opportunity and open it up for all Griffith students and candidates. We call the group Griffith ‘Research and Writers Studio’, or RAW for short.
What we do
We are an online club bound by our commonality of academic work, research, and writing. Our club aims (see at end) articulate our ethics, commitment and focus. RAW members include undergraduates, postgraduates, and professional teaching staff who are also studying at Griffith. Our members come from all Griffith locations not only in Brisbane (26) and Queensland (10), but all over Australia (6) and around the world (6). We are proud to be a truly transdisciplinary group, transcending cultures, hobbies, degrees and programs, ages, gender, ability, locations, backgrounds, and personalities. This plurality in membership adds vibrancy, interest and new skills we would not otherwise have access to at Griffith elsewhere.
Editing Heptathlon by RAW President Nina Ginsberg. November 2021.
What makes us exciting
We began with 28 inaugural members in August 2021. This increased to 48 members in 6 weeks by end of September 2021 with no advertising, further attesting to the popularity and need for this club. At a time when many other clubs have slowed activities, RAW has expanded in response to member needs, thus standing out as a unique, reliable and reassuring hub for Griffith students and candidates in progressing their university work.
What makes us so exciting as a new club at Griffith is that we are a cheap, open access and inclusive club for all. We are also lockdown proof, independent of university-dictated content and wholly needs-based and our events are run by RAW members for RAW members – meaning members gain valuable presenting and leadership experience. We are a grass roots club that continues to grow organically and is responsive to member’s needs.
One of RAW’s greatest features is that we are not defined by, or exclusive to, any particular educational discipline, cultural background, sporting or personal interest. On the contrary, RAW incorporates and celebrates disparate characteristics, harnessing these valuable differences in diversity collectively, so members collaboratively learn with other members, not learn about each other as separate from others in most other contexts. And it has been a smashing success!
Our membership includes Griffith researchers and writers who are First Nations, international students and speakers of languages other than English, mature aged and returning to study, first-in family, differently-abled and adaptive learners, part-timers, single parents and many others – including a wide range of cultural backgrounds. Being online means we are not bound by campus restrictions or scheduling, so RAW operates anywhere (across all Griffith campuses, remotely, online and for those on-campus as well) and at any time (for example, we have a 24-7 open online, drop-in ‘study’ space where local, national and international members meet). This enables multiple opportunities for social connections as people study and work from a myriad of locations.
As well as study group spaces, we offer a range of writing, editing and university skills workshops (see some examples below) which can be joined virtually in real time or accessed asynchronously via recordings. This means our events are equitable and accessible to all members. Our club allows for networking and skill sharing and provides opportunities to broaden minds and sharpen transferable capabilities. We have an active Teams site that is our communications, events and resource space where we also notify members of other (external) writing and editing events of interest so members can expand skills and contacts within and beyond the RAW cohort.
Screenshot of RAW’s Get ahead for T2 classes (Session 2): Rediscover your motivation! July 2021. This session was run by RAW Vice President, Wiradjuri woman & Griffith PhD Candidate, Ms. Jennifer Campbell
What is our future?
Our vision is to allow the club to grow and to continue to offer a range of academic skill workshops not provided elsewhere, while providing online participation and facilitation. We seek to connect people with our overarching purpose of enhancing our research and writing capabilities.
Some 2021 RAW events already held:
Show Up & Write Space – 24/7, online, drop-in study space.
Early Bird Study Sessions – every weekday 5am -7.30 am.
Inaugural Annual General Meeting.
RAW Coffee & Chat: Member Drop-in Meet-and-Greet. (1-hr)
Get ahead for T2 classes (Session 1): Leveraging course profiles. (1-hr)
Get ahead for T2 classes (Session 2): Rediscover your motivation! (1-hr)
Get ahead for T2 classes (Session 3): Start(ing) class right. (1-hr)
The Dark Academy (and how to survive it). (2-hr symposium)
Getting Feedback on Thesis Writing (HDRs). (1-hr)
Goal Setting Bootcamp. (half day intensive)
How trees help us write better sentences by RAW President Nina Ginsberg. December 2021.
Research and Writer’s Studio Aims
Aim 1. To present academic writing and research in influential ways to diverse audiences. Develop and grow fundamental and advanced academic, writing and research skills and experience through a range of online and in-person opportunities. These include exclusive focused study groups, writing, editing and specialist workshops, writing process forums, accountability writing groups, skill drill sessions, special events and writing retreats and targeted academic skill sessions. These events consolidate and extend transferable oral, written and visual communication skills underpinned by positivity, engaged expression and critical evaluation of information, argument and opinion. Applicable for all levels of study across all disciplines.
Aim 2. To build confident, competent, and collaborative identities.
An inclusive and safe space to share university, writing and researching experiences. Instead of the usual teach-to model, this club moves towards a learn-with approach. Members are X to pursue their own academic and professional goals in ways that are productive, thoughtful, engaged and self-directed. Supporting a passion for lifelong learning through achievement, capacity and mastery. Provide opportunities for leadership and active engagement. Connect members with additional editing, proofreading, mentoring and/or other academic support services if needed. Interaction between Ph.D, Masters, Honours and undergrads is encouraged. To build relationships within and beyond the physical campus by establishing a collaborative and diverse community of practice.
Aim 3. To extend, challenge and share innovative, creative, ethical, and positive writing-research-action.
Provide members with opportunities to develop their own personal and professional goals. Respecting and strengthening engagement with First Nations, cross-cultural, and individual or cultural diversity people, culture, perspectives and lifeworlds. This club adheres to an ethical code of conduct based on compassion, positive change and social and environmental responsibility and action. This club supports members to be intrepid and innovative in their writing and research endeavours to initiate, develop and implement new ideas and projects.
The 2021 Australian Walking and Cycling Conference is on! Thursday the 30th of September and Friday the 1st of October – and this year it is all online!
This year’s theme is: Global Lessons, Local Opportunities.
I have been to this conference a number of times in the past and I’ve always enjoyed it.
There is always a good mix of research, community, international and local perspectives, sustainability, urban planning, and new and interesting ideas.
I am definitely going to miss not seeing delegates in person, or doing the side-conference activities and events – they are a real highlight!
But even without the trimmings, I’m excited about this year’s program.
I’m looking forward to connecting with some old conference mates and meeting some new people and hearing what some of ‘the big issues’ are in cycling research.
I’ve been pouring over the abstracts and speakers, checking out the new projects, selecting what sessions to go to, and preparing notes to add to chat discussions during presentations.
I’ve listed the program at the end of this post for those interested.
For anyone going – I’ll (virtually) see you there!
AWCC 2019. Source: AWCC
Conference vision
The simple acts of walking and cycling have the potential to transform the places we live, our economies and how we engage with our environment. The Australian Walking and Cycling conference explores the potential for walking and cycling to not only provide for transport and recreation but solutions to challenges of liveability, health, community building, economic development and sustainability. As one of Australia’s longest-running, best-regarded and most affordable active travel conferences, we bring together practitioners and researchers from Australia and across the world to share their work and engage with conference participants.
The Australian Walking and Cycling Conference aims to send zero waste to landfill.
AWCC
Keynote speakers
I am very excited about the keynotes speakers – especially Meredith. I have been following her work for a while (total researcher fan-girl crush!) and she is kick-ass! Meredith is also a consummate speaker, so I can’t wait to hear her present on her current work. Double Woohoo!
Meredith Glaser is an American urban planner, lecturer, and sustainable mobility researcher, based in the Netherlands since 2010. At the Urban Cycling Institute (University of Amsterdam), her research focuses on public policy innovation, knowledge transfer, and capacity building for accelerated implementation of sustainable transport goals. She is one of the world’s most experienced educators for professionals seeking to learn Dutch transport planning policies and practices. She also manages academic output for several European Commission projects and sits on the advisory committee of the Cycling Research Board. Meredith holds master’s degrees in public health and urban planning from University of California, Berkeley.
Fiona Campbell has been working for the City of Sydney since 2008 and is the Manager Cycling Strategy. She is deeply committed to making Sydney a bike-friendly city and to helping others achieve similar goals. Fiona is currently managing the roll out of 11 new City of Sydney cycleway projects, three of which are permanent designs to upgrade temporary Covid-19 pop-up cycleways. Fiona mostly rides a Danish (Butchers and Bicycles) cargo trike, and on weekends accompanied by two Jack Russells. Fiona will present on “Global lessons, local opportunities”. This title is also the Conference theme.
and what does gender and sexuality have to do with it?
We were very excited to have guest presenter Assoc. Prof. Alyson Campbell from the School of Theatre, Victorian College of the Arts (University of Melbourne) to lead us on this curious and provocative journey.
Artist-scholar-makers: Thinking about affect work to queer performance.
My understanding of affect draws on Brian Massumi and cultural theorist Jeremy Gilbert. I’ve built on this general line of thinking to explore more particularly concepts and strategies for queering performance. This all springs from working with Reza Abdoh in Los Angeles in the early 1990s, where I encountered live performance in a way I never had before. Abdoh’s play Bogeyman was dealing with the AIDS pandemic and it has taken me many years to try to find ways to articulate how its queerness was based on something far beyond its content; it was the experience of it, or, in other words, its affect. I’m still trying to understand that interrelationship in my own and others’ work. One strand of this links directly back to Reza in thinking about affect as viral (Viral Dramaturgies, co-edited with Dirk Gindt, 2018) and another strand is as erotohistoriography (Freeman, 2010; e.g. Campbell 2015). As an artist-scholar the whole thing converges in trying to find specificity in language for this (e.g. through musicology/musical thinking, e.g. Campbell 2012) and rehearsal/making strategies.
My question for the session is: What are the gaps in the discourse around affect in performance?
What we did in this session…
… er… how to summarise this session … is very hard… we did so much!
It is so hard to explain all we covered and what stuck for each of us. I loved how Alyson took the time to just think-out-aloud her ideas and explain her motivations, musings, work, and connections – for me, that was so interesting and inspiring (we so rarely have those personal insights as to the process-thinking that goes into academic and performance work!).
I did capture some of what we did, discussed, thought-with, and activated in this session in a few 100-word worldings I wrote from this session. Here are my worldings:
Seek the Affect mechanism.
Freefalling with A/P Alyson Campbell’s Queer Dramaturies. Director process(es) unfolding: pertinent theatre movements, Phenomenology, Massumi’s ‘Affect’, Gormley’s ‘body’s first way of knowing’, Gilbert’s ‘affective specificity’, and Epstein’s ‘shaping affect’. More important than describing affect (as end point), is seeking the mechanism by which it is structured. Not ‘supposed’ to talk about the ‘real’ journey/process/practice. Various maker book think-throughs: Practice-as-research (Practitioners), Affect Explorations (Theory), or Queer Encounters (Personal). More on intersectionality, form and hybridity… maybe queer hybridity? How long does it take for language to move? Pondering practice-theory as contagion or miasma. A juggernaut of multiple threads.
What’s missing in Affect.
With a new artist-scholar friend, we discuss what is missing in Affect. Thoughts disperse and range from uncomfortable school-based moments, to performance making, to the inescapable hard lines of capitalism, to points of deficit in myriad forms. A strong conversational start. Body sameness and what (im)presses. Someone mentions ‘anti-lack-thinking’. I like that idea. I settle into queering beyond what I think and know – and I’m excited by new viral suggestions. We talk of the joys of popping fuchsias and what is learned from migrating bodies. The importance of ‘accepting your in-thereness’ and of (missing) laughter. ‘Not just’ embodied jerks.
Bound up with affect.
I’m leaning into intense inquiries of somatic means and translations. Being led, hand-held, through body-emotion(s) that disregard mental training. I’m ‘bound up’ with affect, constipated by shifting ‘pulling a(part)s’. I’m intrigued by In your face theatre as an attempt to synthesize smaller audiences, funding, and affective capacities – and the aesthetics of what that might mean and do. I see inchoate segregised resistance, near-Punk tendencies, and pre-queering workings (t)here. Not just relying on arguments between characters or choreographies to drive dramatic interest. Activating experiential theatrics and what that actually means when working through ideas, bodies, and hearts.
Grokking 4:48 psychosis.
Moving within/without a binarized sociality bites. Invitations to re(un)see Amelia Carvello’s extraordinary bodies. Being crossed out and knowing the marginalia is where it is at. Meeting a lang-scape for the first time. Considering body-affect as thinking-of-performative ‘affect’, or as queer dramaturgy applied to worlding and how to shape it all. The ‘roomness’ of the room stands out. Grokking 4:48 psychosis. Theories only get you so far, but new meanings and makings lead naturally into methodological spaces, processes, loops, actions, ambiguities, openness and speculations. Uncovering universal ‘truth(s)’ of research-making becomings seasoned with psychological implications and pre-intentional purpose.
Alyson’s main areas of research and supervision are in gender and queer theory/performance, directing and dramaturgy, phenomenological approaches to performance, social justice and disability in the arts. Alyson’s focus is around the representation of women and the nexus of queer theories and feminism. She is committed to developing modes of practice led/as research throughout her teaching at all levels. Alyson is a freelance director and dramaturg with an astounding 30-year career, and teaching credits that feature the School of Creative Arts, the University of Melbourne, Queen’s University Belfast and Brunel University, London.
Regular readers of this blog know I have a particular panache for academic writing and research practices.
As a researcher, I like to muddle long-held academic conventions to reimagine scholarship differently – like using experimental feminist approaches when referencing. (Note to any undergrads reading this: don’t do this! Don’t mess with academic referencing. Tow the line! Unless you have a Ph.D. before your name, follow academic style and referencing conventions. You will be penalised if you don’t (ie loose marks). I’m a known disrupter at Uni and the feminist expert-iments I use like the Visible and Valued: In(Citing) Feminist Scholarship and the recent Reading with Recipocity Project are part of my research methodology so I can get away with it!).
As an academic writing advisor, I regularly work with undergrad and postgrads and look for ways to help them better understand course content and practice skills that produce better writing.
I teach an elective course for pre-service teachers called 3404EDN Gender & Literacy and am currently working with a number of postgrads who are diving into their first-ever text analysis.
Text analysis is different from a video/film analysis (like the video above).
This post outlines a few ideas to get started with text analysis – whether you are at uni, a text buff, or just an interested party.
This is not a definitive or exhaustive list of ideas. A caveat: use your good judgment! The ideas here are suggestions that work for me and the undergrads I work with, they are not rules to be applied ALL the time, to EVERY assessment, in EVERY situation.
Here, I’m covering the regular questions I get asked by students doing an AV text analysis at uni for the first time – and some aspects that are interesting more broadly.
Let’s get into it!
Text Aanalysis
Have a systematic way to analyze the text.
Always follow what your tutor/supervisor says as far as how to ‘analyse’.
If you have not been provided with a clear outline of what/how to begin a text analysis, ask for one, or find one and check its appropriacy with your supervisor.
This might be a theoretical framework, a model, a process, or some other way to systematically work through critical points for analysis.
For example, in my 3404EDN class, we focus on gender. We use the text analysis process below to identify and interrogate gender patterns within a given text. This helps us look carefully at character representations. From there, we might discuss the dynamics we see, like if/where there are examples of traditional, transformational, or a mix of gender representations, how this links to theoretical perspectives of how gender is constructed, and what this means for us (as uni students/pre-service teachers), other audiences (more widely), learners (students in our future classes/workplaces), and society at large.
If it is a recognised text analysis process, theory, or approach drawn from academic literature, include a citation.
So, you need to know what/how to approach your text analysis.
How to reference a visual text.
Most students know (hopefully!) how to reference an academic source – a journal article (best published in last 10 years), a chapter in a book, and/or a book.
Fewer people know who to accurately reference a report (like a UN Annual Report or Government document) or other grey literature.
This is understandable as it is tricky to do.
Even less know how to reference audio/visual (A/V) texts (unless it is your area of study).
Here I am referring to films, TV shows, radio programs, podcasts, posters, artwork, illustrations, TV commercials, comics/manga, video games, and the like.
The best way to approach this is to find a really good referencing guide.
Find an online tool or download a guide you like and keep it handy.
There is no excuse for losing points for references. There is so much help, support and many resources available. Plus, it is an academic skill you’ll need for all courses in your uni degree and beyond, so it’s best to know how to do it accurately.
Know what referencing style to use.
Ask your tutor if unsure…in fact…ask your tutor anyway …just to double-check – don’t assume!
It has examples and formats for both in-text and reference list entries.
But there are limits to this particular tool. For example for AV, it lists video stream database, YouTube/Vimeo, and DVD/BluRay only. Any other AV format means you’ll need to use a different referencing tool/style guide.
In my experience, Griffith’s APA tool will cover most of what is needed for undergrad work.
Here’s an example for a DVD film from Griffith’s APA 7th Referencing Tool:
If you go online there are heaps of downloadable referencing guides.
Find one that you like and one that covers your most used sources.
Make sure it is not overly complicated and is quick to use.
Sometimes, you might need to cite an uncommon ‘wild card’ reference – something that is more challenging to cite – like a podcast or some other source not in your handy guide.
You’ll need to accurately cite any sources used intext in the Reference List.
Let’s say you are writing about the film The Bicycle Thief.
HOT TIP # 1
Always write the title in italics (this helps distinguish it as ‘the text’ as opposed to your writing or citations (anything not in italics).
“The film The Bicycle Thief centers on a man called Mario who….”
HOT TIP # 2
The first time you write the title, you’ll need to include the year the film was first released after it.
First time naming the text example:
“The film The Bicycle Thief (1948) is a classic example of Italian Neorealism as ….”
In my 3404EDN course, the first assessment is only 750 words. For brevity, I’m happy if the text is ‘yeared’ the first time it is introduced, but thereafter, I don’t see a need to include the year every time the text is named.
But if your assessment is longer or your tutor is a stickler, you might be required to include the year every time (like you would for an academic citation… or use some other technique). This is in line with ‘official’ APA 7th formatting.
Personally, I think it is overkill. For me, the initial intext citation with the year is evidence enough the student knows what they are doing (it’s usually more than other undergrads do anyway), as well as the use of italics for the title thereafter, is enough. Besides, it inhibits readability and flow – that is just me. But it is a thought to consider.
My students need only include the year the first time. After that, no need to include the year. Just make sure the title is always in italics.
HOT TIP # 3
If you want to get super fancy and accurate (not many students know or do this, so it stands out when you do – it’s next level), use timestamps (as a page number variation) when discussing a particular scene, an utterance, or a moment.
Timestamping shows extra attention to detail. This is good practice as it shows high-level critical analysis, showcases specific details, and advanced referencing skills.
Most tutors I know (myself included) LOOOVE seeing this.
Again, if you are not sure, ask your tutor. (Maybe after class if you want to keep it to yourself, or in class if you are happy to share this secret weapon).
There are a few ways to timestamp.
The ‘official APA 7th’ way is:
Hours/minutes/seconds format H:MM:SS e.g. 1:35:02
I have also seen it done like this:
Minutes/seconds follows the MM’SS” e.g. 23’12” or 75’33” (if over an hour)
Personally, I don’t mind either way, just as long as it is applied consistently.
Using this technique in writing might look like this:
“Mario’s independence transgresses heteronormative and essentializing male gender roles. An example of this is when Mario and Henry blah, blah (34:12). In this scene, Mario blah, blah, blahs which is/means/demonstrates…..”.
34:12 or 34’12” means 34 minutes and 12 minutes – an A/V text equivalent of a page number.
“…and this is best exemplified when Mario publicly shouts, “I am a man, not a mouse!” (56:22), which is meant to position him as…”
References List entries
Keeping in mind you will always need to double-check/modify/edit all Reference List entries regardless. Vic Uni offers this basic reference list format for films:
Primary contributor or contributors with their contribution identified in round brackets (e.g. the Director).
Year (in round brackets).
Title (in italics).
Description of work [in square brackets].
Publisher (e.g. the production company).
URL (where relevant).
The first line of each citation is left adjusted. Every subsequent line is indented by a TAB or 5-7 spaces.
Reference List format example:
Ireland, P. (Director). (2016). Pawno [Film]. Toothless Pictures.
A few ideas to get started with text analysis and referencing AV texts.
As always (again) … double-check with your tutor (they have the final word) and make sure you check formatting and edit references to suit your specific purposes.
This week, I found an article written by Deb West (Adjunct Instructor at The Art of Education University). Deb is a retired art teacher of 25 years experience whose motto is ‘Together we ART better!’ The article I read was Why bike studies are the perfect end-of-the-year project (see below).
..and I loved how thoughtfully she had combined bikes, art, and education!
In her lesson (see below), Deb outlines an art lesson that uses various techniques focused on bikes as ‘the subject’. She also explains the reasoning for each step, ideas for extensions and how to ‘level up’ this activity.
As a teacher, I appreciate her generous ideas, resources, and suggestions – it is all outlined clearly with samples of students work-in-develop to illustrate each technique. So helpful!
Regardless of whether you are an art teacher or not, if you are teaching kids at school, home, or yourself, this is a great activity for everyone.
Why Bike Studies are The Perfect End-of-the-Year Project
You know you have a great lesson when you keep coming back to it, refining it, and changing it up year after year. That’s how I feel about this bike study drawing lesson. I’m always excited to introduce it to my students, and they always anticipate doing it!
Like many good lessons, this lesson is challenging. I save it for the end of the semester in my Art II class, so I know they are well-prepared.
Why bikes?
There are 3 main reasons I like to have my students draw bikes.
It helps develop their skills even further. Although my students draw from life daily, drawing bikes takes their skills to the next level. There are so many details to observe and capture.
The assignment can help build students’ portfolios. Some art colleges require bike studies as part of their application process.
It can lead to scholarships. This lesson can also be a great way to get your students to create a scholarship-winning piece because, let’s face it, drawing bikes is tough! Students have to look, measure, and be exact. And, they have to pay attention to details that often go unnoticed.
The Lesson
I’ve been teaching this bike study lesson for ten years. I’d love to share how to get started as well as some ways to take the lesson to the next level.
Step 1: Contour Studies
I always have students start with several contour studies of a bicycle. These are quick sketches to loosen them up and calm their artistic nerves.
Step 2: Graphite
Once the contour studies are complete, students begin focusing on specific areas of the bike and draw with graphite in full detail. We discuss how the light reflects off the metal and how to capture that reflection through drawing.
Step 4: Charcoal
Finally, students finish up their study by working in charcoal.
Throughout the first four steps, students are encouraged to take photos of the bike. They draw both from life and their photos. This method gives them the ability to evaluate the details needed to make these drawings believable.
Step 5: Putting It All Together
The most fun part of this lesson comes right when they think they are finished. This is when I give them three days to create a composition using their bike studies creatively. I set the art room up as an open studio. Students can create reliefs, collages, and add mixed media into their negative space. Of course, throughout this process, they are considering how these additions will help emphasize the bike work. These works remain black and white and are always a big hit when we display them!
Taking it to the Next Level
You could amp up this lesson in so many ways. This past year, instead of having just one bicycle, I added a few more. Our setup even included an antique Radio Flyer tricycle I found at a local thrift shop.
In addition, I had a colleague visiting from overseas who helped me brainstorm another way to make this lesson even more engaging. Dr. Lexi Lasczik is a mark-making master artist who came to my school to work with my students for several days.
Her idea was to have students use their whole bodies as they drew quick studies of the bike on 24” x 36” drawing paper in sixteen timed sections. We challenged students to complete studies in ten to thirty-second bursts. We even made them switch hands!
It was beyond exciting to watch the students! They were so energized. After the first few studies, they lost their fear of failure and began to realize this exercise could be an amazing learning tool!
Once they completed the first sixteen timed studies, they turned their papers over and did another sixteen, but this time they used ink and sticks and again, the room palpitated with artistic excitement!
In this case, for the final project, students took their three detailed studies as well as their mark-making studies and combined them into a new composition.
I also had them incorporate one color into their piece, and the results were spectacular!
It’s always fun to see how the learning process shows up in the final work. I believe it’s learning at its best!
What objects do you use to teach your students still life?
Have you used bikes to teach your students to draw?
As well as the erasure of other-than-European contributions within research, I am concerned about the (in)visibility and (de)valuing of female scholarship.
My current research into how bicycles feature in West African girls’ access to education has a strong gender theme – and I read a lot.
Who is writing about West African female experiences is revealing. It is difficult to find literature on this topic written by African scholars – and even less so, work by female African scholars and knowledge holders.
Overwhelmingly, work in this area is by white, European males.
Female authorship has always been under-represented – in all fields.
There is historical and current systematic bias in scientific information production and recognition for male scholar-authors, (Mathew Effect), while in comparison, female scholarship is still often ignored, denied credit or goes largely unrecognised (Matilda Effect).
And this is not only an academic issue. There are many international movements working to redress the erasure of women’s current and historical contributions – take Women’s History Month or the WikProject Women as examples.
The Reading with Reciprocity invite was the perfect opportunity to put into action more publicly, some In(Citing) experiments I’ve been working-with exploring how I might better support, promote and recognise female scholarship in my work.
Image: Andrea Piacquadio
Two approaches to (In)Citing Feminist Scholarship
In my book response (forthcoming – I will link here when made public), I used two approaches to make academic female contributions more visible.
1. Including first and surnames for in-text citations
First, I included the first and surname for all female (and other) scholars cited.
Historically, the academic writing-citing convention is to only cite surnames. It looks like this:
With no first name to distinguish otherwise, absolute supremacy of male linage and masculine privilege is reinscribed and unchallenged. So, I include the first name of female authors to destablise this conventional and draw attention to, identify and validate – female author within the male (sur)name convention.
This works best for author-prominent citations.
So my citations then looked more like this:
Glenda Dunne (2018) …..
or
……… (Glenda Dunne, 2018).
2. Include the academic position of female author-scholars
I also included the current academic position of the female scholars cited, not just the honorific “Dr.” as is convention.
“Dr.” is an educational qualification for people conferred with a PhD or doctorate, whereas Assistant Professor or Professor is an academic position grade within the academy – it denotes authority, seniority and status.
Far too often, women are note recognised in attaining the academic standing they have.
So, to counter this, instead of:
In this book, Dunne (2018) explores…
or
In this book , Dr Dunne (2018) explores..
My work started to integrate something more like this:
In this book, Prof. Dunne (2018) explores..
So now, I try to use more author-prominent in-text citations so I can apply first AND surname (see above) AS WELL AS deliberately insert the academic position of the author.
So now my citations look like this:
In this book, Prof. Glenda Dunne (2018) explores ...
This is definitely an unconventional move.
Academic positions can change if the person assumes a new roles or moves universities. ‘Dr.’ always stay the same (if given at all) no matter where you go, so that is the conventional default honorific.
This meant I had to do a little more research.
I had to look up the scholar and double check each female scholar’s current position for accuracy.
This additional ‘work’ helped keep me accountable to the feminist imperative of going the extra mile to learn more about the women scholars I was investigating and is a good reminder to be accurate and ethical in my representation of them.
I include the author’s academic titles as a deliberate push to draw attention to the advanced positions the female academics cited/referred to have achieved through expertise, knowledge and research. The title of Dr is not adequately meritous for such positions.
This is something I have been doing for a while in my academic work (like publications), but I am usually told to revert back to Dr or remove all honorifics.
(Note: I was asked by the editors of the feminist project I was writing for to add a (foot)note explaining to readers the reasoning for using these approaches as part of my final book response release.)
Else where in my workshops, Teaching and Learning sessions, and on this blog I have progressively been using this approach as my default – see for example: A/P Chelsea Bond BAM! on World Bicycle Day post.
And I will I continue to apply these (In)Citing techniques where ever possible.
My execution of these two approaches maybe a little clunky at times, but that is also because we (are all) so (un)used to a particular type of (In)Citing!
This experiment is also a long-term commitment… and a process – one that will no doubt change, morph, stumble, be updated and tuned up as my feminist engagement, ideas and experience flexes and fades, and expands and contracts.
For me, it is the engaging-experimenting-doing of feminist imperatives differently (such as greater reciprocity and visibility for female scholarship) that is most interesting in this endeavour.
I have been thinking a lot about what teaching and learning means to me.
I am entering the last year of my bikes-for-education PhD research while continuing to work amidst a range of significant social, political, economic, health and educational changes.
I thought about what informs, sustains and inspires my personal pedagogy – and I am grateful for the opportunities that I have – and the opportunities I get to share with others.
As part of this reflection, I wrote my first ever Teaching and Learning Manifesto.
I did this to identify what was most important to me – a kind of reinforcing personal statement.
It is a public declaration of my educational principles, approaches or intentions.
It was challenging, revealing and reassuring to do – and totally worth it!
My manifesto has 12 leading principles that encapsulate my current approach to teaching and learning.
My manifesto outlines what and how I co-create my educational passion.
I will update it regularly to incorporate changes over time.
Below is my Teaching and Learning Manifesto (2021).
I was cruising the internerd (internet) looking for some bike-related teaching and learning resources, which I do from time to time … and see what and how teachers and subjects might use bicycles in learning environments – whether primary, secondary or at uni.
Keep in mind, this is using bikes IN the classroom (like to teach core concepts), not getting TO the classroom (which is my PhD focus). Previously, I have posted on:
The week, I came across Lewis and Clark Reloaded: The 3,041-Mile Bike Trail.
Lewis and Clark Reloaded: The 3,041-Mile Bike Trail.
This is a case study is written by Mary Rose Grant (School for Professional Services Saint Louis University, USA) and it is a teaching resource for high school or undergrad students and best suited for classes like Biology, Physiology, Sports Science, Legal studies. A full copy of the case study is publically available on the National (USA) Centre for Case Study Teaching in Science (USA) website. Or click the link below.
Part I—The Adventure Begins … and Comes to a Screaming Halt: provides the introduction and scenario and 3 questions.
Part II—A Change of Scenery: The storyline continues and provides more physiological details including dialogue and physiological/medical statistics for details and 3 questions.
Part III—A Dangerous Detour: brings the case study to a close and the dialogue leads to an analysis of what happened to the characters. Includes a role-play activity and 2 questions.
Summary Questions: 9 summary questions for discussion and further analysis.
Overall Scenario
Frank and Joe are 24-year-old fraternal twins who share similar interests, including cycling. The brothers decide to attempt their first long-distance bicycling trip, retracing the journey of early American explorers Lewis and Clark to the Northwest. Along the way, serious problems arise. Students review normal physiology of organ systems as well as changes that occur during physical exertion to piece together an understanding of the medical condition of one of the cyclists. The pivotal point in the case is learning that seemingly harmless and legally available substances can lead to potentially fatal outcomes, affecting organ systems already taxed beyond normal limits. This case is designed for use in a human biology course after students have learned about the integumentary, respiratory, cardiovascular, neuromuscular, and urinary systems.
Objectives
Understand physiological changes and adaptations organ systems make with physical exertion over an extended period of time.
Define the term “ergogenic aid” as applied in sports and exercise.
Identify the effects of caffeine on different organ systems.
Discuss the role of caffeine as an ergogenic aid in endurance sports.
Explain the side effects of caffeine intoxication.
Identify potential dangers of caffeine use in combination with other substances.
Practice critical thinking and analytical skills to make a diagnosis.
Examine legal implications of caffeine use, or “doping,” before competition.
Analyze ethical issues of using caffeine, or any ergogenic product, to enhance performance in amateur and professional sports.
I was surprised to see how popular this case study was!
Apparently, it is has been picked up by many schools and unis.
Kristal Huber published her Prezi adaptation which included a few original additions:
GraduateWay extended the original case study to include two parts. The first part was mostly on par with the original case study. The second part is more developed in the role play and has more probing questions:
I was surprised at how popular and well-used this resource was. It is well thought out and there are lots of details in there to get discussion and debates going as well as factual knowledge and concepts that in some courses might be considered ‘must-know’ content.
As a bike rider, I prefer to see bikes (and riders) portrayed in a positive light (and not having accidents or ‘health or medical issues’ while riding), but I can overlook that for the sake of pedagogy.
It is also nice to see a more advanced resource out there for adults learners as well.
An inspiring good news story from Myanmar where bicycles really are creating more positive social and environmental change!
Recently, I came across an article written by Phoe Wah in The Myanmar Times detailing a local tech entrepreneur’s social enterprise which uses global bike-sharing surplus to get more rural Myanmar kids to school.
Like many young students across Myanmar, Saw, Suu Lel had to walk for miles to reach school from his small Kayin village. Every morning he would wake at 5 am to make it to his morning class, and would only return at dusk after walking for another hour to get home. The long commute was an added source of stress for the young scholar as it took time away from his homework. Coming from a poor family, Saw, Suu Lel also wished to help his parents but the distance is too great to reach their workplace by foot. However, Saw, Suu Lel tedious routine or changed overnight. Like the other students in the village, he received a brand-new bicycle.
Since the day the bikes arrived, the morning streets in the village look very different. A line of yellow bikes, written by delighted students, makes its way through the main streets towards the school.
Mike Than Tun, the founder of the Myanmar technology company BOD Tech Venture is behind this goodwill gesture. Aside from investing in tech projects around the country, the 33-year-old businessman doubles as a philanthropist. His main area of interest is education.
“Education is the best way to alleviate poverty” is Mike Than Tun’s mantra. The bikes are aimed at giving school children a more efficient and fun way to get to school. According to Mike, many students drop out of school because when they move to middle and high school the schools are very far away from the villages with some walking up to 2 hours in the early morning. When it rains, walking times can be extended even further.
“Less walking will help the student save 80% of their travel time. We believe having Bikes will improve absenteeism and overall lateness giving more time for students to study and allow them to focus in class. It’s also safer for female students as I can reach home before dark,” said Mike Than Tun.
Having lived for nearly 18 years in Singapore, Mike Than Tun realized the extent of the problem during his travels to rural Myanmar. On his travels across the countryside, he remembered seeing lines of young students walking long distances to school. He realized that many families could not afford a bicycle and seeing a school bus was a rarity.
Myanmar imports large quantities of used bicycles from Thailand and Japan which can provide much-needed form of cheap transportation for some people. Despite the secondhand imports, many families still can’t afford a used bicycle.
His idea first took shape in 2018 when the Chinese bike-sharing provider Obike announce bankruptcy and their companies Ofo and Mobike withdrew from the Southeast Asia market. This left plenty of spare bicycles abandoned, available for scrap dealers or recycling plants.
“It is extremely heartbreaking to see the amount of money and resources wasted white sharing companies that all ended up at scrap. A new bicycle is estimated to cost between USD$ 150-200 to manufacture now all ends up as a huge social and public nuisance. It’s sad that rich nations might not know how to treasure such a simple necessity. But for people in need, it can make a huge impact and even be life-changing,” said Tun.
Through his initiative Less Walk.com, the philanthropist buys and imports the obsolete bike-sharing bicycles into Myanmar at a fraction of the original cost and distributes them for free to students living below the poverty line. Students who benefit the most typically walk over two kilometres a day and are enrolled in grade 6 – 10. Since last June, the Less Walk project has already imported 10,000 brand-new Obikes.
“We will modify the bicycles to add a seat in the back so that siblings can ride to school. We will also remove the digital lock and replace it with a regular lock for the students” Mike added.
So far, Mike’s charity has already helped students in Sagaing, Yangong, Mon and Thanithariyi regions and the founder intends to cover other places in Myanmar in the future. Words of his good deeds have travelled as far as America, Netherlands, Japan and China where people started to donate bikes to his project.
Mike hopes to expand the program from 10,000 bikes to 100,000 bikes in two years.
“We want to raise awareness that the circular economy is possible and one man’s problems can be another man’s opportunity” he said.
*Main content and all images sourced from Phoe Wah’s article and Less Walk. Some content is edited.
