Photovoice

1. Photovoice Dr. Kevin J. Graziano Prepared for the Marino Institute of Education, Dublin Ireland, May 2012

2. Acknowledgement • Marino Institute of Education • Development and InterCultural Education

3. Wiki • http://miephotovoice.wikispaces.com/

4. Biography • Associate Professor in the School of Education at Nevada State College located in metropolitan Las Vegas, Nevada. • Teaching institution • Teacher/educator first and foremost • Secondary pedagogy, TESOL, educational technology • Constructivist, Active Learning

5. Biography • Received Nevada State College's Teaching Excellence Award • Received the Nevada System of Higher Education Board of Regents' Teaching Award • ESL, Charles University, Czech Republic • Researcher-South Africa • Author • Facilitated more than 100 national and international conference presentations, trainings on teacher education, photovoice, and TESOL. • Fellowship in Australia • Fulbright Grant, Israel

6. Agenda • Teach, Apply, Reflect model of instruction • Phase I will be an overview/introduction. (TEACH) • Phase II will involve application (APPLY) where participants themselves develop a question, gather data, analyze data, identify findings and conclusions, and then share their results. • Phase III will involve reflection (REFLECT). This is where participants make connections to their practice and identify ways to infuse photovoice into the curriculum/research/lives.

7. Outcomes • Participants will: (1) gain new knowledge on photovoice as a highly valuable tool in strengthening educational policy; (2) enhance the curriculum that engages learners in authentic problem-based situations; (3) understand the constructs of photovoice in relation to traditional methods of teaching, research, and needs assessments; and (4) meet individuals with a shared interest to identify resources for further projects.

8. Closure • What did we do and discuss today? •  What is its relevance to you, both for now and for your future? •  How are you going to use these skills before our next class? •  What will result if you do not use these skills? •  What will result if you do use these skills? •  Affirmation

9. Malcolm X • “We cannot teach what we do not know and we cannot guide where we will not go.” • Entertain the idea of learning something new.

10. On the Spot • Cannot ask the same question asked by someone else in the group • Cannot pause or stutter • Cannot answer the question • Can only ask questions!

11. On the Spot • Active listening • Ask questions • Is it all right to have more questions than answers • Acknowledge when you do not know the answer • Member of learning community

12. PhotovoiceKWL-KWHL Know Want to Know Learn

13. What is Photovoice? • http://www.youtube.com/watch?v=9cEV9MdSBL8&feature=related

14. What is Photovoice? • Photovoice is a form of _______ that utilizes documentary photography and ________. By entrusting cameras into the hands of oppressed individuals to act as recorders of their own community, photovoice enables people to define for themselves and others, including policy makers, what is worth remembering and what needs to be changed, what should remain as is.

15. What is Photovoice? • Photovoice and PAR set the stage for women, men, children, elderly, and disenfranchised minorities and communities to become protagonists in the their own life stories.

16. What is Photovoice? • Photovoice sets out to capture and convey the point of view of the person holding the camera. It invites us to look at the world through the same lens as the photographer and to share the story the picture evokes for the person who clicked the shutter.

17. What is Photovoice? • Photovoice challenges the established politics of representations by shifting control over the means for documenting lives from thepowerful to the powerless, the expert to the lay-person, the professional to the client, the bureaucrat to the citizen, the observer to the observed.

18. Storytelling

19. What is the origin of Photovoice? • Photovoice was first developed and applied in the early _____ by _______. Although documentary photography is nothing new and has been around for decades, what is new about documentary photography is using the images to influence public policy and change.

20. Visual Voices (Wang, 1996)

21. Photovoice studies • Women’s health issues (Wang, Burris, Ping, 1996), • Homeless and marginally housed young and older women (Killion, 1998), • People with mental illness (Bowers, 1999), • Inner-city first year teachers (Graziano & Litton, 2007) • High School economic class (Graziano & Heeren, 2009). • Urban health advisors (Parker, Shulz, Israel, & Hollis, 2001),

22. Photovoice studies • Immigration experiences of newly-arrived Latino adolescents (Streng et al. 2004), • The everyday realities of Black South Africans living in township communities (Graziano 2004), • K-12 English language learners (Graziano, 2005) • The perspectives of low-income, predominantly African American families regarding children's school-readiness (McAllister, Wilson, Green, Baldwin, 2005), • At risk middle school students (Kroeger, et al., 2004).

23. Photovoice studies • Middle school science students (Cook & Buck, 2010) • Alcohol and drug education (Goodhart, Hsu, Baek, Coleman, Maresca, & Miller, 2006; Wilson, Minkler, Dasho, Wallerstein, & Martin, 2008) • Adolescents with behavioral, social, and academic issues (Kroeger, Burton, Comarata, Combs, Hamm, Hopkins, & Kouche, 2004);

24. Photovoice studies • Low-income prairie women (Willson, Green, Haworth-Brockman, & Rapaport Beck, 2006); • Online instruction (Perry, Dalton, Edwards, 2009; Perry, 2006); • Central Appalachian coalfield communities (Bell, 2008); • Mothers of children with autism (Harte, 2009); • Refugee youth from Bosnia (Berman, Ford-Bilboe, Moutrey, & Cekic, 2001).

25. What is the theoretical framework behind Photovoice? • Photovoice stems from Freire’s education for critical consciousness, _________, and a participatory approach to documentary photography—all support representation and ownership of one’s personal voice.

26. Participatory Action Research • Participatory action research is a form of action research in which professional social researchers operate as full collaborators with members of organizations and communities in studying and transforming those organizations or communities. It is an ongoing organizational learning process, a research approach that emphasizes co-learning, participation and transformation. (Greenwood et al, 1993). • INVESTIGATION (dialogue, inquiry, reflection), RESEARCH, ACTION • Not a discourse; it is a dialogue.

27. Participatory Action Research • The word “action” in PAR signals that the research is to encompass and generate activity and change. • Some writers would prefer the term “participatory research” over and above “participatory action research” because, they argue, action research is not as orientated towards social change (e.g. Stoeker, 1999) and does not necessary engage participants directly in the research process (Kindon et al, 2007).

28. Participatory Action Research • Ada and Beutel (1993) argue that the moments of any experience can only be understood through the voice that has lived them. Traditional methods of inquiry, in which hypotheses are posed and statistical data is collected and analyzed, are often used to validate conclusions about a given problem and rarely, if ever, offer a partnership between the researcher and the participants. • All those involved in PAR projects are known as participants, not subjects or informants.

29. Participatory Action Research • Brown (1983) argues unplanned interactions with subjects are discouraged in traditional research. The findings of the research are frequently not shared with the subjects, perhaps because of a conscious or subconscious belief that the subjects are incapable of analyzing the results or because of the judgment that the findings are of such a sensitive political or economic nature that it would be unwise or dangerous to divulge them to participants. • While the researcher may learn “about” the subjects, she or he does not learn “with” them.

30. Participatory Action Research • Research in academia is often associated with the development and refinement of theories. In PAR projects the research is not primarily theory development per se and refers more to the practice of collecting and presenting information to inform and mobilize collective action. New theories may emerge from this process but the emphasis is on generating local knowledge that improves conditions. • Some view it is as a political, activism approach rather than a theory.

31. Basic Principles of PAR • We are experts in our own experiences, and have many different ways of knowing and getting information about our conditions. • We control the gathering and use of information about our communities. We decide what information we need to make the changes, we want, and how to get it. • We lead and are integrally involved in all aspects of the design & implementation of the research, and of the analysis and distribution of the information gathered. • We gather information to inform our actions for change. • We reflect on the information we’ve gathered and the way in which we are gathering it throughout the process. • We also reflect on the action we've taken and decide if we need more information before taking further action.

32. Basic Principles of PAR • We gather information to inform our actions for change. • We reflect on the information we’ve gathered and the way in which we are gathering it throughout the process. New issues, questions may surface from process. • We also reflect on the action we've taken and decide if we need more information before taking further action.

33. Basic Principles of PAR • The people we gather information with and from are active and not passive participants in the process. Involved in every stage of the process. • We use information gathering to build community and movement, to develop leadership, and to empower ourselves to make change. • We are not trying to “prove” an assumption or hypothesis, we want to learn more about ourselves and our communities as a way to make change.

34. Basic Principles of PAR • First, we collectively figure out what we want to know about (group of individuals)…. • What information already exists, and what is missing. Who has knowledge, experience, information? • How do we create spaces for people to talk and organize around the issue? What action do we want to take? What results are we looking for?

35. Basic Principles of PAR • Then we collectively decide what specific questions we need to ask and of whom. How do we reach out to various members of our community with knowledge? • Identify constituents early on—Contribute to change. A Guiding Framework for Participatory Research for Social Change, Community Development Project, Urban Justice Center, prepared for Spin Project Workshop on Making News with Reports, June 16, 2005; Some Important

36. PAR Methods PAR uses a variety of methods. Some of the common methods include: (quantitative and qualitative techniques) • surveys • observations • interviewing • mapping • diagramming • group work and discussions • PHOTOVOICE

37. Basic Principles of PAR • In sum, participants are not objects nor secondary players on the stage of research, subject to laws and determinations made by others. Rather, they are individuals who can and do contribute to the human experience of transforming experiences and the world.

38. Entry into the community Inner preparation: You need to prepare yourself inwardly, trying to think as the people think, to live as the people live, to eat as they. • Reading about the community including literature written by community members • Listening to the community’s music • Appreciate and understand the community’s art • Observer of the community Our inner reflective processes will help us in achieving authenticity in our research and in the reflective dialogues that we intend to engage in with our participants.

39. Entry into the community Outer participation: initial identification of people, leaders, and activists with whom you can begin dialogue. Who would you include in the dialogue on… School drop out rates, Wages and inequity in pay, The nature and variety and of books available to families and children in local libraries, School bullying?

40. The Questions In traditional research, researchers often say, I already know what I think about this topic. Now let me see if I can find a way to validate what I think. You do not begin with a hypothesis. Instead you enter the research with a set of fundamental concerns, issues, or problems. You are looking for solutions or insights that you do not already have. You are looking for a deeper understanding of the issues or problems.

41. The Questions The major research questions will arise from narrowing the topic and from your initial observations and conversations held with people in the community. The entire scope of your inquiry and research will inspire your questions: the literature, your own observations, what is known about the community, and your dialogues with the people that facilitate your entry into the community.

42. The Participants PAR is not driven by having a set number of participants to validate the integrity of the research. By reflecting in depth with a few people who are members of the community we can illuminate many of the issues that concern that community.

43. Portraits of the ParticipantsPortrait of the Researcher • The people with whom we are conducting research are the very life force of the invention or re-invention of knowledge within participatory research. Who they are, what their histories have been, their dreams for their communities, their hopes for their families and loved ones, their accomplishments and skills are all essential aspects of knowing and learning about the characters of the people themselves and the textures of their lives…they are not faceless, anonymous people intended to represent everyone or a given community. (Ada & Beutel, 1993, p.85)

44. Research Notebook • It is important that after each dialogue you jot down when it took place, the day, the time, duration, who was present, any interruptions, emotions, body language, gestures such as nodding, and circumstances that influenced the research, e.g. how you were feeling and any news of the day that might have some influence on the dialogue. • May help you make your subsequent dialogues more real and grounded.

45. Research Journal • The journal is a beautiful book of your personal journey. • Different from the notebook. • Dealing with the pain and suffering and everyday realities of your participants. • Did I listen sufficiently well? Was I present for the other person? Was I willing to experience and feel what the other person was sharing with me? Were there times when I should have stopped and listened more?

46. Research Journal • Did I ask enough reflection or did I just simply take what the person was giving and not help the person move to another level? • What has happened to me as an individual from the moment I first heard about PAR? • What do I feel towards this community that I did not feel before? • What do I know about the community beyond what gets put in the study? • What do I know about my own capacities as a listener, a speaker, and a thinker?

47. M & M Activity • Identify your favorite color M&M • Find someone in the room who also likes the same color

48. M & M Activity • Red is the leader of the crew – or so he thinks. He's scheming in a fun, mischievous way, sarcastic and tends to be theatrical. • Green is the attractive and intelligent one and she knows it. She's flirty and quick-witted with the rest of the gang – all of whom she finds a bit childish. • Yellow is more naive and clumsy than the other characters. He's also easily impressed – all in an innocent and charming way. • Orange is irresistible and delicious, leaving him feeling as though he's doomed to be eaten. • Blue is cool and maybe too sure of himself. He's always up on current events and loves to people watch.

49. Muddiest PointCheck-in Talking Chips What was the "muddiest point" so far with today's lecture? What is most confusing or unclear?

50. Five Stages of Photovoice I. Conceptualizing the Problem a. Selecting the site b. Selecting the methodology c. Sampling and recruiting