Globalization, History, Theory & Writing

1. Globalization, History, Theory & Writing The “Local” and The “Global” of Contemporary Children’s Culture

2. Overview: • This lecture will highlight: • Contemporary children’s culture on both a local and global scale • How international migration (of more than just people) affects children and their culture • The challenges globalization presents to researchers working with children • The importance of context and ethnography to conducting research with children

3. To do this we will unpack • Globalization • The Three voices of CCC: • institutional (about children) • Institutional (for children) • Children’s voices As seen through • The local and the global of children’s rights • The local and the global of popular culture • The local and the global of research methodologies

4. GLOBALIZATION

5. Is Really About Voice, Power, & Imperialism

6. Its a Loaded Term -As difficult to define as “culture” BASIC METAPHORS: • Removal of barriers • The world as Infinitely smaller/ infinitely larger EARLY INTERPRETATIONS • As a global village (McLuhan, 1962 ) • As disjuncture: ie. “5 scapes” (Appadiurai,, 1990) • As advanced capitalism (Jameson, 1991) • Cultural Imperialism (Schiller, 1991) MORE RECENT RE-INTERPRETATIONS • As hybridization ( NederveenPieterse, 1994) • As a process of negotiation (Storey, 2003) • As a space for resistance (Kahn & Kellner, 2005, Buckingham 2010)

7. OUR definition of globalization “The movement, interaction, sharing, co-option, and even imposition of economic goods and services, cultures, ideas, ideologies, people’s lives and lived experiences, food, plants, animals, labour, learning, play, practices, and knowledge(s) across time and space(s) previously thought to be impossible or at the very least improbable.” (Gennaro, 2010) BUT: • ITS NOT A-HISTORICAL • IT IS NOT STATIC • IT IS NOT FINITE • IT IS NOT INNOCENT

8. Its Frames The Child’s Experience • “It appals us that the West can desire, extract and claim ownership of our ways of knowing, our imagery, the things we create and produce, and then simultaneously reject the people who created and developed those ideas and seek to deny them further opportunities to be creators of their own culture and own nations.” (Linda Tuhiwai Smith, 26)

9. History, Theory, & Writing HISTORY: • Its about story telling- • but who’s stories are being told? THEORY: • Is about understanding the dynamics and relations of power in society • ADULT vs CHILD • POWER vs POWERLESS • REPRESENTATION vs REALITY • FASLE GENEROSITY vs ADULT ALLIES WRITING: • Is about naming the word and naming the world. • The power of language

10. We must flip the map

11. History, Theory, & Writing - Flipping the Map CHILDREN AS: HEROES IN HISTORY (Davis, 2010) CITIZENS IN THEORY & ACTION (O’Neil, 2010) WRITERS OF THIER OWN EXPERIENCE (Buckingham, 2010) “

12. The Need for Praxis & Critical Theory in Children’s Studies “ One cannot expect positive results from an educational or political action program which fails to respect the particular view of the world held by the people. Such a program constitutes cultural invasion... The starting point for organizing the program content of education or political action must be the present, existential, concrete situation, reflecting the aspirations of the people.” (Paulo Freire, 95)

13. The Local and The Global • The global does not eliminate the local or its importance • Instead it reinforces the need for authenticdialogue between: dominant and subaltern, core and periphery, oppressor and oppressed, institutions and individuals, adults and children • Its about –voice- access- agency-

14. The Three Voices of Contemporary Children’s Culture

15. Where CCC happens

16. THREE VOICES • Institutional Voices: about children • Institutional Voices: for children • Children’s Voices It is at the intersection of all three that we find access to contemporary children’s culture

17. Institutional- ABOUT CHILDREN

18. The UNCRC (1989) PROS CONS Its “universal”- it universalizes Too focused on protection rights The creation of “norms” has a Western bias just because it was signed doesn’t mean its being implemented No REAL legal recourse • Its “universal”- a global doc. • ratified by 192 countries • provides definitions of key terms like: child or best interest principle • was drafted through continual dialogue with many different partners globally • It’s a convention not a declaration

19. Silent Citizens (2007) Pros Cons Was published in 2007 but with very little follow up written by adults and for adults The language, text, form, and length all prevent access to children fails in its recommendations to call for legislation to ensure that children are included in this process Focus on protection The title assumes that children are citizens! • A government report • Clearly states how Canada had failed in its commitment to: • the UNCRC and • to its own youth • to its aboriginal communities • Emphasizes the major role that poverty plays in this

20. Building a Cultural Bridge (Twum-Danso, 2010) Local & Global For the UNCRC For Silent Citizens Has called for more local engagement by Provincial Government with youth Has called for an increased emphasis on eliminating poverty at Federal Level Has called for a Children’s Commissioner Has attempted to include local NGOs and children in the discussion It can be used as a starting point for local discussions, legislation, and action Internal discourse is needed • Open ended definitions allow for local interpretations • The UNCRC needs to be seen as a work in progress (not a final stance) • It can be used as a starting point for local discussions, legislation, and action • Internal discourse is needed • Engaging the public • Raising their awareness • Encouraging debate, artistic expression, and soc/pol action

21. Institutional- About Childrenexample: THE UNCRC • Children in the global present are heavily represented in institutional texts • HOWEVER: the representation is ceremonial, iconic, and empty • The reality is what Macedo (2000) calls the cultural schizophrenia of marginalized groups: “being present and yet not visible, being visible and yet not present.”

22. THREE VOICES • Institutional Voices: about children • Institutional Voices: for children • Children’s Voices It is at the intersection of all three that we find access to contemporary children’s culture

23. Institutional- FOR CHILDREN • Often found in media and children's literature (and how these institutional ideas are explained to children) • Are spaces both for dominant and alternate expressions • Can best be explored using Kellner’s 3 pronged approach (2009) that incorporates: • political economy, textual analysis and audience reception

24. CULTURE

25. representation is NEVER proportionate*” ”

26. SOCIETY Children’s own culture

27. Media reproduces Bias & Stereotypes According to Michael Bugeja in Living Ethics Across Media Platforms (2007) • Media create perceptions, for better or worse • And since media professionals often depict society without fully experiencing diversity of it • Coverage has a tendency to promote stereotypes instead of diversity *Tolerance is needed*

28. Bias or Tolerance?

29. How does meaning get made? production consumption NEGOTIATION production consumption

30. Institutional- For Childrenexample: Children & Popular Culture NEGOTIATION

31. Popular Culture as “contested space” • The place where economic difference: • is made “real” • legitimated • crystallized • This is the making, marking, and maintaining of social difference (Bourdieu,1987) • But it is a contested space and therefore it is dominant • NOT determined (Hall, 1980) • Its about a negotiation between the local and the global

32. THREE VOICES • Institutional Voices: about children • Institutional Voices: for children • Children’s Voices It is at the intersection of all three that we find access to contemporary children’s culture

33. Using Anthropology to study children’s own culture

34. Spaces and Third Spaces

35. A Re-Interpretation of the Public Sphere? • Access to children’s third spaces connects to Habermas’s ideas of the public sphere (1962) • And raises the notion that a) Children need access to a public sphere b) It may already exist • As Kellner argues (2000) there is an importance of conceptualizing the public sphere as not as ONE, but as MANY, overlapping- and often in conflict

36. Children’s Voicesexample: Researching WITH Children Requires a generational and a macro approach (James & Christensen, 2009)

37. This means asking questions about research methods According to Smith (1999) practicing “Indigenous Research” means asking (both before and throughout): • Whose research is it? • Who owns it? • Whose interests does it serve? • Who will benefit from it? • Who has designed its questions and framed its scope? • Who will carry it out? • Who will write it up? • How will its results be disseminated?

38. This means asking questions about research methodologies Questions to consider Spaces to find feedback David Buckingham’s work at London University, and Centre for the Study of Children, Youth and Media (2010) Or Kellner and Kahn’s work on oppositional politics on the internet (2005) Our students work with kids • Can the subaltern speak (Spivak, 1988)? • What does it mean to speak back to dominant norms? • What does it look like when the empire writes back to the centre (Rushdie, 1982)

39. THIS IS WHAT WE DO! HUMA 1970A Shoreham Literacy Project Kids With Camera HUMA 2690 STOMP Kids With Crayons HUMA 4142 Kids and Facebook CHYS 4P16 Local voices to global children

40. Youth Voices Speak Back

41. Concluding Thoughts “When indigenous peoples become the researchers and not merely the researched, the activity of research is transformed. Questions are framed differently, priorities are ranked differently, problems are defined differently, people participate on different terms.” (Smith, 193)