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 “when the word globalization Issubstituted for the word imperialism, or when the prefix‘post’ is attached to colonial, we are no longer talking simply about historical formations, which arestill lingering in our consciousness” (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. BUT IT CANT STOP THERE. 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 Voices: about children • Such as those documents produced by governments and NGOs (which talk about children) • Often deal specifically with policy and implementation • More recently have centered around UNCRC (United Nations Convention on the Rights of the Child) • While children are the subject matter, these text are often inaccessible (in language and access) to children AND exclude children from dialogue

18. 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.”

19. Institutional Voices 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

20. SOCIETY Children’s own culture

21. CHILDREN’S VOICES • what children themselves have to say about their own lives • Because of the imbalance of power - are often produced and published with ADULT ALLIES • Are subversive • Children are the gate keepers to this information • Therefore it require an ethnographic approach to research • BUT one that must be ethical, anti-oppressive, and child centered

22. Summary • To understand contemporary children's culture- requires an understanding of globalization. • A three pronged approach that explores the three voices that encompass children’s lives • A commitment to ethical, anti-oppressive, indigenous, and child-friendly research • And a dialogue between the local and the global This is globalization, history, theory and writing.