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Teaching to Learn
CONSTRUCTING KNOWLEDGE: CURRICULUM STUDIES IN ACTION
Volume 12
Series Editors
Editorial Board
Scope
“Curriculum” is an expansive term; it encompasses vast aspects of teaching and learning. Curriculum can be defined
as broadly as, “The content of schooling in all its forms” (English, p. 4), and as narrowly as a lesson plan. Complicat-
ing matters is the fact that curricula are often organized to fit particular time frames. The incompatible and overlapping
notions that curriculum involves everything that is taught and learned in a particular setting and that this learning
occurs in a limited time frame reveal the nuanced complexities of curriculum studies.
“Constructing Knowledge” provides a forum for systematic reflection on the substance (subject matter, courses, pro-
grams of study), purposes, and practices used for bringing about learning in educational settings. Of concern are such
fundamental issues as: What should be studied? Why? By whom? In what ways? And in what settings? Reflection
upon such issues involves an inter-play among the major components of education: subject matter, learning, teaching,
and the larger social, political, and economic contexts, as well as the immediate instructional situation. Historical and
autobiographical analyses are central in understanding the contemporary realties of schooling and envisioning how to
(re)shape schools to meet the intellectual and social needs of all societal members. Curriculum is a social construc-
tion that results from a set of decisions; it is written and enacted and both facets undergo constant change as contexts
evolve.
This series aims to extend the professional conversation about curriculum in contemporary educational settings. Cur-
riculum is a designed experience intended to promote learning. Because it is socially constructed, curriculum is sub-
ject to all the pressures and complications of the diverse communities that comprise schools and other social contexts
in which citizens gain self-understanding.
Teaching to Learn
A Graphic Novel
Kim Senior
Deakin University, Australia
and
Bianca Hill
Australian National University, Australia
A C.I.P. record for this book is available from the Library of Congress.
No part of this work may be reproduced, stored in a retrieval system, or transmitted in any form or by any means,
electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the
Publisher, with the exception of any material supplied specifically for the purpose of being entered and executed on a
computer system, for exclusive use by the purchaser of the work.
TABLE OF CONTENTS
Back to work 59
Unsolved, unresolved failure? (1) 60
What are “endearing” girls made of? 62
vii
Table of Contents
Teaching by preaching 65
What are “outspoken” girls made of? 67
Teaching by hand 68
The butterfly 70
ningen ga banjisaisoo ga uma 72
Speaking whose words? 74
References 105
viii
FOREWORD
An Artful Encounter of Pedagogy, Methodology, and Politics
The teacher is of course an artist, but being an artist does not mean that he
or she can make the profile, can shape the students. What the educator does
in teaching is to make it possible for the students to become themselves.
(Paulo Freire, 1990)
Paulo Freire firmly believed that creativity and imagination are essential to critical
pedagogical encounters that hold as central the making of a socially just world. Such
critical encounters encourage teachers and their students to be both curious about
their lives and the world around them, as well as nurture and cultivate our capacities
to imagine that which may yet be indescribable. In this sense, Freire conceived the
emancipatory educator to be an artist—an artist capable of making and remaking
social and material conditions with students, in the interest of practicing democratic
civic life. It is this artful dimension of teaching that also reflects a pedagogy of love,
where the different sensibilities of teachers and students intermingle courageously
and compassionately in ways that promote empowering and transformative encounters
with ideas, practices, and relationships that shape classroom and community life. It
is these transformative encounters—pedagogical, methodological, and political—that
pulse the heart of Kim Senior and Bianca Hill’s Teaching to Learn.
AS PEDAGOGICAL ENCOUNTER
ix
Foreword
ways, the novel unfolds through the process of key moments of organic inquiry born
from pedagogical struggles, as student teachers grapple with the expectations and
demands of the teacher preparation process. The result is a brilliant example of the
power of both the authority of individual experiences and collective interactions
to the transformative process of teaching to learn—for both students and the
teachers, alike.
This striking pedagogical encounter also demonstrates how experiences in
the classroom leave indelible impressions and traces of life, which often seem
imperceptible in the moment they occur but are, nevertheless, vastly meaningful
and consequential to the formation of teachers and their critical sensibilities.
Accordingly, the book highlights key pedagogical efforts to create the conditions
for student teachers to move more confidently toward their own experiences of
empowerment, both as individuals and members of a learning community, as they
grapple with everyday issues tied to their development as educators and cultural
workers. Moreover, through the process of piecing together lessons about teaching
and learning from actual experiences of participatory practice, this graphic novel
pushes the boundaries of engagement, in ways that delightfully invite us to be more
imaginative about our teaching and our efforts to construct new knowledge, as well
as produce accessible materials for a new generation of students entering the field.
AS METHODOLOGICAL ENCOUNTER
x
Foreword
AS POLITICAL ENCOUNTER
Also gleaned from the stories of learning that unfold in this graphic novel is a deeply
emancipatory epistemology that reinforces critical assumptions of teaching and
learning. One key assumption is directly linked to an understanding of learning as
social phenomenon grounded upon the movement of human relationships across an
array of classroom conditions always influenced by asymmetrical relations of power
tied to hegemonic schooling. As such, Senior and Hill’s elucidation of teaching to learn
also posits a powerful exposition of emancipatory teaching as being tied directly to
embodied political moments of everyday classroom and community life—moments
that can often be ignored, dismissed, or negated when classroom pedagogy reflects
the fractured, instrumentalized, and authoritarian logic of what Paulo Freire termed
banking education.
In direct contrast, the stories that unfold in Senior and Hill’s graphic novel
reflect lively and rigorous moments of teacher-student alliances in learning—moments
that can be simultaneously exciting, frustrating, contentious, confusing, humorous,
and joyful—carefully and lovingly woven together to create indelible stains of lived
experiences of teaching and learning, within an open and fluid context of problem-
posing education. Through the artful merging of the pedagogical, methodological, and
political, the graphic portrayals of actual classroom encounters, activities, poems,
and journal entries that give life to Teaching to Learn invite educators and students
to enter more profoundly into a liberatory practice of learning and knowing, where
teacher and students—as subjects of their own histories and destinies—discover
within themselves and each other meaningful ways to live, love, grow, and dream
together for a more just world.
Antonia Darder
Leavey Endowed Chair of Ethics and Moral Leadership
Loyola Marymount University
Los Angeles, California
xi
Getting all the ‘students’ onside
1
Getting all the ‘students’ onside
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Teaching to learn
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Getting all the ‘students’ onside
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Teaching to learn
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Getting all the ‘students’ onside
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Teaching to learn
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Getting all the ‘students’ onside
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Teaching to learn
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Getting all the ‘students’ onside
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Teaching to learn
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Jumping to the end
13
Jumping to the end
14
Teaching to learn
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Jumping to the end
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Teaching to learn
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Jumping to the end
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Teaching to learn
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Jumping to the end
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Teaching to learn
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Jumping to the end
22
Early days at Pasture Flats
23
Early days at pasture flats
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Teaching to learn
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Early days at pasture flats
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Teaching to learn
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Early days at pasture flats
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Teaching to learn
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Early days at pasture flats
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Teaching to learn
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Early days at pasture flats
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Teaching to learn
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rouvan luo, jonne hänet oli äkkiä kutsuttu, ja kun hän mennessään
kohtasi sisarenpoikansa, noin kaksikymmenvuotiaan nuorukaisen,
joka äsken vasta oli tullut maalta, niin hän käski tätä olemaan pihalla,
mutta ei muistanut antaa määräystä kapteeniin nähden. Juostuaan
portille Mitja kolkutti. Nuori mies tunsi hänet heti: Mitja oli jo useasti
antanut hänelle juomarahaa. Hän avasi Mitjalle heti pikkuportin,
päästi hänet sisälle ja riensi iloisesti hymyillen ennakolta
ilmoittamaan, että »Agrafena Aleksandrovnaa ei nyt olekaan
kotona».
— Sitä en voi tietää, jonkun upseerin luo, joka kutsui heitä, sieltä
lähettivät hevosetkin…
5.
Äkillinen ratkaisu
Näin sanoen hän äkkiä lähti ulos keittiöstä. Mutta Fenja pelästyi
tätä hänen lähtöään miltei vielä enemmän kuin hänen äskeistä
sisääntuloaan ja päällekarkaustaan.
Pjotr Iljitš ihmetteli yhä enemmän: Mitjan käsissä hän näki äkkiä
tukun rahoja, ja, mikä oli tärkeintä, hän piteli tätä tukkua ja astui se
mukanaan sisälle sillä tavoin kuin ei kukaan pitele rahoja eikä tuo
niitä sisälle: kaikkia seteleitä hän kantoi oikeassa kädessään aivan
kuin näytteillä, pitäen kättä eteensä ojennettuna. Poikanen,
virkamiehen palvelija, joka oli ottanut Mitjan vastaan eteisessä kertoi
myöhemmin, että tämä oli tullut samalla tavoin eteiseenkin rahat
käsissä, oli varmaankin siis kadullakin samoin kantanut niitä
edessään oikeassa kädessään. Rahat olivat sadan ruplan seteleitä,
ja hän piteli niitä verisin sormin. Kun asiasta huvitetut henkilöt
myöhemmin kysyivät Pjotr Iljitšiltä, paljonko rahoja oli ollut, niin hän
selitti, että silloin oli vaikea laskea niitä silmämäärällä, kenties niitä
oli kaksituhatta, kenties kolmetuhatta, mutta tukku oli iso, »tiivis».
Itse Dmitri Fjodorovitš taas, kuten hän niinikään myöhemmin todisti,
»oli myös tavallaan kuin poissa suunniltaan, mutta ei juovuksissa,
vaan ikäänkuin jonkinmoisessa innostuksen tilassa, hyvin
hajamielinen, mutta samalla näytti ikäänkuin keskittäneen
ajatuksensa johonkin, aivan kuin olisi jotakin ajatellut ja johonkin
pyrkinyt pääsemättä kuitenkaan päätökseen. Oli hyvin kiireissään,
vastaili jyrkästi, hyvin omituisesti, oli joinakin hetkinä niinkuin ei olisi
murheissaan, vaan jopa iloinenkin.»
— Mutta mikä teidän on, mikä teidän nyt on? — huudahti taas
Pjotr Iljitš katsellen vierastaan oudostellen. — Missä te olette noin
veristynyt, oletteko kaatunut, katsokaa!
— Miten niin?
— Sitä minä vain, että onpa teillä halua joutua tekemisiin jokaisen
kanssa… niinkuin silloin aivan jonninjoutavasta asiasta tuon
alikapteenin kanssa… Olette tapellut ja nyt kiidätte huimaa vauhtia
juopottelemaan — siinä koko teidän luonteenne. Kolme tusinaa
samppanjaa — mihin niin paljon?
— Mokrojeen.
— En ymmärrä teitä!
— Lataan pistolin.
— Tässä on paperipala.
— Miten väistyä?
— Mutta te?
— Riittää, menkäämme.
— Kiitos sinulle, veli. Minä olen villi, sanot sinä. Villi-ihmisiä, villi-
ihmisiä! Yhtä asiaa minä sinulle vain vakuutankin: villi-ihmisiä! Ahaa,
siinä on Miša, minäpä olinkin unohtanut hänet.
— Anna.