Provoking Curriculum Call for Papers
February 17-19, 2017
Eighth Biennial Provoking Curriculum Conference
Faculty of Education, McGill University, Montreal, Canada
Co-sponsored by CACS (Canadian Association for Curriculum Studies)
We welcome submissions to the upcoming Provoking Curriculum conference. While we invite any and all pieces that address your current work in curriculum studies, we especially invite submissions that speak to “Curriculum Encounters.” We welcome proposals for: papers and panels; poetry, arts-informed, and performative pieces.
“Curriculum Encounters” attends to how curriculum, never politically neutral nor materially inert nor disembodied, is always ‘in the making.’ We understand ‘making curriculum’ as very different from the notion of curriculum as a “management category” preoccupied with making a “language of input and output within a production system” (Aoki, 2005, p. 271). Instead, we know that ‘making curriculum’ (as well as unmaking it) carries ethical charges, opening ourselves to encounters (past, present, future; expected and unexpected): (1) with a plurality of voices, beings and bodies, which are all in movement, (2) in spaces that may be disciplinary, interdisciplinary or transitional/in between), and that through our encounters (3) affective intensities may be produced, which can 4) inspire new ethical charges.
Therefore, the proposed theme includes the following (4) thematic strands: Plurality, Spaces, Intensities, and Charges.
Whose voices, beings or bodies need to be considered in our curriculum encounters? As Maxine Greene (and Hannah Arendt) remind us, plurality is “the condition of human action because we are all the same, that is, human, in such a way that nobody is ever the same as anyone else who ever lived, lives, or will live” (Greene, 1995, pp. 155-6).
What kinds of curricular spaces (e.g., disciplinary, interdisciplinary, transitional/in between, “places d’accueil”) can be created to be open to a plurality of voices, beings and/or bodies? In what kinds of spaces are curriculum boundaries made and unmade? By whom, where and why? How can such reconfigurations contribute to projects of curricular reconstruction (Pinar, 2011)?
Which curricular intensities will conduce to attuning and opening us to plurality and differences? What kinds will produce discomfort and provoke thinking? How can we become better attuned to the “affective discharges of the semiotic” (Lewkowich, 2015, p. 46) including instances “where the body takes over from … words” (Phillips in Lewkowich, 2015)?
What kinds of curricular charges (e.g., responsibilities, commitments, projects, movements), might emerge from these intensities so as to catalyze consciousness and move us towards more “just and caring” classrooms and curricula (Greene, 1995, p. 167), ones that address such important contemporary issues as sustainability and wellbeing, and that can continually bring us back to the question: “What is the significance of inviting people to take up what really matters to them?” (Chambers, 1998, p. 17).
When submitting a proposal, include the following:
- Name & e-mail address for each participant involved in the proposal
- Institutional affiliation
- Title of the presentation
- 250-word abstract with a clear explanation of the presentation format
Please submit your proposals by September 6, 2016 to email@example.com.
The conference will open Friday evening with a plenary, with sessions running Saturday and Sunday, and concluding Sunday at 3:30 pm. We are anticipating publishing from the conference (e.g., journal issue; edited book): more news at the conference itself!
Thank you and we look forward to your submissions!
Provoking Curriculum Organizing Committee
Teresa Strong-Wilson (McGill) & Avril Aitken (Bishops), co-presidents of CACS, with Mindy Carter, Margaret Dobson, Christian Ehret, Lisa Starr, Paul Zanazanian (McGill), Sandra Chang-Kredl (Concordia) & McGill doctoral students Mitchell McLarnon, Shauna Rak, Abigail Shabtay, Layal Shuman, & Amarou Yoder; thank you to Shauna for permission to include the ‘provocative’ image included in this Call.
Aoki, T. (2005). In the midst of slippery theme-worlds: Living as designers of Japanese Canadian curriculum (1992). In W. Pinar and R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted T. Aoki (pp. 263-77). Mahwah, NJ: Lawrence Erlbaum.
Chambers, C. (1998). On taking my own (love) medicine: Memory work in writing and pedagogy. Journal of Curriculum Theorizing, 14 (4), 14-20.
Greene, M. (1995). Releasing the imagination: Essays on education, the arts and social change.
San Francisco: Jossey-Bass.
Lewkowich, D. (2015). Reminders of the abject in teaching: Psychoanalytic notes on my
sweaty, pedagogical self. Emotion, Space and Society, 16, 41-47.
Pinar, W. (2011). The character of curriculum studies: Bildung, currere, and the recurring question of the subject. New York: Palgrave Macmillan.
[in education], an open access, peer reviewed journal exploring the
landscape of the field of education has just published its latest issue at
http://ineducation.ca/ineducation. We invite you to review the Table of
Contents here and then visit our web site to review articles and items of
Thanks for the continuing interest in our work,
Patrick Lewis, Editor-in-Chief
Shuana Niessen, Managing Editor, in education
[in education] is a peer-reviewed, open access journal based in the Faculty
of Education at the University of Regina, in Saskatchewan, Canada. The
journal has been in existence since 1993, but published its first issue as
an online journal in December of 2009. To access archives, click on the
Follow in education on Twitter: https://twitter.com/ineducationca
Vol 21, No 2 (2015): Autumn 2015
Table of Contents
James McNinch, Valerie Mulholland
Possibilities for Students At-Risk: Schools as Sites for Personal
Brenda J. McMahon
The Gap Between Text and Context: An Analysis of Ontario’s Indigenous
Education Policy (26-48)
Jesse K. Butler
Thinking Together: A Duoethnographic Inquiry Into the Implementation of a
Field Experience Curriculum (49-64)
Jackie Seidel, Laurie Hill
Finding Courage in the Unknown: Transformative Inquiry as Indigenist Inquiry
Indigenous Knowledge Realized: Understanding the Role of Service Learning at
the Intersection of Being a Mentor and a College-Going American Indian
Christine A. Nelson, Natalie R. Youngbull
Inquiring Into the Assessment Education of Preservice Teachers: A
Collaborative Self-Study of Teacher Educators (110-126)
Elizabeth Ann Munroe, Jennifer Mitton-Kükner, Deborah Graham
Using Art-Based Ways of Knowing to Explore Leadership and Identity With
Native American Deaf Women (127-149)
Damara Goff Paris
Reading Silenced Narratives: A Curricular Journey Into Innu Poetry and
Bush Cree Storytelling Methodology: Northern Stories that Teach, Heal, and
A Review of There is No Need to Talk About This: Poetic Inquiry from the Art
Therapy Studio, by Karen O. Wallace (179-181)
Why Native poets, and their languages, are so often misunderstood
by Corinne Segal November 23, 2015 at 11:20 AM EST
Poet Joan Naviyuk Kane. Photo by Brian Adams
Alaskan Native poet Joan Naviyuk Kane’s poems grow from one word.
In the case of the poem “Compass,” that word is “Uaałukitaaqtuq,” an Inupiaq word that describes the feeling of being “in a boat, and the waves are rocking you back and forth,” Kane said.
Kane writes in Inupiaq, one of the languages spoken by the Native Alaskan people. Many of her poems are inspired by the sound or feel of one word; then, she “build[s] the poem, either through sonic value or tone or emotional value, or intellectual resonances that come up through language,” she said. Kane, who lives in Anchorage, Alaska, often asks her mother, who taught her and her sons Inupiaq, to suggest certain words or phrases.
The act of writing in a Native language is one tool against the misconceptions that exist about Native people in the U.S. — those that do not account for the reality of diverse, thriving Native cultures, she said.
“There is something that is very troublesome to me about … playing into this continued exoticization or fetishization of the Native person as a relic of the past, as a romantic figure, as something outdated or very other,” she said. “Native people from very different parts of the United States are expected to have similarities because we happened to be colonized by the same government — there’s something problematic there.”
The work that Native artists produce speaks to the diversity of Native people in the U.S., she said. “In Alaska, we still call ourselves Eskimo people. We’re very different, culturally, linguistically, socially, geographically, than what people consider the American Indian population,” she said.
“Compass” began as an exploration of her mother’s relationship with her sons. But “it became instead, like many of my poems, a more terrifying psychological exploration of what it means to be a woman,” she said.
The poem outlines the speaker’s physical reality in short declarations, a linguistic pattern that which Kane said reflects her understanding of Inupiaq. Read more…
14th Annual Symposium of Native and Indigenous Scholarship
at the University of Washington, Seattle
wǝɫǝbʔaltxʷ Intellectual House
May 8, 2015 9:00-5:00
2015 CALL FOR ABSTRACTS
“Indigeneity in Motion”
A Close Look at Movement, Migration, and Transformation
To live is to move. Indigenous peoples have always been in motion, by necessity of sustenance or preservation of extensive trade routes (Vizenor, 2009). Our understanding of movement is that it is on a continuum and thus cannot be reduced to what is static (Bergson, 1911). Movement is essential for life and is a natural right. Further, Indigeneity in motion coupled with active presence is a form of tribal sovereignty. In the words of Gerald Vizenor, “The sovereignty of motion is mythic, material, and visionary not mere territoriality, in the sense of colonialism and nationalism” (Vizenor, 2000). Indigenous conceptions of motion connect Indigenous peoples to their stories of emergence and migration and place us in direct relationship with our environment and our natural world relations. Broadly conceptualized, movement can be discussed in terms of peoples, rights, climate, health, culture, time (history), space, technology or information, water, land, borders, and more. Indigenous graduate, professional, community and undergraduate students and scholars, staff, and faculty are invited to submit summaries or abstracts for the opportunity to present work relating to this year’s theme.
Please submit a 250-word abstract to firstname.lastname@example.org with the subject “NOIS Symposium Submission” by Friday, April 10, 2015. Presentations can take any one of the following formats:
● Paper presentation
● Panel Discussion (4 members max)
● Artwork (visual or musical; submission no longer than 20 minutes)*
● Short film
*Poetic submissions should be the actual poem(s). Artistic submissions should include a photograph and description. Musical submissions should describe lyrics/music as they relate to the theme. Submissions should include:
● Title of presentation
● Authors & Affiliation (School, Department, Institution, Organization, Tribal Nation)
● Contact information (email and telephone number)
● Presentation format (oral presentation, poster, or panel)
Acceptance letters will be sent out on April 14, 2015 to the email address indicated in your submission.
Please join us at the newly opened wǝɫǝbʔaltxʷ Intellectual House on the UW Seattle campus,
4249 Whitman Court, UW Seattle Campus (E. Stevens Way and Whitman Court NE)
Monday, March 23: Eco-Poethics & Discussion Around Community Engagement
Join the Faculty of Education Community Engagement for collaborative performances and discussions about the companion-planting of ideas (poetic, storytelling, movement, design, music, dramatic, etc.) to explore critical and ethical ways of community engagement and agency.
Community includes: human, non-human and more-than-human.
Three sharing circles will be shaped by the following themes:
local & global
equivalency of epistemologies & methodologies
social & eco-justice