Showing posts with label diversity. Show all posts
Showing posts with label diversity. Show all posts

Saturday, October 7, 2017

Pedagogies of Survival: Teaching Trauma in Traumatizing Times


“Here begynnyth a schort tretys and a comfortabyl 
for synful wrecchys, wherin
thei may have gret solas and comfort”

The Book of Margery Kempe
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Compassion and Comfort

I ask only that we feel together for a time. I cannot tell you to imitate my method. I cannot tell you to imitate my feelings. I cannot fix this, these traumas new and old. I ask only that you listen for a time to my feelings and you feel your feelings alongside mine. If something I feel resonates with you, perhaps the sympathies will better us and strengthen us. I blush to say that our compassions, our feeling-together, may comfort us. By comfort I mean that fortification that being-together can give to those it connects. Comfort embiggens us so that we might together face the traumas which might crush us alone. Somehow, the comfort of feeling-together makes us a one that is more than two, yet bigger than one alone. I seek comfort that I might offer comfort, something I do not have on my own. I ask that we feel together because the feelings come without my asking, because I cannot ignore or avoid the feelings and so they must be faced. The seminar must go on, students and teachers must go on. Yet, how do we do this, yet remember as Edutopia does, "When Students Are Traumatized, Teachers Are Too." Many of us need more than a "pedagogy of trauma" but also "a pedagogy of survival" that will not only instruct our students but assist in a collective reclamation of life, power, and self.

This past week has been a representative embodiment of much of the work I struggle with this semester and other times in my work as a scholar, mother, and activist. This past week I have been tasked to teach trauma in a traumatic time to traumatized students. I take one this task as someone who has also struggled with trauma. How do I teach a seminar, "Beyond Male and Female: Histories of Transgender and Non-Binary Gender," discussing how bodies are stolen, imprisoned in mental hospitals, subjected to abusive conversion therapy, and pressed towards suicide in Dylan Scholinski's memoir, The Last Time I Wore a Dress? Can you possibly engage pain that students in the class not only understand but have experienced, and still feel? How do I teach my seminar, "Racism and Human Diversity: Medieval Narratives of Blackness," discussing how the trauma of slavery meets the horror of sexism in the stealing of bodies in Beloved by subjugation, rape, and torture? If each lesson plan has an arc, a beginning, middle, and end, where is it that I can bring my students? Certainly we do not live in a world without the ghosts and illness of white supremacy, racism, sexism, and their thieveries. And the text does not offer any such wholesale escape or escapism. There is liberation, there is hope, there is exorcism, but the scars and pain remains. I cannot tell the students how to fix trauma, where they might run to flee racism, how they might undo the knots of sexism and rape. I can offer them what teachers (including Dylan Scholinski and Toni Morrison) have taught me: how to survive, how to leave, and how to reclaim what has been taken, broken, killed. Yet this requires us to feel where and when we are, to feel where we and others have been, to feel together and find some strength which we might call comfort.


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Trigger Warnings

My students are tired, so tired, and the trauma we must discuss and share is triggering of wounds that have not scabbed. The rape, suicide, torture, death, and abuse of racism, gender, and disability that our texts ask us to feel-with is so heavy and our students are already carrying so much. The hope is that, even if the texts cannot lighten our loads, at least they can give strength through a shared affect and struggle. Yet these connects are hard and demand what Morrison calls a thick sort of love. These are connections that happen at the point of wounds and scars. When students ask to leave the room, I commend their self-preservation and self-care. When they return, I am grateful for their compassion. These are the skills that students have learned to survive trauma. These are good skills. These are lessons we need to share and on which we are trying to build. Comfort may help us survive but it is no guarantee. Some of us may break under the strain. These are the stakes of our learning about trauma and survival, these are the costs, and these are our hopes. Some view "trigger warnings" as extraneous to teaching, even antithetical to teaching because it seems to offer our students an "out" from dealing with difficult learning. I don't see warnings that way. I see the warning a part of the lesson. I see the warning as part of thinking about trauma. I see the warning as part of survival. I see the lesson as part of this survival. This is the lesson Denver learns in Beloved: if one can leave, sometimes one must leave. Students do not leave class because they are experiencing the lesson on trauma any less but because they are experiencing the trauma and the lesson that much more.

A dilemma in teaching about trauma is that trauma rarely exists within a discreet period of time or along a linear temporal frame. Trauma is less like a line than an organic vine with recursive bends back toward the points of unresolved hurt, away from points of pain, and run all through with a twisting anxiety. As instructors, we teach our students to be ever conscious about context, and so we must also be. This is another way that "trigger warnings" may serve as more than a deterrent or excuse. Trigger warnings is a way of acknowledging that traumas we have experienced may not be over simply because we have been able to show up to class. This week, as we discuss the KKK, slavery, the persistence of racism and its damage, white supremacists are once again marching. This week, as we discuss transphobia, the systematic isolation and exclusion of transgender, and the despair unto death felt by trans and other non-binary persons, the federal government works to take away job protections for non-cisgender persons. This week, as we discuss rape and the abuse of women, the same federal government makes it harder for such women (all women) to reclaim agency over their bodies and sexualities. This week, as we discuss violence and the hate that will not die, a mass shooting kills several dozens and harms countless. Do we offer our students escape and refuge? Or do we offer them a place to rally and resist? What if some students desperately need the former and other students are eager for the latter? What if we, the instructors, are feeling crushed under the weight our times? Our times can be poignant reminders of the lingering significance of texts and histories that may be decades or centuries old. Our times can also leave us speechless, unable to think or argue because we feel so much. Some lessons are meant to transport us somewhere, lead us to some conclusion. Some lessons are meant to help us sit exactly where we are, when we are, and help us to exist and survive together. Sometimes, a lesson is successful not because of what students walked away with but because students (and ourselves) were able to walk away.


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The Lessons that Don't Happen

This sum of trauma may be that the best lesson plan is sometimes the lesson that does not happen. There is power is being able to consider the people in the room, consider the time and context of the room, to consider the instructor in the room, and then change the lesson. What are some of these changes? What lessons emerge when we let go of the classes that won't happen? (Lesson 1) Students have more power than they may know. I have had classes where I've worked to help my students understand trauma in a text. Other times students understand this trauma uneasily well and the lesson becomes learning with them how to survive. Showing our students that we can change, change our directions, change our locations, change our plans, is a way of teaching them the lesson that things don't have to be this way. We have the power to adapt, evolve, respond to our environments. By listening to the students in the room, we teach (or remind) them about their own power. (Lesson 2) Remind students its okay to think with their feelings. At the start of my seminars, I tell my students that nearly all my classes teach the same three lessons but in importantly distinct forms, embodiments, and contexts: how to perceive power dynamics, how to affect/effect power, and how to wrestle with the ethics of power. Understanding that emotions are key to how social power functions and is manipulated, and affective well being is essential to ethical considerations, is a lesson students do not get enough. By acknowledging the struggle of working through pain and fear as well as the ethical role of compassion and comfort, we place our student's experiences in the center of a class, not somehow outside them at an impossible objective and amoral distance. (Lesson 3) The classroom is not the only place where learning and growth can happen. Again, sometimes the best lesson is the lesson not given, when we teach our students about the power to turn a class day into a mental health day: to get sleep, to take a long lunch, to lighten a crushing work load, to find comfort in their own way. As Edutopia succinctly writes, "Brains in Pain Cannot Learn." This may feel like giving up, giving students the day off, but in our humility we are reminding students of their own power to survive, enact self-care, and learn. 

In the end, a pedagogy of survival is not a lesson plan I can set in advance or summarize for those looking to imitate it. Trauma is like a cancer, a form of life that grows and changes. Likewise, survival requires adaptability and transformation in response to classroom environments and the lives that populate them. The lesson is to be able to let go of our lesson plans when our students and circumstances change. This does not mean that there are no ways forward. There are many ways forward. Which ways is best for you and your students greatly depends on who you are, where you are, when you are teaching, and what we all bring to the classroom. On each of my seminars, I ended the last class of the week by compiling lists of ways in which we can reclaim our power, our lives, and survive. We drew from their experiences and the text's offerings. Among the list was the comfort of writing, the comfort of reading, the comfort of sharing one's feelings with another. In its own way, this is a function or hope of www.ThingsTransform.com. This is a corner of the internet where we may share a corner of our minds and hearts. For that, I thank you. Thank you for feeling-together with me for a time. I do not know what it is you felt but knowing you are there gives me some comfort. Sitting alongside my self, I am not sure what lesson I walk away with, but I am grateful that tonight I can walk away from my work, leave it here, and go engage with the things that transform me.


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Monday, January 5, 2015

Access is Magic: Labor & Disability on My Little Pony

My Little Pony: Friendship is Magic Magic Mystery Cure RainbowDash Rarity Season Three Finale

"I wouldn't be standing here
if it weren't for the friendship 
I made with all of you." 

My Little Pony: Friendship is Magic
the Magic Mystery Cure

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'The Magic Mystery Cure' aired on 16 Feb 2013 as the finale 
to the 13 episode Season Three of My Little Pony: Friendship is Magic.
While I concentrate on the song "What My Cutie Mark is Telling Me,"
as a synopsis of the episode's key premise and conflict,
a broader examination of the finale is included in a note at the end.

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It's No Fun Being Me:

Environmental Disability

The second track of the season three finale, "What My Cutie Mark is Telling Me," introduces the problem which the narrative will attempt to resolve: what happens when your prescribed "destiny" contradicts your desires and talents? In Equestria, when a pony reaches maturity (around puberty) a cutie mark appears symbolically representing their special vocation. The arrival of the cutie mark usually culminates a long period of self-discovery. As such, for three seasons the show has more-or-less followed the premise that the assigned mark happily correlated with the orientations and abilities of the recipient. Following the introduction of a misunderstood spell by the show's protagonist, Twilight Sparkle, the cutie marks of her good friends get switched and suddenly each of them find out what happens when their naturally/magically determined vocation works against their ingrained characteristics. Each pony suffers undue hardship, ridicule, and a sense that they are failures, becoming effectively "disabled" by their social environment. 

Previously, I have connected the cutie marks arrival at puberty with the normative arrival of sexual and gender identity. Continuing this line of thought, being forced to perform a socially prescribed role contrary to one's desires and orientations fits fairly well with the show's general attention to tensions experienced by queer and transgender youth. Being pressured into a heterosexual relationship or to perform a cisgender identity scans fairly well with conflicts against "What My Cutie Mark is Telling Me." In this way, "destiny" or "cutie mark" could stand in for God, Nature, parents, the government or society in general. One could read further into several of the lines for a gender-sexuality conflict, such as when Pinky Pie (an otherwise hyper pansexual super-femme) sings, "I don't care for picking fruit and plowing fields ain't such a hoot. No matter how I try I can't fix this busted water shoot," while taking the role of the butch cowgirl lesbian Applejack. The penetrative metaphors of plowing, the aggressive sensuality of picking fruits, and the phallic imagery of a water shoot are signs of Applejack's female masculinity but in Pinkypie's hands they signal failed sexuality.

What happens, however, when we take the occupational aspect of the plot as more than mere metaphor, an exploration of environmental disability begins to arise. The distinction between the descriptors able-bodied and disabled has many times raised the question: able (or not) to do what? Once this question is asked, we are on our way to a critical social model of disability. Immediately, the able to ___ becomes evidently circumstantial. A deaf person may be less able to hear (according to normative definitions and expectations) but may be able to see. In this way, there is no universally able-bodied or disabled persons. Disability is contingent on the demanded task. Disability is in the environment. This fact has been pushed further to observe that most of disability is invoked as an occupational matter. Rights, compensation, limits, access, and disability language in general become financially, legally, and socially stressed in and around concerns of the workplace. Able to ___ quickly becomes "Able to work" or disabled. In this way, when five of "the Mane Six" get their cutie marks mixed up so that each of them finds themselves set up as failures by the vocational environments and demands of a mark contrasting with their abilities and interests, the disability register becomes more evident.


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My Little Pony: Friendship is Magic Magic Mystery Cure Pinkypie Fluttershy
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It has to be my Destiny:
Fixing Limitations

In turning the ponies into examples of disability, the episode overemphasizes their essential inability to perform a task beyond their traditional occupation. There is not a well established reason that Rainbow Dash cannot become skilled at taking care of animals when she receives Fluttershy's cutie mark, although her desires and talents point elsewhere. Indeed, it is different asking Rarity to fly like Rainbow Dash (she has no wings), than asking her to do Rainbow Dash's job of ordering the weather (which she finds a way to accomplish in her own way, using her unicorn magic). Because the show excludes a variety of physical disability narratives (e.g. blindness, deafness, needing assistive technology like a wheel-chair), this brief excursion into crip environment somewhat ignores differences in embodiment. Broadly speaking, most of the ponies are physically identical, excepting color and the significant presence or absence of horns and wings. 

The differences between  a unicorn (with a horn), a pegasus (with wings), and a land-pony (without horn or wings), frames the whole world with each of the three types working distinct kinds of jobs (Only a pegasus can control the weather, for instance). Although there is no evident hierarchy between these three types, few try to move beyond their prescribed order. In fact, Rarity's ability to order the weather without the wings and cloud-hopping ability of a pegasus suggests that she is on her way of developing alternatives to an assumed natural order. In this way, forcing the ponies to return to their traditional occupation may ease their comfort but denies the narrative that challenges the way that environments and professions are structured to deny access across the social orders. 

While choosing to resolve the problem with a fairly conservative "Born this Way" argument, again showing a background in non-radical LGBT politics, the song "What My Cutie Mark is Telling Me" gestures to alternatives beyond the one the show inevitably follows. "Maybe they will learn to like their new lives," suggests SpikeTwilight's dragon assistant after the song. "No!" replies Twilight, "They are not who they are meant to be anymore" (Translation by JoshScorcher: "How dare they do something they don't normally do!"). In short, while the song evidently critiques the notion that one can be handed a profession from on high as a "destiny" without problems, the counter-argument the show offers is that it is merely not the right destiny. The concept of growth and change is elided for a return to the status quo. In the end, liberty (even progress) is denied in favor of conserving traditional limits and power structures.


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My Little Pony: Friendship is Magic Magic Mystery Cure Applejack Twilight Sparkle
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What My Cutie Mark is Telling Me:

Liberating Access

While the show explores the negative affects of being forced into a disabling professional environment, it misses an opportunity by solving the problem merely by moving the "right" person to the "right" job, ignoring the opportunity to change the way the job is structured to better facilitate their needs and abilities. Opportunities for increasingly accessibility to move across professions are suggested within the song itself when Applejack turns her disabling circumstance into a call for collective support. "Could y'all give me a hand here and help me fix this mess?" asks Applejack, "My destiny is not pretty but it's what my Cutie Mark is Telling Me." If the audience takes the shift in profession as authentic, for a moment, the bias of the shows solution to restore ponies to their proper "destiny" demonstrates not merely a preference for the traditional way things have been done an aesthetic rejection of the ugly, difficult, and socially revolutionary. Rather than support those asking for help, by improving their circumstances, Twilight locates the problem in the individual.

Ironically, while the show's first two-thirds deals with fixing characters back into their traditional roles in society, the final third (which seems to come out of no where - see note) contradicts this message. By returning society to its idealized past and doing something no other pony can, Twilight Sparkle proves herself enough of a conservative and superior breed of creature that she is deemed fit for becoming a ruler of Equestria. In a sudden burst of magic, Twilight Sparkle is transported to a star-lit exterior where Princess Celestia tells her that her training has made her into the model princess, earning her the right to be transformed from a unicorn (with a horn) into an alicorn (with a horn and wings). By yoking her coronation with her transformation, the show upholds the idea that one's physical appearance determines one's social status while nonetheless admitting that in the case of "superiors" exceptions can be made. This is a fairly rote argument for royal monarchies: individuals stand above the law in order to administer the law to the common people.

What if the special favor done for Twilight Sparkle was widened to include other ponies? Based on the revelation that Princess Celestia has been helping to prepare Twilight for her transformation since the very first episode, there is evident reason to believe that occupational and material change is possible if a person is given the right training, environment, and support. Looking back, we see Celestia picking out Twilight for (1) ongoing individual attention consisting of regular lessons and missions, (2) moving Twilight from the city of Canterlot to Ponyville where she will have more room to grow, and (3) helping facilitate a community to form around Twilight to support her in her development. Here we find a good formula for social change, liberating persons from occupational and environmental disability. By limiting the access to these structural supports to an arbitrary few goes further to substantialize ableism, however, given that disability is not located in individuals but in systems. The able-bodied are socially designated as "able" because they have access to the mechanisms by power which gives them liberties which are denied to those to considered "disabled." Environments are not a phenomenon of "destiny," but social phenomenon where decisions are made to profit some at the expense of others. Twilight's ascension into the privileged class is an opportunity for her and the story to explore more of the social causes and repercussions of a hierarchal system where "destiny" and "cutie marks" are used as tools of control.


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My Little Pony: Friendship is Magic Magic Mystery Cure Mane Six Brony Pegasister
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More My Little Pony


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My Little Pony: Friendship is Magic Magic Mystery Cure Mane Six Brony Pegasister
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It's Time Now for a New Change:
A Note on the Season Finale

The plot arcs of Season Three of My Little Pony: Friendship is Magic was cut in half, consisting of a 13 episode order instead of the 26 that make up prior and later years. Surprisingly, the change was made because the show had become too successful for its own good. Reports suggest that the first two seasons had increased the sales of MLP merchandise to a peak that a full 26 episode order would not increase and a half-order would not likely diminish. Commentators have applauded this move by Hasbro as a "good business decision" while admitting that it comes at the expense of fans of the show who may complain that their loyalty is now being taken for granted. In any case, the shortened order seems to affect the story development in a few places in season three, most notably in the finale. 

In a move that one reviewer described both as earned and a clear move to sell a new line of toys, half of the season finale focuses on the sudden transformation of Twilight from a unicorn into an "alicorn" (a unicorn with wings - a distinction in the MLP world reserved only for the rulers) at which point she is declared a princess. How is the change both "earned" and "sudden?" As JoshScorcher notes, this development was clearly a point that the series had been working towards from the beginning when Twilight Sparkle is given a special training mission by Princess Celestia aimed at developing her leadership skills. Within the arc of the season and episode, however, the shift feels forced. 

The magical change and her sudden coronation are given little to no explanation either before or after. In fact, the show runners have admitted following the two-part premier of Season Four entitled "Princess Twilight Sparkle" that the tag at the end of Season Three was effectively part 1 of a 3 part arc. Putting the transformation in season 3 instead of season four was likely aimed as a pay-off for the loyal fans (who were being short-changed by 13 episodes) and to leave off on a cliff-hanger. Whatever the reason, the effect of the sudden shift at the end of the episode is that it rings disharmony with the message of the overall story.


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My Little Pony: Friendship is Magic Magic Mystery Cure Twilight Sparkle Princess and Celestia
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Blog: @ThingsTransform
Personal: @Transliterature

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My Little Pony: Friendship is Magic Magic Mystery Cure Princess Twilight Sparkle
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