Dipti Desai – författare

In this book, the authors’ post-capitalist approach to change focuses less on what we need to dismantle and more on what educators and activists are building in its place. Studying schools and other social organizations in the Global North and South, the authors identify and examine some of the most interesting counterhegemonic spaces in both formal and informal education today.

They view these spaces through a lens of what Gloria Anzaldua and Homi Bhabha call borderlands or "third spaces." These third spaces are created in-between our lived cultural and social identities (first space) and the dominant culture that seeks to define us (second space). This book seeks to better understand how these third spaces conceive of learning, how they are created, the range of experiences among them, the obstacles they face, how they are sustained over time, and how they have built global networks of solidarity. The creation of global networks of third spaces not only signals a shift in progressive political strategy but also an expansion of what counts as spaces that are educational.

This book is well suited to graduate and upper-level undergraduate courses in politics of education, sociology of education, education policy, as well as the humanities, sociology, political science, and the arts.

In this book, the authors’ post-capitalist approach to change focuses less on what we need to dismantle and more on what educators and activists are building in its place. Studying schools and other social organizations in the Global North and South, the authors identify and examine some of the most interesting counterhegemonic spaces in both formal and informal education today.

They view these spaces through a lens of what Gloria Anzaldua and Homi Bhabha call borderlands or "third spaces." These third spaces are created in-between our lived cultural and social identities (first space) and the dominant culture that seeks to define us (second space). This book seeks to better understand how these third spaces conceive of learning, how they are created, the range of experiences among them, the obstacles they face, how they are sustained over time, and how they have built global networks of solidarity. The creation of global networks of third spaces not only signals a shift in progressive political strategy but also an expansion of what counts as spaces that are educational.

This book is well suited to graduate and upper-level undergraduate courses in politics of education, sociology of education, education policy, as well as the humanities, sociology, political science, and the arts.

History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art.

History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking.

Features include:

This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.

History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art.

History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking.

Features include:

This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.

A radical anthology shaking up the canon by bringing together perspectives on art and activism across eras and cultures.

Thinkers, activists, and artists have long grappled with definitions of art, the role of activism, and the relationship between the two—answers that shift across historical and cultural frameworks. This anthology challenges and expands the canon by deliberately juxtaposing radically different conceptions of art and activism, bringing together thinkers from different eras, cultures, and geographies.

Rather than including case studies or manifestos, the texts are organized thematically: Art Unsettles: Social Systems and Critique; Art Reveals: Making the Invisible Visible; Art Resists: Everyday Interventions; Art Acts: Activism as Art; Art (Re)Orders: Making Sense of the World; and Art Imagines: Envisioning New Worlds.

Through this thematic structure, the anthology seeks to expand and decenter traditional canons. Each thematic section opens with a brief essay by the editors framing the central conceptual debates, inviting readers to engage with the tensions and possibilities at the intersection of art and politics. Among the writers included are: Gloria Anzaldúa, John Berger, Leanne Betasamosake Simpson, Octavia Butler, John Dewey, W.E.B. Du Bois, Frantz Fanon, Safdar Hashmi, bell hooks, Juan López Intzín, Audre Lorde, Herbert Marcuse, Jacques Rancière, and Ngũgĩ wa Thiong’o.