This semester’s Socials 9 curriculum was conceived with an intention to cultivate critical literacy, which I have come to define more and more as an ability to develop a praxis of reflection and action to continually discover and define meaning in an increasingly complex system. In learning from curricula, relationships or experience, individuals and societies alike are tasked with reinventing and transforming their reality as necessity and changing circumstances may dictate.
As I have attempted to re-imagine social studies as a venue for citizenship education, each of the TALONS classes have begun the semester with experiments in collaborative assignment and unit planning from the start. In considering our study of the English Civil War, there has been discussion of several questions:
What do we need to know?
The class began by considering course outcomes and evaluating text and online materials to help guide the discovery of the unit’s main ideas, events and historical personages. Then set about generating criteria, a schedule and daily means by which the agreed-upon content could be learned.
In collecting, distributing and summarizing a range of primary and secondary sources on early 1600s England, What do we need to know was joined by What is there to be known about the topic? And as the readings’ various themes and ideas were identified and organized, the discussion shifted to consider What is important to know about these topics? As well as What do I think about all of this?
But this was only one aspect of identification and collaboration to engage an agreed-upon problem. This is merely the deconstruction - the breaking into a million little pieces that could then be assembled into coherence anew through each learner/investigator’s reflection and action.
And it introduced a new question (and it’s a mouthful):
How do we know that we know what we’re now supposed to know (now)?
In terms of reconstructing that knowledge, effective learning should also address the question How do we assess the learning that has taken place? But in considering critical literacy and consciousness, it becomes important that this question in particular is asked in such a way that it continues to be driven by the collaborative acumen and expertise of the group itself, just as the unit has been planned and carried out thus far.
This aspect of assessment is traditionally a means of learning owned and operated by the teacher. But the crux of this type of collaboratively-designed learning, and of the development of a continual praxis of behaviour, teacher and student are each challenged to engage their critical literacy, which may also be described as a kind of empathetic design research.
In their paper, Rethinking Design Thinking: Empathy Supporting Innovation, McDonagh and Thomas describe a process during which,
“as designers use empathy to support their research, ‘design moments’ emerge which provide them with more design-relevant data and supports product innovation.”
Here we see the designer’s role shift to that of a co-investigator, where
“the designer and user engage as collaborators, and together develop knowledge and understanding in order to generate appropriate solutions for real needs.
“Empathetic design research relies on the user being an active and participating partner within the information creation and designing process.”
Design’s quest for innovation begins to find itself within an emerging confluence of educational philosophy. Isn’t this innovation what Gregory Bateson might have described as transformative learning, or what Paulo Freire deemed a ‘limit situation‘? This “simplicity of cause” comes as an affirmation of the ongoing praxis of co-investigation and co-creation that we might conceive of as critical literacy.
In looking toward assessing the English Civil War unit learning, the critical element arising out of the classes’ progress is the need for learners to acquire habits of mind and relation that make this continual praxis possible. For the TALONS (including myself), we may have found ourselves stalled and struggling to define and enact the required action for the moment. But while it may appear so on the surface, this moment of negative momentum is hardly an insurmountable obstacle. Indeed, it is the moment of tension in which true critical intelligences are asserted.
Critical Literacy in Assessment Methods
So we are confronted with the question, How do we know that we know what we’re supposed to know? It is a question of assessment, and one which is traditionally held at the end of units and courses of study as the sole dominion of the teacher. But such are the assumptions which bind both teachers and students to outdated pedagogies that may have fallen out of step with our stated intentions for learning: the apparent impossibility of imagining another way stops us from even considering it.
For my own part, even in projects and courses during which I have taken pains to co-investigate and instruct alongside my students as much as possible, the means of the learning still arrive at a point where my own voice is heard alone.
I arrive at a mark, and distribute feedback based on rubrics, course standards and report card criteria. And this isn’t to say that there isn’t still a place for this within institutionalized learning; indeed our competency and necessity as learning professionals is in many ways bound to our ability to evaluate and assess student learning.
But without obliterating the role of the teacher altogether, it is still possible to re-imagine the role of teachers in helping students direct not only the initial aspects of a project or course of study, but the means of assessment as well. To adopt the praxis of Freire’s critical consciousness is to confront the inherent difficulty of creating learning institutions where
“knowledge emerges only through invention and re-invention, through the restless, impatient, continuing, hopeful inquiry human beings pursue in the world, with the world, and with each other.”
While the teacher’s profession still involves the adjudication of academic or institutional success, the creation of a critical consciousness in schools still faces us with what Freire called “the teacher-student contradiction.” However, with the introduction of Russian philosopher Mikhail Bathkin‘s idea of polyphony, Alexander M. Sidorkin cultivates a third path between the ‘either or':
“Bakhtin’s principle of polyphony offers a radically new way of conciliation of power imbalance within mutuality of relation. According to Bakhtin, an author of the polyphonic novel creates heroes that are fully independent of their creator. The problem of authority imbalance may be misstated; it is the specific kind of monological authority that eliminates mutuality, not authority itself. The polyphonic authority creates mutuality, and only this kind of authority should be used in education.”