Culture Wars and Social Justice: Week 3 Pedagogy of the Oppressed

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On the Pedagogy (and theater) of the oppressed

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29 Terms

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Liberation Theology

  • Recognizes the need for liberaiton from any kind of oppression

  • Asserts that theology must grow out of the basic Christian communities and must not be top-down.

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Liberation Theology and Freire

  • Developed from Latin and African American Contexts

  • Criticism of capitalism/engagement with communitarian and Marxist formulation of emancipation

  • Focus on religious praxis

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Critical Literacy

  • learning as reflective and dialogical

  • Reading the word vs. the world

  • Integrationn of political dimension to education

    • Coconut tree

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Critical Pedagogy

  • Education as an act of humanization

  • Goal of education is not the individualist improvement of one’s lot but a collective liberation from conditions of oppression

  • Role of intellectuals: working with and not for people

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Critical Consciousness or Conscientisation

  • Awareness of social/political contradictions

  • Analytical attitudes towards one’s own positionality and circumstances

  • Awareness of patterns/internalization and prescription

  • Collective/collaborative process

  • No division between different forms of knowledge

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Replication of Oppression

  • Internalized Oppression

  • Mimicy, absence of self-reflection or critical consciousness

  • Inaction despite knowledge

  • Pacification, division

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Oppressor vs. Oppressed

  • Subject Positions: A false binary. Do not focus on the individuals, focus on the roles they occupy.

  • Dialectical relations: They feed into one another.

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Banking Method of Education

  • Learner as lacking/ignorant

  • Teacher as knowing/expert

  • Education as investment for social gains

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Dialogical Learning

  • Learner as knowledgeable

  • Teacher as facilitator; reciprocal

  • Education as process of collective liberation

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Educations Working With looks like…

  • Trust in the agency of the oppressed

  • Critical consciousness and empathy

  • Critical/liberation-seeking dialogue

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Agit-Prop

  • Agitational (excited affect from) propaganda (issue awareness)

  • Russia, 1917

  • Taking performance to public sites

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Epic/Dialectical Theater

  • Spectator becomes critical observer

  • Enstrangement: disrupt identification of spectator with action

    • Creation of critical distance

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Drama and Critical Consciousness

  • Chorus as commentator

  • Direct address

  • Acting technique in 3rd Person

  • Documentary/instruction projections

  • Unveiling the backstage

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Freire’s Influence on Boal

  • Breaking the fourth wall: spect-actors

  • Demechanization and humanization

  • Theater as dialogical process of social transformation

    • Theater as rehearsal for revolution

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Dehumanization

  • a result of an unjust order that engenders violence in the oppressors

  • flattens both oppressed and oppressor

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False Generosity

Without critical praxis, any good deed done by the oppressor is inutile or struggles to call for freedom. True generosity liberates.

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Dehumanization of the Oppressor

  • An owning-instinct. A will to objectify.

  • “to be is to own/have/oppress”

  • Necrophilic World: To be sadistic. To impinge on the rights/freedoms of others to live. A drive to death.

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Dehumanization of the Oppressed

  • A subjugation instinct. A will to be objectified.

  • “To be is to be owned/oppressed”

  • Necrophilic World: To live without freedom of will.

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Alignment with the Oppressor Role

  • The oppressed will first want to identify with the oppressor, to become the oppressor. They must realize that liberation is to collapse the role of “oppressor” entirely.

  • The oppressor will struggle to detach themself from the interests of the role they were given. Any inch given feels like disempowerment.

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Pedagogy of the Oppressed

  • Who else knows about oppression more than the oppressed?

    • Oppressor-pedagogy is objectifying, egoistic, oppressive.

  • The oppressed must humanize, subjectify themselves to learn more about themselves and move to liberation.

  • Then, they must act. It means nothing without action. (Praxis)

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Solidarity

Solidarity requires that one enter into the situation of those with whom one is solidary; it is a radical posture. It is to transform objective reality.

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Violence and Oppression

  • Hindering one’s pursuit of self-affirmation, to reject one’s humanity.

  • The oppressed’s rebuttals/replying in violence is not the primary form of violence.

  • Humanization is therefore an act of love.

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Oppressor Solidarity

  • The mark of cain follows

  • Bourdieu. Their background is inherent to them. They may become savior-types; they do not trust the objects of their saviorship. They may be unwilling to actually uproot the system.

    • They must recognize the strength of the oppressed.

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Oppressed Solidarity

  • They may direct harm horizontally: at each other.

  • Their position in life feels God-given. So why change it?

  • Inability to realize their own knowledge and power. They were raised to distrust themselves.

    • They must see the weakness of the oppressor.

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The Cop in Our Head

  • Internalized oppression, cynicism, or self-policing

  • Headquartered in external reality

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Principles of the Theater of the Oppressed

  • To help the spectator become a protagonist of the dramatic action so that

  • They can apply those actions they rehearsed in the theater in reality

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Hypothesis 1: Osmosis

  • Values of the macro bleed in and reflect in the micro

  • Hegemony: the dominating ideas in a given society are those of the dominating class

  • The traditional theater play osmoses ideas; looping between actors and watchers

    • Break what is holy and introduce external reality to the stage

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Hypothesis 2: Metaxis

  • Traditional Theater: Empathy (Inner Feeling). We project our inside feelings to what we watch.

  • Theater of the Oppressed: Sympathy (Feeling with). Spect-actors create and generate their own feelings.

    • aestheticizing reality

  • Everyone a unique spect-actor

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Hypothesis 3: Analogical Induction

  • Sympathy is immediate in a theater full of your community members due to their shared experience. However, it is possible someone has a distinct experience they share, which shifts the group back to empathy.

  • To solve this, open discussion, ask for varying experiences, solutions, reflections. Provide a distance between action and reflection. The person becomes both subject and object.