In the second half of our conversation Victoria Rue talks about the
importance of theatre in the classroom as a way to break out of the ruts and old habits of traditional teaching. She offers suggestions for tools on the journey, as well as stories of her own experiences of transformative teaching and learning with students. Rue, like Marc Weinblatt in the previous podcast in July, calls attention to theatre as a necessary pedagogical method for social justice education.
Victoria Rue is a professor, author, playwright, theatre director and workshop leader, and Roman Catholic womanpriest. She has taught at San Jose State University from 2004 to the present in Comparative Religious Studies and Women’s Studies. In the Fall of 2018 she will be at Dar Al Calamar University College in Arts and Culture (http://www.daralkalima.edu.ps/en) Palestine as a Fulbright Scholar. For Rue learning is an encounter with the self and others, and theatre is a way to engage the whole person in critical thinking and engaging stories. She uses theatre as a way to teach cooperation, community building and somatic learning (embodied pedagogy). Through theatre games, improvisation, writing exercises, and the performance of plays, Rue creates learning communities that explore new possibilities for social change. Her work addresses issues such as HIV/AIDS, domestic violence, lgbtq issues, and homeless youth. With Augusto Boal, Rue sees “theatre as rehearsal for revolution.” According to Rue: “Theatre is an arena in which we can dream what we want in our society.” Her book, Acting Religious: Theatre as Pedagogy in Religious Studies (Pilgrim Press, 2005) has both theory and practical examples of her pedagogy and theatre work. For more information see her website: www.victoriarue.com
In Part One, Victoria talks about her theatre background and the major influences on her work.
In Part Two: Theatre for Systemic Change, Marc talks about his experiences with Forum Theatre and Legislative Theatre in addressing community issues. With over 30 years experience, Marc shows the successes, opportunities, and future vision of his theatre work.
The Mandala Center for Change: “Founded in 1999, the Mandala Center is a multi-disciplinary arts education organization dedicated to community dialogue, social justice, and societal transformation.”
Read the article by Marc Weinblatt & Cheryl Harrison, “Theatre of the Oppressor: Working with Privilege Toward Social Justice,” pp. 21-21 in “Come Closer”: Critical Perspectives on Theatre of the Oppressed, eds. Toby Emert & Ellie Friedland (Peter Lang, 2011).
“Theatre is a form of knowledge; it should and can also be a means of transforming society. Theatre can help us build our future, rather than just waiting for it.”—Augusto Boal, Theatre of the Oppressed
Marc Weinblatt has been a professional educator, theatre director, activist, and workshop facilitator since 1980 having extensive experience with both adults and youth. An internationally recognized leader in the use of Augusto Boal’s renowned Theater of the Oppressed (T.O.) to stimulate community dialogue and social change, Marc has worked with diverse communities ranging from police to homeless youth, grassroots organizers and laborers to University deans. Internationally, he has worked with activists in Norway, Holland, and Canada, youth workers in Guatemala, refugees in Azerbaijan, ex-combatants in Northern Ireland, construction workers in South Africa, slum families in India, community workers in the Republic of Congo, and victims of war, among others, in Afghanistan. Marc was named “Cultural Envoy” by the U.S. State Department for his work in the Congo in spring 2010. Marc regularly facilitates T.O. based diversity / anti-oppression workshops in a wide variety of contexts across the U.S. with a commitment to bringing a deep sense of spirit and humanity into social justice work. He also directs the multi-generational Poetic Justice Theatre Ensemble which incorporates T.O. and Playback Theatre techniques to generate community dialogue on burning social issues. One of Augusto Boal’s “multipliers”, Marc has trained thousands of people in the use of Theatre of the Oppressed techniques through his classes and annual week-long intensive trainings since the early 1990′s. Marc is also a dedicated father of 4 beautiful boys. (bio from the Mandala Center for Change website: http://www.mandalaforchange.com/site/about-us/our-team/)
In Part One: Theatre of Liberation, Marc shares his theatre background and outlines Augusto Boal’s Theatre of the Oppressed (TO) and Playback Theatre (founded by Jo Salas and Jonathan Fox). He draws examples from his experience with homeless and lbgtq youth.
In Part Two of our conversation Chris Crass talks about what activist/popular education and movement building mean for higher education. Chris is a co-founder of the Catalyst Project: Anti-Racism for Collective Liberation (https://collectiveliberation.org/) that offers political education and organizing support. He also discusses his commitment to dismantling patriarchy and misogyny (see his essay: http://thefeministwire.com/2013/06/against-patriarchy-tools-for-men-to-further-feminist-revolution/). Systemic change brings personal transformation. In these times of attacks on equity and racial justice, Chris discusses how to find hope in resilience and resistance. First step: to educate ourselves and show up for racial and gender justice. Chris reminds us: We are the 99%.
In Part 2 Stephen introduces us to Eduard Lindeman (1885-1953), a pioneer in adult education who wrote one of the first books on community development (The Meaning of Adult Education, 1926; Brookfield, Learning Democracy: Eduard Lindeman on Adult Education and Social Change, 1987). Lindeman explored “life-centered learning,” believing that “education is life” and that student and teacher experiences and autobiographies mattered in the classroom. The learner is central in Lindeman’s educational theory; the starting point is always the lives of the learners and the primacy of experience. Co-operative education leads to social justice action. Stephen talks about his friendship with Myles Horton, one of the founders of the Highlander Center in Tennessee who linked education with democracy, and the biggest single influence on Stephen. He then talks about his use of aesthetics, the imagination, and storytelling/narrative in the classroom. What does he want to subvert in higher education?—the capitalist ethic. Hear Stephen talk about the dominant ideologies at work in higher education, and how as a counternarrative/action we can begin by taking students seriously as co-learners and creators.
A Podcast of Radical Musings on Social Justice, Pedagogies for Transformation, and Feminist Activism