With contributing authors from our fantastic Faculty this is a publication not to be missed. Available in print in the Education Faculty Library or as an ebook to read wherever you are, from our Education Ebook Collection, in the following sections:
Academic Writing & Study Support
Thanks to Pam Burnard for collating the following brief introductions to those chapters written by Faculty of Education staff and students.
Chapter 1: Critical openings in performing transdisciplinary research as/in rebellion by Pamela Burnard (Faculty of Education, University of Cambridge)
This chapter explores ways that transgress disciplinary boundaries. It invites the reader into a generative space from which to research and write while performing rebelliously beyond intersections of scientific and artistic ways of knowing and being with(in) the world.
Chapter 3: Performing inclusion dialogically through Bakhtinian-style songwriting by Mary Earl (Faculty of Education, PGCE lecturer) and Jennie Francis (Faculty of Education, PGCE Lecturer)
This chapter is a story about three encounters of these co authors and their ‘conversations’ about Bhaktin. One encounter is between a music teacher (who saw herself at the time as being unconvinced and unconvincing within her official school role) and a new version of herself which was revealed inside song writing. This utterly surprising encounter gave her fresh confidence in her ability to find the right words, the right moves, the right attentiveness (back by the right musical and ethical convictions) to se t the stage for the students who in turn surprise themselves with the joy of creating songs that reveal new versions of themselves too. The power of these multi=faceted encounters and conversations and their embodiment are discussed in conversation with Bhaktin.
Chapter 9: Performing the ethics of chat and shared work in the ‘Zoom-i-Verse’: Claiming authorship by Eleanor Ryan (Faculty of Education, 2nd Year PhD candidate) and Naomi Lee McCarthy (PhD Candidate in Humanities and Communication Arts, Western Sydney University)
What are the rebellious worlding potentials of the Zoom-Room in Higher Education Arts Research and Pedagogy? Utilising our experiences as members of an Arts and Creativities Research Group which organised monthly on-line performing research events, we think through the potentialities and pitfalls of the Zoom-Room as a site of rebellion against the performance of neo-liberal subjectivities in research production and dissemination. These monthly events invited performers to use the Zoom-Room as an experimental platform to perform research in unexpected and rebellious ways.
Chapter 12: Twin stars: Circling with the trouble of co-diffraction? Nurturing permission to imagine together rebelliously in a doctoral peer learning environment by Portia Ungley (Faculty of Education, EdD 5th year candidate ) and Kieran Sheehan
This chapter treads the path of the rebellious academic by creatively capturing the relationship formed between the authors as an example of pedagogic space that resists advanced capitalist notions and neo-liberal agendas of performativity and competition, giving one another permission to diffract and co-produce. We have chosen the metaphor of twin stars to help embody the reader within our connection, a shared creative anatomy; we invite a joining of this process of notice, noticing, speculative wondering. The chapter is looking through the planetary alignments and focusing on the Deleuzian ‘node’ that is forming, daring to name it research. The process of star formation is threaded through the chapter to help re-turn us to the Baradian intra-action, entanglement and assembled situated pedagogic space.
Chapter 13: Don’t just do something…stand there!: Two women dance their academic trajectories by Simone Eringfeld (Cambridge PhD student) and Professor Hilary Cremin (Faculty of Education, University of Cambridge)
Two women are dancing. Together yet apart. Dancing their academic trajectories. Hilary, a senior academic, and Simone, an early career researcher, stand opposite each other, next to each other, behind each other, then with each other and again opposite each other. Circling round each other, moving in and away, connecting and disconnecting, understanding and misunderstanding each other’s motions. Investigating, shyly but surely, both carefully and brutally. Testing the water, building confidence, gaining momentum. Slowly, trust enters the conversation. Daringly, the movements become bigger. A sense of precarious calm creeps up. Gestures gradually grow, as the two women gesticulate their hopes and fears for the future of academia, embodying stories of possible change. Together, they inhabit this space of ambiguity, of vulnerability. Wishes for the future of academia are followed up by fears that nothing will ever change. What does resistance look like within the space of the University? What does it mean to be a ‘rebel’ or to do ‘rebellious research’?
Chapter 16: The heart of research: Diffractive writing and performance methodologies for artistic research by Associate Professor Annouchka Bayley (Faculty of Education, University of Cambridge)
This chapter addresses how diffraction as a methodology emerging in posthuman and new materialist genres of research can inform and underpin rebellious artistic research practices in the academy. Speaking from an entanglement of research identities: scholar/performer/writer/director, in this chapter I work with different epistemic positions to investigate the heart of research – affective, performative and diffractive modalities that inform and underpin critical thinking, but that are usually rendered invisible when presenting academic research.
Chapter 17: Surfacing the image-inary: Exchanging sensations of time through art, media, and pedagogy by Trisha Macrae, David Rousell, and Portia Ungley (Faculty of Education, EdD 5th year candidate)
The chapter explores how immersive arts and media can entangle, layer and modulate our experiences and sensations of time. We seek new latent potentials that can arise from immersive artistic practices to create new performative research methodologies.
Our approach explores how the surfaces of immersive artworks and media spaces can evoke and carry affects that are dynamic and polytemporal, with the potential to hold and project, contain and inscribe, circulate and capture nuanced social, cultural and political feelings. We explore how and why these mediated surfaces have this potential to speak to, with, and through us.
Chapter 19: Critical openings in leading rebelliously by Tatjana Dragovic (Faculty of Education, EdD Research Community Facilitator)
This introductory chapter to Part 4 Rebellious Leadership Leading Differently invites us to dive into lived and rebellious experiences of leaders around the world in and beyond the academy, to get in there, to listen and follow, to keep asking questions and not know, to be present and to trust. And more than that, this chapter invites us to be aware of our own conscious and unconscious images (what might those be?) that we already hold of leadership in order to disrupt them (why do that?).