#this class has increased my respect for Haitians
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addithevampire · 2 years ago
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Every time this topic comes up I’m reminded of a discussion I had in a Latin American history course.
Just after the French Revolution came the French enlightenment era, where French people were churning out new treatises on how all men are equal and none deserve to be subjugated, how they shouldn’t be ruled by a tyrant-king.
Haiti was a French colony with particularly brutal slave treatment, going through slaves quicker than anywhere else, and a population of free, educated black people who were reading these treatises.
These free black people read these works by French enlightenment authors and said “Hey, if you really believe in these principles, set us free and let us be our own country. We, too, are suffering under a tyranny we didn’t choose and want to be free.”
The French laughed and said no.
Because it wasn’t really the principles they believed in. It’s not that they believed oppressive rule was innately wrong. It’s not that they believed all men deserved freedom. It’s that they were against tyranny when it was them under its thumb. They couldn’t have given less of a fuck about doing it to others. They didn’t want the abolishment of oppression. They wanted to go from being oppressed to the ones doing the oppressing.
Obviously this is not on the same scale as this discussion, but the principle of the matter is something I think is the same. A lot of people don’t view these thing as something that’s inherently bad. They just want the bad to be directed at someone who isn’t them.
honestly if you only have compassion for oppressed people's suffering because they are in a sufficiently oppressed class, thats a problem. anti-oppressive activism is useless if it ends up as "these people deserve compassion because they are in the Right Group" instead of "everyone deserves compassion and injustice and cruelty is never okay for anyone". anything else is doomed to repeat the very systems it wants to destroy.
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rummy-playlearn · 4 years ago
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Implementing pedagogy and method acting research
These both will be brought into the introduction/preface (haven’t decided if it will be both or one), and also reiterated in the order of experience. I’m struggling at this very moment to know what to write and where. I know there are certain things I need to talk about, and go into detail on, but I’m unsure of how to do it. This is always my problem. The overwhelming feeling of having a lot of difficult work to do, since I am so far behind. It’s over a week after the mid-point presentations and I am still making the final piece. It makes me so scared. I think I will drop the preface and just include everything in the introduction. This is because I feel there is too much overlap, and I am not bound to the normal structure of a book.
I think the structure will be a (I started writing and then got carried away, so here are all my thoughts as they come):
Introduction, outlining the reasons for writing the book, which are, talking in first person, so it as if i am introducing myself to the teacher, and the second person, talking directly to the teacher: 
The intent on writing the book - 
wanting to provide a clear cut lesson plan for those teachers who are aware of the damage the schooling structure is having on their students; are anti-capitalist; want to improve their lessons, but are not sure of how to go about this and fear being told of (or even fired) by their school. 
If they will be as their reason for teaching isn’t making money, but to better education for their students.
Can be taught as part of English, History, Drama or Citizenship lessons,  You can do this without fear of being told off by the head teacher, as this is perfectly subtle for any of those topics. If you do run into trouble, simply say you carried it out under the need for ‘re-calibration of the enjoyment of learning’ ie - ‘the class is in dire need of physical activity’. Do not put blame on the students, like having difficulties with their engagement, as this will result in them being flagged up, potentially.
The methods spoken about in this book can be transferred to any other topic. A script need not be the basis, any text could be acted out. An author could be a character. An academic text could be pulled apart, theories and subjects could become entities with personalities.
Why this is based in the Haitian revolution - 
It is a prime example of history that isn’t talked about, since there wasn’t that much of a positive outcome to the revolution, since the west practically refused to recognise Haiti as a Republic, informally, made trade very difficult, and altogether contributed to Haiti becoming the poorest country in the world. On top of this, the close connection Vodou had to the revolution was immense, and also, not commonly known, as it should. The misconception of Vodou (or voodoo, the Louisiana branch) as a religion, also the bestialisation and image of ‘savagery’ that is portrayed by the west, contributes to the racist perceptions of black people and their culture. All of this is reason enough to dedicate a whole lesson to, and very much coincides with the purpose of the lesson as a whole, to teach critical thinking, and destroying the capitalist education ‘banking system’, half of the lesson plan.
Why the use of script - 
drama is the optimum method of learning because it includes all of the necessary parts that for teaching in an anti-capitalist manner. Those are: experience, collective learning, interaction, imagination, cognitive development, memory, communication, problem solving and responsibility. 
Those are drama in general, but for this script acting experience it includes much more. This will all become clear in the order of experience section. 
Experience is so important to marxist teaching and also understanding Vodou as part of the Haitian revolution, because the point is to have the students see that they can incorporate elements of the of the teachings (this will become clear in The Meaning) into their lives, and they already do. 
Understanding the script - 
The script does not exist to be performed, only read and rehearsed.
Performing defeats the object of trying to understand the characters inside and out, and discussion on how draw on personal experiences to think about how a character might act, after deciphering who they are.
The stage direction decrease in the second half of the play, to allow to push students (with your help) into thinking about a characters tone or action, once they have become familiar with them.
The play is kept short. This is to keep the focus on the purpose of the lesson, discovering the analogy/meaning of the script and experience as a whole.
Method Acting -
Invented by Lee Strasberg in ...
Section that helps get the students into the acting mindset, it becomes serious for them, rather than seeing it as not learning. Although the atmosphere must be kept playful at all times - further discussed a bit later.
Helps to draw on experience even more, as this was the main aspect of the discipline.
Critical thinking - 
Schools don’t teach it.
the ‘banking system’ operates on creating students that exist to be ‘filled up’ with knowledge buy the all-knowing authoritative figure, the narrating subject, the teacher.
The more students accept this dynamic, they adopt it as their world view and never thinking critically about. This is why there is time at the very beginning for students to voice all of their issues with the school system. 
Validation - this is very important. Destruction of self-respect is what capitalist society feeds on to create a disciplined labour force that succumbs to authority - why the school system is run in this way. You must validate students in anyway possible. Not overly praising where nothing has value, to a degree where a student self-esteem and self worth doesn’t tumble. Criticism in a society where you feel held does bash you to the point of feel helpless, but in our current society it does. 
Vulnerability - 
To destroy the relationship of the teacher as omnipotent scary being, the students must be able to relate to the teacher. 
Show it by opening up; taking part in all exercises; learning alongside the students, learning from them as much as they are from you.
They must feel your humanity.  
Creating an equal space.
The Meaning -
Should not be read beforehand, only with the student so there is a feeling of collective discovery and destroys the notion of ‘narrating subject’, as well as increasing vulnerability. 
It explains each aspect of the script and how it is an analogy for the Haitian revolution and the influence of Vodou.
Explains the experience and why it was conducted in such a way, to learn about the Haitian revolution, but also a much wider understanding of emancipation and consciousness. 
Explains the elements that are involved: drawing on experience and critical thinking. 
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