Category Archives: Cultural Literacy and Social Futures

The renewed relevance of bricolage

One of the hapless outcomes of trying to define ‘cultural literacy’ in terms of social futures has been the need to understand the relationship between art, making, doing and their impact on society in a time of crisis. Practising art in the current climate barely puts food on the table, let alone changes society, unless artists and agents have access to patronage and space. Meantime, the entrepreneurial self-employed go bust, rental is a vicious circle, disadvantaged kids suffer from malnutrition and Netflix streams a slurry of fourth-rate screenplays and wooden performances sustained by corporate capital (witness the recent, mind-numbing remake of Daphne du Maurier’s Rebecca).

One critical option is to broaden the definition of authentic artistic practice. After all, ‘Art’ is creative doing, open to all, fuelled by ‘agency’, to the extent that people have the capacity to exercise it in their everyday lives. Notwithstanding Jacques Rancière’s idealistic attempt to inject sensibility into Fordist production processes, the aestheticism was his and surely not that of the young woman operatives he quotes from Vertov’s celebrated film The Man with the Camera (1929). For the actor/artist, art is not gratuitously mechanical. It demands a minimal degree of freedom and consciousness. It lies somewhere at the interface between personal impulse, context, the act itself and its social outcome. Under lockdown, art, action and artefact have become co-terminal. Critical reflection on creativity necessarily incorporates the politics of process.

Creativity in and of itself is not enough. In its essence, art may remain an inherent attribute of the subjective imagination. Yet it derives from a material base and leads to tangible outcomes, however provisional. If symbolism is social, ‘cultural literacy’ is ethnographic. Art does more than inform lived reality. It entails it as the translation of voluntary articulation with material systems, whether as the mass product of corporate interest, individual inspiration or the reflection of the day to day. To be aware of this principle and to enact it in everyday life as creator, employee or commentator is to be ‘culturally literate’.

Which is where the overworked concept of ‘bricolage’ re-emerges as a potentially intriguing catalyst. It is not just the fact that DIY and gardening have emerged post-Covid as two of the very few growth sectors in domestic consumption, limited like so much else to those who can afford plants, materials and a space to call ‘home’. Neither is this the place to engage in theoretical debate about the psychological development of the individual, except to say that now more than ever, with mental health dominating the media, the need for selfhood to re-engage with the real world through collective action has rarely been so great. Inextricably entwined as they are, well-being derives from plural perceptual processes reinforced by the symbolic translation of economic reality as much as from the sub-conscious impulses of individuals. Respect for diversity demands evidence of shared imagination grounded in experience.

The contemporary relevance of ‘bricolage’ as a cultural trope is admirably expressed in an inspiring paper by Christopher Johnson ‘Bricoleur and Bricolage: From Metaphor to Universal Concept’ published by Edinburgh University Press in the Journal Paragraph (2012) Vol.35/3. This finely written article, available on line, returns the reader to Claude Levi-Strauss’s original formulation of the term in La Pensée sauvage (1962) and convincingly demonstrates how and why it can inform current understanding of the dynamic relationship between art, creativity, society and technology. It raises wider questions concerning the interaction between individual sense-responses, shared emotions, everyday behaviour, identities, politics and the natural environment which go to the heart of what it means to be culturally challenged in a hyperreal world. These are issues which I hope to be able to pursue in subsequent blogs in dialogue with anyone who happens to have read this one.

Robert Crawshaw                                                                                    
November 26th 2020

Artistic Reconnections with Land: Towards a systems view of cultural heritage learning

Amanda Bayley, Kennedy Chinyere, Nick Clough, Penny Hay, Denise Rowe, Jane Tarr
Bath Spa University

‘Pedagogies and global change’, was the focus of a presentation on 17th September 2020 to the annual conference of the Teacher Education for Equity and Sustainability Network (TEESNet). The overall theme of the conference was Education as a Pedagogy of Hope and Possibility: the Role of Teacher Education in Leading Narratives of Change.

Our paper summarised findings from an initial enquiry into an intersectoral initiative exploring nature as cultural heritage. The objective of the enquiry was to include schools, freelance musicians, artists and higher education providers as sources of data and domains of experimentation. The Trees of Hope project (rural Mashonaland, Zimbabwe), Earth Dances: Embodied Remembering (Devon, UK) and Forest of Imagination (Bath, UK) are key partners.

Our pilot study reflects work in progress for a larger scale project: Listening to the Land. ‘Listening to the Land’ which promotes conceptions of cultural heritage grounded in nature as a core element of educational practice. ‘Artistic Reconnections with Land’ articulates embodied, transcultural approaches which co-create a shared understanding of heritage.

This expression of what Haraway (2003) terms ‘natureculture’ will be developed further as a way of addressing at least three of the UN Sustainable Development Goals:

  • inclusive and equitable quality education (4)
  • urgent action to combat climate change and its impacts (13)
  • sustainable ecosystems, re-forestation and increasing biodiversity (15)

The accompanying slides illustrate ways in which inclusive, participatory approaches to arts-based action research have become accessible to different stakeholders within the new COVID-19 reality.

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Use the arrows above to scroll through the presentation slides

Roots digital recording of a music and dance duet was performed by Earth Dances on granite outcrops on Dartmoor. It has been shared with three UK schools as a resource to stimulate discussion and creative responses with children and young people about their connections with nature. Roots resonates with ancient understandings of the relationship between people and land: an earth dance prompts joyful and loving reconnections, while a small embroidered cloth and poem explore the experience of immersion in nature.

Roots performed by Earth Dances on Dartmoor

These simply created products invited learners and teachers to reflect on and document their own relationships with nature, leading to the co-creation of digitally shared music, arts-based responses and written commentaries. The resulting exchanges helped to open up discussions about the role of creative and relational pedagogies that respect local cultures, histories and ways of life that are dependent on the health of the land. 

Such hopeful, artistically inspired pathways are intended to promote a reinvigorated, systems view of cultural heritage. They re-situate land and nature within pedagogical approaches which are holistic, inclusive and interdisciplinary (Capra & Luisi 2014: 13). By encompassing past and present understandings of human reciprocities within the natural systems of the biosphere, they aim to inform future-facing pedagogical interventions.

While David Orr’s (1992) phrase ‘ecological literacy’, encourages recognition of connectedness between human wellbeing and the health of natural systems, Daniel Shevock’s eco-literate music pedagogy, recommends a ‘fundamental re-localisation-reorientation to place, people and local histories’ (2018: 112). The next stage of our work is to generate transcultural, (e)co-creative solutions for teaching and learning (Cutter-Mackenzie-Knowles et al 2020), approaches that empower local communities – children, young people and adults – to create positive change for future generations.

References

Capra, F. & Luisi, P. L. (2014). The Systems View of Life (Cambridge: Cambridge University Press).

Cutter-Mackenzie-Knowles, A. et al (2020). Research Handbook on Childhoodnature: Assemblages of Childhood and Nature Research (Switzerland: Springer International Publishing).

Haraway, D. J. (2003). The Companion Species Manifesto: Dogs, People, and Significant Otherness. Vol. 1. (Chicago: Prickly Paradigm Press).

Orr, D. W. (1992). Ecological Literacy (New York: State University of New York Press).
Shevock, D. J. (2018). Eco-literate Music Pedagogy (New York and London: Routledge).