Responsabilidade pelo Mundo

Pacievitch, Caroline

doi:10.47749/t/unicamp.2012.877556

Cited by 1 publication

(1 citation statement)

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“…However, perhaps this relationship is not so direct precisely because it is based on a one-way, transmissive path. Research illustrates that teachers who promote affectionate relationships with students, who are politically committed, and who offer rigorous and thought-provoking classes, are often recognized as references among young people and the community (Pacievitch, 2014;Altamirano & Pagès, 2018). Knowledge needs to work side by side with opportunities to exercise civic actions in a public space (Levy, 2018;Abowitz & Mamlok, 2019).…”

Section: Inclusive Conversationsmentioning

confidence: 99%

Voices: drama and the development of speaking and acting in public spaces

Evans¹,

Pacievitch²,

Donadel³

et al. 2021

International Perspectives on Drama and Citizenship Education

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For decades, assumptions that children and young people are disengaged in politics have prompted governments worldwide to push the question of 'voice' to the core of their citizenship educational agendas (e.g. Batsleer, 2013;Fielding, 2007). Following advice from political scientists Verba, Schlozman and Brady (1995), policymakers and practitioners have attempted to create spaces where all citizens' voices could be "clear, loud and equal ( … ) so that the democratic ideal of equal responsiveness to the preferences and interests of all is not violated" (p. 509). Citizenship education practices have been orientated towards giving students opportunities to learn how to make their voices clear and loud, so that they are heard (Sloam, 2013). As such, voice has become synonymous with speaking and acting in public spaces in 'effective' ways.Despite the practical success of 'voice' perspectives, many academics consider the question of voice to be highly problematic. 'Voice experiences' (such as youth, class, and student councils), have been seen as spaces of governability where children and young people learn how to selfregulate their messages and forms of participation (Raby, 2012). For instance, by participating in experiences where young people are expected to 'gain a voice', they learn that they do not yet have a voice, that there are 'right' and 'wrong' forms of participation/talking, and that participation/talking is an individualistic practice (Batsleer, 2013). Similarly, 'voices' have been seen as pedagogical tools through which power hierarchies are reproduced and reinforced (Arnot & Reay, 2007). Capturing voices outside power -in other words, empowerment via voice -is just not possible and rather, what happens is that young people implicitly learn that some voices are more important than others. This chapter revisits the question of voice, as an interface of speaking and acting in public spaces, whilst taking these critiques into account. We will ask: firstly, what is (and could be) the relationship between speaking/acting in public spaces or, more precisely, what is the relationship between speech and performance? And secondly, how can we build more inclusive conversations? Drawing on the seminal work of dramaturge and social activist, Augusto Boal in connection with the ideas of Arthur Lessac's voice pedagogy, the chapter will then engage with discussions on drama to reconceptualise 'voice' in terms of a physical and abstract presence within socio-political discourses. The chapter will conclude with an examination of how, through 'voice work', embodied social and ideological forces can be explored, identified, and contextualized.

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