My final project is a picture book for adults to inform them on gender and sexuality--what they are, why they are important, and how they work together. I made this because I have friends and family who don't really understand much of this, and I want to give them a concrete way to get informed. It is an overview of basic concepts to create a vocabulary to help readers communicate their ideas with other people who without having to define every term.
I chose to make this in book form because reading a book is a different experience from surfing websites. Reading a book is a more personal experience because you can hold it in your hands and turn the pages yourself. On the internet, you can click hyperlinks as much as you want, but you depend on the hardware to obey you. You can change the website, delete your history, and distract yourself with a funny cat video in all of 20 seconds. A book is different because you make a decision to sit down and read it, understand it, and absorb it. The stories stay with you.
That being said, I chose to include several resources for readers that go more in-depth than the book because, like I said, this book is just an overview. I included websites, a film, and a GLBT National Help line. I chose four websites for information, and seven websites by religion because sometimes people forget that sexuality and religion are not mutually exclusive and a higher power can be tremendously helpful when dealing with issues such as these.
[just speak nearby the borders of our minds] <-- link
This is a piece about borders. About communities. About movement and restrictions and ideologies. I wanted to interrogate how feminism is at times bounded by qualifiers, that is, to differentiate between French feminism and Third-World Feminism, and the ways in which those are both appropriate and constructed such that the result is constructed identities viewed as essential.
Among artists in the 20th and 21st century, explicit reference to prior works has become a mode of producing pieces. This may be in the form of collage or pastiche of some kind, and in video art, it is typically through found footage that these references can be made. Video Artists like Dara Birnbaum have spoken on the power of reappropriating footage, specifically, in her case, from popular media sources, but some of the logic remains in what I have done. Birnbaum wanted the agency to engage with the images being presented to her, to take ownership and subvert their meanings to create new meaning, asserting that she wanted to “talk back” to the media. Further, she asserts:
Space is being shaped right now!
Looking back on some of the classes we've had I realized that I do not agree with some of the choices that we as a class either made or went along with. For this web paper I have tried to address those issues.
----> CURRENT TIMELINE
I have a few goals for the end of the semester:
- I've been reading a lot of teachers' blogs lately, and I really want to get to the point where I blog about my experience as a personal reflective tool. I assume that most of the teachers whose blogs I read were not told that they had to blog, and it seems like a great way of processing your experience whenever you have time. I've seen similar things happen on twitter with #edchat, #ntchat, and #1stchat, but blogging can just be a record. For the rest of the year, I'm going to try to do a few shorter blog posts when I have things to say instead of gathering them all up at the end of the week.
- I want to continue working through my narratives in Literacies of music, tech, and linguistics.
- I want to engage more with the class community in Literacies--on twitter, here, and in person. I know that I've been spending a lot of my time looking out to the world through social media for this class, but I think more intra-class communication would help me grow more.
I'm thinking about using Storify to tell my thrice-told tale once. What storytelling method are you excited about?
I wanted to learn more about the outreach that Kate Bornstein does today, and her website "Hello Cruel World" is something that I feel is really great.
I think that most people who disregard conversations about gender and sexuality as something that doesn't pertain to them if their lives fit in the expected gender binary don't realize the amount such ignorance can further pain those who are struggling with their identities in such a way. Kate says "I think that the world needs more kind people in it, no matter who or what they are, or do"
I think that in some ways I am also guilty of not trying to learn as much about issues of gender and sexuality, because I have never struggled with my own sexual orientation or felt that I am wrongly gendered. Even so, the gender workbook helped me realize that the "ideal" woman and man are pretend ideas that no one can ever really fulfill no matter how hard that they try. Even if one considers themselves able to fit neatly inside society's accepted gender binary, the binary's ideals pose a problem for everyone. . . regardless of whether you 'appear' to be fitting well within it.
Not to destroy anyone's fond childhood memories but The Lion King is not Africa. I know some people are thinking "Duh" and I used to think that went without saying...until I went there, set up an internship tracking animals for this summer, and came back. The misunderstandings range from the minorly annoying idea that all Africa is a jungle or the constant shock people feel when learning how "brutal" the animal world is. A point I find endlessly ironic, but I won't go into that. What was most surprising to me, however, were the reactions I got when I described my internship. I was asked if I would be working with "natives" and if I was nervous about it. The same person asked if I would be hiking through the game reserve in order to track the animals. I was stunned by the implication that I "should" be more nervous about working with the people who live there (who by the way are awesome, hilarious, and if I can learn 1/10th of what they know I will be beyond thrilled), then the animals I'm tracking. To give a little perspective there is a saying that Ben, the tracker I met in Ngala, eventually translated into English for me after 20 minutes of valient effort (and a fair amount of laughter) to teach me how to say it in Shangaan. The saying is this "You don't have to be the fastest--you just have to be faster than one other person". If I were indeed to wander around a game reserve by myself I can think of at least 15 ways I would die, only 5 of which involve predators.
Since coming back from Ghana, in terms of children and young adult literature, I have found that more and more the importance is providing relevant literature to the lives of the children in Ghana. When we were at Titagya, I was reading the Highlights magazine with some of the students, and they stumbled upon a story called “Where is my goat?” The story was about a young African boy looking for his goat with his father, and the landscape was very similar to the landscape in Dalun. It was interesting to see the recognition register in the minds of the students, especially as most of the magazine had pictures that were very different from their lives.
From researching the Burt Award as well as learning about the Gold Baobab Prize, I realize the impact of exposure to “people like you” on children and young adults through the media and education. This is a point where I can definitely relate to because I have never really had Asian American role models in my life through any forms of media. The first time any Asian American artist made the top ten Billboards was in 2010. Furthermore, I have never had a teacher of color in my whole educational career. Feeling the disempowerment of lacking role models makes me realize the importance of providing relevant reading material for Ghanaian children.
While in Ghana, I couldn’t help but think about my group’s discussion of NGOs in Ghana and their work, and compare these things to the realities that we saw on the ground. I still have a lot of questions, but my post is long overdue, so observations + questioning will have to be sufficient for now!
During our project, one of the more resonant questions for me was, “How do NGOs collaborate and is this collaboration successful?” I think this question guided some of my observations during the trip.
Observations: Looking around the Dalun Youth Association (DYA) building, I saw some posters, asked some questions. All this happened very quickly, so I’m not 100% this is the correct information, but I’ll relay what I remember and wrote down.
DYA exists to bring the youth together – students gather here and “because they are together, they are stronger and can advocate for the needs of the community, what they see the community needs to develop” (field notes), like new roads to Tamale (which I would also advocate for, for both selfish and unselfish reasons). DYA uses sports as a tool for development – in this rural community, athletic competition is a perfect way to bring people together, both young and old. Once the people are gathered, the youth can spread their message of change. And this message is much more powerful coming from a vibrant, organized youth group.
“Who are the 99?
An ever-growing team of specially powered young people. The 99 prevent disasters, help people in need, and perform good deeds under the banner of the 99 Steps Foundation.
What are the Noor Stones?
Each member of the 99 bears a Noor Stone- an ancient gem of power. Forged out of the destruction of ancient Baghdad, the Noor Stones were created to preserve the wisdom of the ages. When bonded with a specific young person, each gem grants him or her a different gift of power”