for educators and references | gipsófila // babys-breath

how educators can utilize our takeaways & create

The recreation of this project is manifold. I dream of projects where there are several iterations of this archive based on specific themes, historical events, and/or neighborhoods. I envision experiences that include spaces with our aunties and abuelitas as attendees and featured speakers. And I dream of a place where art is embedded throughout several K-12 classrooms regardless of the subject taught.

Archiving & Oral Histories: It’s importance can be seen in the recording of our elders and community members, and families to preserve our histories. It can be used in after school programs to document the change in a neighborhood through interviews of business owners and creating an interactive map that includes these stories. It can be found in a new iteration of archives, one that includes the ephemera that is often lost in the these digital spaces, ticket stubs receipts etc. And teachers can also use this as inspiration to create spaces where students explore history through the experiences of their family members.

Experiential & Intergenerational Spaces: Re-imagining what your classroom can produce, hold, and create. Curating spaces where the user experience is centered. Where we are curating for the purpose of a public audience, to showcase what we’ve learned and to be in conversation with them too. These spaces can mirror what we experience at home and within our communities. These spaces can be partnerships with local businesses and a way to invest mutually, supporting local businesses while also having them support the work of our students.

Art-based methods within Disciplines: I envision this project as an example of not just Ethnic Studies, but also science classrooms, social studies, and all other subjects thinking about how they can embed more participatory art methods within their curriculum. Whether as a final project or a way to process, collage and art-based methods are an intervention to our traditional essays. Teachers can introduce an art component to their final projects and should be seen as rigorous.

Through this project and the ethos we take forward from it, we disrupt academia by committing to reclaiming knowledgeable experts, many of whom are elders in our community and centering them. Beginning with them. Not only are we learning about their lived experiences, but we are also co-creating knowledge alongside them. Why is it important to have participatory practices in my scholarship? I feel uncomfortable being the author of my dissertation, this article, and this work, because I’ve learned, been inspired by, and survived through the work of the WOC in my life. How can I not honor them in this space? How can I not have them as theorists and collaborators.

That’s part of the purpose in having these tools so that this knowledge is not static but rather is a space that’s living, is revised, and always evolving. Through these live participatory tools, we never know if we’ll look at the same version of my dissertation and that’s the purpose. The irony in my love of archiving a process is that this participatory aspect won’t be as well documented, and I’m ok with that. I think. It’s part of the scope and parameters of this project that not everything can be documented and that there are some things you just had to be there to experience. Another version of oral storytelling that is present throughout this piece is in the audio preserved through the interviews. But I’m thinking about how this discourse, although it’s written, you are writing the way you speak. The way that it organically comes out of your mouth.

References

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