title: Diversity inquiry: Retuning queer pedagogy in secondary schools through posthuman philosophical inquiry and humour

authors: Grant, Jeannie

subjects: queer pedagogy

abstract: Poststructural theory has informed my professional practice in secondary schools for over 25 years. Poststructuralism called me to notice that humanism produces a normal-abnormal binary. This constructs a diversity-difference dualism that operates through the New Zealand Curriculum to define diversity only in relation to cultural difference. While such a framing of diversity presents cultural difference positively, as something to be valued, celebrated, and normalised, the emphasis on cultural difference potentially marginalises disability and LGBT+ difference, positioning them as abnormal. My concern that the intelligibility of diversity in secondary schools is being constrained by the dominance of humanism in Western-anglophone pedagogies provides the impetus for my research project since this construction has implications for how secondary schools prepare young people for a diverse world. In my role as a teacher/counsellor, I noticed that disabled and LGBT+ identities are considered more vulnerable and at-risk of harm. Professional practice in schools focusses on meeting learning needs and reducing risk of harm. Curriculum content currently emphasises self-responsibility and social justice discourses that present difference as a serious, moral-ethical concern to develop empathy.  
Queer-posthuman pedagogies underpinned by poststructural theory offer an alternative epistemological orientation to difference/diversity that secondary school education in Aotearoa/New Zealand has yet to access in teaching practice. Over two decades, I experimented with forms of facilitation to access posthuman knowledge. This culminated in a collaboration with Philip Patston, a queer-disabled comedian and diversity consultant, to develop a philosophical inquiry process aimed at senior students, called Diversity Inquiry (DIVINQ). The process aims to explore diversity beyond dualisms by employing encounters with difference through humour in a Community of Inquiry format. To date, DIVINQ has run in two large Auckland secondary schools.
Through this doctoral study, I set out to investigate how DIVINQ might work as queer-posthuman inquiry. A key focus is how humour-laughter is recruited through a form of trickster co-facilitation to trouble humanist fields of thought. The research project employs a Foucauldian and Deleuzoguattarian conceptual framework that draws on cymatics as a metaphor and metaphors from The Matrix film . 
The project utilised a practitioner-based autoethnographic approach. Data collection involved interviews with co-facilitators and nine past participants of DIVINQ. Analysis took up posthuman-new-materialist practices of reading data through Foucauldian cues such as discourses and problematisations, and Deleuzoguattarian cues such as assemblages and affects.
Findings show that institutional dividing practices are obscured and limit young peoples’ exposure to forms of functional difference/disabilities. Health education draws on bio-medical knowledge that circulates developmental and hygiene discourses. Young people learn to manage risk and take responsibility for their wellbeing. Teaching assemblages employ strategies to negotiate moral taboos of sex-sexuality and construct a safer space to ask questions. These assemblages reinforce ignorance as lack of knowledge and reify normative ideas of sex, gender, and sexuality. In traditional classroom teaching, disciplinary power monitors student behaviour. Humour and laughter, when plugged into such assemblages, function to release tension but also to police social norms.
DIVINQ’s rearrangement of objects, use of The Matrix film, and playful performances, disturb institutional hierarchies to construct a trickster facilitation position. Philip’s lifelong experimentation to resist deficit ideas has developed his posthuman knowledge of difference. His stand-up comedy fine-tuned his trickster approach to facilitation. Philip’s rebellious and ironic humour retuned participant encounters with material disability by troubling problematisations of difference. The affective forces of laughter generated by his humour produced an intimate, playfully relaxed environment. In this new space, participants were more comfortable to ask questions and to take risks with ideas. Co-trickster facilitation disturbed rational-reason inquiry skills by initiating thought through affective shocks. The absence of meritocratic measures of success accelerated participants’ desire to engage in DIVINQ. As opposed to producing shame, not knowing and confusion were experienced as pleasurable enlivenment. 
After finishing school, participants were more open to a broader concept of normal and, subsequently, the notion of difference-as-other resonated with less intensity. Participants developed a greater sensitivity to the positioning effects of language and noticed when their thinking was recaptured by normative, binary ideas. As a result of DIVINQ, participants sought further opportunities to learning through encounters with difference. 
This project makes a case for DIVINQ to be regarded as a form of queering-posthuman assemblage. It presents humour as a disturber of discourses and laughter as a material-affective force, both of which construct a space to defamiliarise humanist habits of thought. The thesis discusses aspects of trickster facilitation that manages to retune Communities of Inquiry practices to produce a pedagogical practice of epistemic vulnerability. It examines the lasting effects of DIVINQ, which are discussed in terms of a potential emergent posthuman subjectivity oscillating between human-posthumanist fields, and it considers the ethical implications of these effects.   
This project contributes to the field of poststructural informed pedagogical practice in secondary schools. The research offers DIVINQ as an example of a queer-posthuman form of philosophical inquiry by articulating how trickster facilitation can ethically recruit humour to trouble humanism. In the emergent area of future-oriented education, the project offers a reconceptualisation of what it means to work in new partnerships and with a diversity of knowledge.

text: Diversity inquiry: Retuning queer pedagogy in secondary schools through posthuman philosophical inquiry and humour Poststructural theory has informed my professional practice in secondary schools for over 25 years. Poststructuralism called me to notice that humanism produces a normal-abnormal binary. This constructs a diversity-difference dualism that operates through the New Zealand Curriculum to define diversity only in relation to cultural difference. While such a framing of diversity presents cultural difference positively, as something to be valued, celebrated, and normalised, the emphasis on cultural difference potentially marginalises disability and LGBT+ difference, positioning them as abnormal. My concern that the intelligibility of diversity in secondary schools is being constrained by the dominance of humanism in Western-anglophone pedagogies provides the impetus for my research project since this construction has implications for how secondary schools prepare young people for a diverse world. In my role as a teacher/counsellor, I noticed that disabled and LGBT+ identities are considered more vulnerable and at-risk of harm. Professional practice in schools focusses on meeting learning needs and reducing risk of harm. Curriculum content currently emphasises self-responsibility and social justice discourses that present difference as a serious, moral-ethical concern to develop empathy.  
Queer-posthuman pedagogies underpinned by poststructural theory offer an alternative epistemological orientation to difference/diversity that secondary school education in Aotearoa/New Zealand has yet to access in teaching practice. Over two decades, I experimented with forms of facilitation to access posthuman knowledge. This culminated in a collaboration with Philip Patston, a queer-disabled comedian and diversity consultant, to develop a philosophical inquiry process aimed at senior students, called Diversity Inquiry (DIVINQ). The process aims to explore diversity beyond dualisms by employing encounters with difference through humour in a Community of Inquiry format. To date, DIVINQ has run in two large Auckland secondary schools.
Through this doctoral study, I set out to investigate how DIVINQ might work as queer-posthuman inquiry. A key focus is how humour-laughter is recruited through a form of trickster co-facilitation to trouble humanist fields of thought. The research project employs a Foucauldian and Deleuzoguattarian conceptual framework that draws on cymatics as a metaphor and metaphors from The Matrix film . 
The project utilised a practitioner-based autoethnographic approach. Data collection involved interviews with co-facilitators and nine past participants of DIVINQ. Analysis took up posthuman-new-materialist practices of reading data through Foucauldian cues such as discourses and problematisations, and Deleuzoguattarian cues such as assemblages and affects.
Findings show that institutional dividing practices are obscured and limit young peoples’ exposure to forms of functional difference/disabilities. Health education draws on bio-medical knowledge that circulates developmental and hygiene discourses. Young people learn to manage risk and take responsibility for their wellbeing. Teaching assemblages employ strategies to negotiate moral taboos of sex-sexuality and construct a safer space to ask questions. These assemblages reinforce ignorance as lack of knowledge and reify normative ideas of sex, gender, and sexuality. In traditional classroom teaching, disciplinary power monitors student behaviour. Humour and laughter, when plugged into such assemblages, function to release tension but also to police social norms.
DIVINQ’s rearrangement of objects, use of The Matrix film, and playful performances, disturb institutional hierarchies to construct a trickster facilitation position. Philip’s lifelong experimentation to resist deficit ideas has developed his posthuman knowledge of difference. His stand-up comedy fine-tuned his trickster approach to facilitation. Philip’s rebellious and ironic humour retuned participant encounters with material disability by troubling problematisations of difference. The affective forces of laughter generated by his humour produced an intimate, playfully relaxed environment. In this new space, participants were more comfortable to ask questions and to take risks with ideas. Co-trickster facilitation disturbed rational-reason inquiry skills by initiating thought through affective shocks. The absence of meritocratic measures of success accelerated participants’ desire to engage in DIVINQ. As opposed to producing shame, not knowing and confusion were experienced as pleasurable enlivenment. 
After finishing school, participants were more open to a broader concept of normal and, subsequently, the notion of difference-as-other resonated with less intensity. Participants developed a greater sensitivity to the positioning effects of language and noticed when their thinking was recaptured by normative, binary ideas. As a result of DIVINQ, participants sought further opportunities to learning through encounters with difference. 
This project makes a case for DIVINQ to be regarded as a form of queering-posthuman assemblage. It presents humour as a disturber of discourses and laughter as a material-affective force, both of which construct a space to defamiliarise humanist habits of thought. The thesis discusses aspects of trickster facilitation that manages to retune Communities of Inquiry practices to produce a pedagogical practice of epistemic vulnerability. It examines the lasting effects of DIVINQ, which are discussed in terms of a potential emergent posthuman subjectivity oscillating between human-posthumanist fields, and it considers the ethical implications of these effects.   
This project contributes to the field of poststructural informed pedagogical practice in secondary schools. The research offers DIVINQ as an example of a queer-posthuman form of philosophical inquiry by articulating how trickster facilitation can ethically recruit humour to trouble humanism. In the emergent area of future-oriented education, the project offers a reconceptualisation of what it means to work in new partnerships and with a diversity of knowledge.

year: 2024-09-16

title: Orff and the ‘ivory tower’: fostering critique as a mode of legitimation

authors: Locke, Terry

subjects: music education

abstract: This article begins by recounting the development and implementation of a unique, mutual agreement between the School of Education at the University of Waikato and Orff New Zealand Aotearoa (ONZA) to develop three master’s-level courses in Orff Music Education: Theory and Practice. The rationale for this project is detailed and related to changing conceptions of postgraduate study and debates about continuing ‘professional learning’ for teachers. It is argued that at the heart of the exercise is a problematic around theorization. How can an approach to pedagogy such as Orff Schulwerk be incorporated into a programme that demands critical reflexivity? A number of ‘solutions’ to this problematic are provided. A case is made that involves teachers (as practitioners and prospective researchers) in addressing this problematic and will have positive consequences for Orff Schulwerk in New Zealand (and beyond), and for debates about classroom pedagogy in general.

text: Orff and the ‘ivory tower’: fostering critique as a mode of legitimation This article begins by recounting the development and implementation of a unique, mutual agreement between the School of Education at the University of Waikato and Orff New Zealand Aotearoa (ONZA) to develop three master’s-level courses in Orff Music Education: Theory and Practice. The rationale for this project is detailed and related to changing conceptions of postgraduate study and debates about continuing ‘professional learning’ for teachers. It is argued that at the heart of the exercise is a problematic around theorization. How can an approach to pedagogy such as Orff Schulwerk be incorporated into a programme that demands critical reflexivity? A number of ‘solutions’ to this problematic are provided. A case is made that involves teachers (as practitioners and prospective researchers) in addressing this problematic and will have positive consequences for Orff Schulwerk in New Zealand (and beyond), and for debates about classroom pedagogy in general.

year: 2009

title: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media

authors: Mataira, Kelvin

abstract: This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

text: Archetypes and the unthought: The projection of the King’s Court in New Zealand television media This thesis explores archetypal projections of conflict in Television New Zealand’s news and current affairs as an unthought. The television news and current affairs programmes identified in the thesis relate to issues of conflict between the Maori people of New Zealand, and the Government and Crown agencies of New Zealand. The unresolved issues of conflict are manifest in what has become popularly known as the Treaty of Waitangi settlement process.

The thesis is informed by Foucault’s conviction that the unthought is the power that is linked to every mode of knowledge. The thesis argues that knowledge in relation to thought is limited because the knowledge is surrounded by an immense region of shadow. In an ontology based on thought only it is shown how the Shadow and the King’s Court archetypes conceal and prevent human beings from comprehending other discourses.

It is argued that Foucault’s concern with the unthought is reflected in Carl Gustav Jung’s convictions about the collective unconscious. Jung’s theory of the quarternio: thinking, sensing, intuition and feeling that describe the four functions of the mind, inform the theory and the methodology for the thesis. It is proposed that the discursive activities of television media can be understood in relation to Hermes the Greek God of magic, lies and illusion. It is further proposed that the images that are projected from television media can be informed by mythical accounts of Hermes’ behaviour and activity in relation to Zeus, Apollo, Dionysus, and Ares.

In the thesis, the quarternio and the Greek Gods are represented by the archetypes of the King’s Court. The Ruler archetype represents Zeus and Apollo as the thinking function of the mind. The Sage archetype is shown to be located in close proximity to the Ruler. The Warrior archetype represents Dionysus as the sensing function of the mind. The Magician archetype represents Hermes as the intuitive function of the mind. The Fool archetype represents Ares as the feeling function of the mind. The Destroyer archetype as the inferior and rejected contents of the collective unconscious represents the archetypal Shadow that undermines the activities of the King’s Court. 

It is maintained in the thesis that television media projections of the King’s Court are a metaphor of the mind, and in particular of the contents of the collective unconscious. The King’s Court as a mythical and archetypal metaphor invites an inspection of the unthought through the epistemology of image. The thesis furnishes a methodology based on the epistemology of television. Through an analysis of popular contemporary films such as the Star Wars Trilogy that are shown to be heavily invested with archetypal motif, discourses for each of the King’s Court archetypes are presented. Foucault’s notion of the rituals and gestures that constitute the true discourse in a regime of truth informs the definition of discourse in the thesis. Discourse in the thesis is to be understood as verbal and non-verbal modes of communication.

Foucault’s notion of disciplinary power provides a method for analysing television news and current affairs programmes as an order of discourse. Disciplinary power enables an understanding of the power relations in television media as the power that circulates in an inquisition between the examiner and the confessor. The archetypes of the King’s Court are projected through the rituals of inquisition in television media.

In the analysis all of the archetypes of the King’s Court are seen except for the Magician. Television it is argued represents the Magician. The Destroyer, the Ruler the Sage, the Warrior and the Fool on television media are controlled by the Magician. The Magician shows that the Ruler’s discourse reflected through the King’s Court represents the regime of truth. The competing discourse of the Destroyer as archetypal foe is located outside of the King’s Court and in opposition to the Ruler’s discourse. The Ruler’s discourse is Apollonine. The Ruler projects the image of control, peace, reconciliation, rationality, serenity, authority, and wealth. The Sage as the intellectual and the Fool as the archetypal Trickster are shown to actively facilitate the power of the Ruler. The Warrior who is projected as a powerful leader may be alienated from the King’s Court.

year: 2000