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Ethical Practice in Participatory Visual Research with Girls
Girls and young women, particularly those from rural and indigenous communities around the world, face some of the most adverse social issues in the world despite the existence of protective laws and international treaties. Ethical Practice in Participatory Visual Research with Girls explores the potential of participatory visual method (PVM) for girls and young women in these communities, presenting and critiquing the everyday ethical dilemmas visual researchers face and the strategies they implement to address them, reflecting on principles of autonomy, social justice, and beneficence in transnational, indigenous and rural contexts.
Directory of World Cinema: Africa
Eschewing the postcolonial hubris that suggests Africa could only define itself in relation to its colonizers, a problem plaguing many studies published in the West on African cinema, this entry in the Directory of World Cinema series instead looks at African film as representing Africa for its own sake, values, and artistic choices. With a film industry divided by linguistic heritage, African directors do not have the luxury of producing comedies, thrillers, horror films, or even love stories, except perhaps as DVDs that do not travel far outside their country of production. Instead, African directors tend to cover serious sociopolitical ground, even under the cover of comedy, in the hopes of finding funds outside Africa. Contributors to this volume draw on filmic representations of the continent to consider the economic role of women, rural exodus, economic migration, refugees and diasporas, culture, religion and magic as well as representations of children, music, languages and symbols. A survey of national cinemas in one volume, Directory of World Cinema: Africa is a necessary addition to the bookshelf of any cinephile and world traveller.
The Girl in the Pandemic
As seen in previous pandemics, girls and young women are particularly vulnerable as social issues such as homelessness, mental healthcare, access to education, and child labor are often exacerbated. The Girl in the Pandemic considers what academics, community activists, and those working in local, national, and global NGOs are learning about the lives of girls and young women during pandemics. Drawing from a range of responses during the pandemic including first person narratives, community ethnographies, and participatory action research, this collection offers a picture of how the COVID-19 pandemic played out in eight different countries.
Where Am I in the Picture?
Positionality and researcher reflexivity – how to account for one’s subject position – remain as challenges for new researchers. But they also remain as challenges for experienced researchers, who are often involved in multiple research projects simultaneously. Where Am I in the Picture? sheds light on the idea of researcher positionality through visual methodologies, particularly in the context of studying rurality in Canada, Sweden, and South Africa. The book is intended for new and experienced researchers seeking to decolonize their own perspectives in research in the social sciences and humanities. It incorporates photographs, drawings, and memory work to highlight the social const...
Girls in Global Development
Many scholars have critiqued the neocolonial assumptions embedded in global development agendas. These often focus on the bodies and lives of poor, racialized adolescent girls in the global south as ideal sites for intervention based on these girls’ potential to multiply investment, interrupt intergenerational poverty, and predict economic growth. Girls in Global Development presents case studies from established and emerging scholars to collectively theorize and examine the concept of “Girls in Development” (GID), a distinctive way of approaching notions of girls and girlhoods in locations around the globe, at various points in history, through a critical feminist lens.
Disrupting Shameful Legacies
Disrupting Shameful Legacies: Girls and Young Women Speaking Back through the Arts to Address Sexual Violence is based on methodologies that seek to disrupt colonial legacies, by privileging speaking up and speaking back through the arts and visual practice to challenge the situation of sexual violence.
The Wiley Handbook on Violence in Education
In this comprehensive, multidisciplinary volume, experts from a wide range fields explore violence in education’s different forms, contributing factors, and contextual nature. With contributions from noted experts in a wide-range of scholarly and professional fields, The Wiley Handbook on Violence in Education offers original research and essays that address the troubling issue of violence in education. The authors show the different forms that violence takes in educational contexts, explore the factors that contribute to violence, and provide innovative perspectives and approaches for prevention and response. This multidisciplinary volume presents a range of rigorous research that examine...
Quantum Justice
How girls of color from eight global communities strategize on questions of identity, social issues, and political policy through spoken word poetry. Around the world, girls know how to perform. Grounded in her experience of “putting a mic in the margins” by facilitating workshops for girls in Ethiopia, South Africa, Tanzania, and the United States, scholar/advocate/artist Crystal Leigh Endsley highlights how girls use spoken word poetry to narrate their experiences, dreams, and strategies for surviving and thriving. By centering the process of creating and performing spoken word poetry, this book examines how girls forecast what is possible for their collective lives. In this book, Ends...
New African Cinema
New African Cinema examines the pressing social, cultural, economic, and historical issues explored by African filmmakers from the early post-colonial years into the new millennium. Offering an overview of the development of postcolonial African cinema since the 1960s, Valérie K. Orlando highlights the variations in content and themes that reflect the socio-cultural and political environments of filmmakers and the cultures they depict in their films. Orlando illuminates the diverse themes evident in the works of filmmakers such as Ousmane Sembène’s Ceddo (Senegal, 1977), Sarah Maldoror’s Sambizanga (Angola, 1972), Assia Djebar’s La Nouba des femmes de Mont Chenoua (The Circle of women of Mount Chenoua, Algeria, 1978), Zézé Gamboa’s The Hero (Angola, 2004) and Abderrahmane Sissako’s Timbuktu (Mauritania, 2014), among others. Orlando also considers the influence of major African film schools and their traditions, as well as European and American influences on the marketing and distribution of African film. For those familiar with the polemics of African film, or new to them, Orlando offers a cogent analytical approach that is engaging.
