Photography as a System for Representing the Teacher’s Theories and Beliefs (original) (raw)
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Reflections on the Photographic Act Photography both connects and separates us from reality. As Susan Sontag pointed out in her famous On Photography, the camera (nowadays, usually a smartphone) is both a bridge and a divide. It unites but also insulates us. Perhaps that is why we take and save photographs of things that unsettle us, to make them our own. Photography is an act of possession, even if we do not know exactly what for and why we appropriate something external. Authors such as Barthes (1989), Thysseron (2002), Sontag (2014), and Berger (2000), have discussed photography and the photographic act from various points of view that all nevertheless refer to an always unfinished and failed understanding of reality, of a reality that is impossible to pin down. Humans take photographs to know, possess, understand and acquaint themselves with external-albeit possibly familiar-facts, events and realities. Photography renders the familiar strange and the strange familiar. There are a myriad of gazes, ranging from a desire to dominate to a tenacious observation that seeks to understand what is before us, in front of our eyes, through its imaginary capture: from a wideangle shot looking down, that restores a feeling of domination over reality, to a closeup that reveals the humility of the person observing, of the person seeking to understand and be understood through the photographic act. Rafaèle Genet, who works at the University of Granada Education Faculty, teaches her students to see through new eyes using photography. In her doctoral thesis, "City and Artistic Education in Initial Teacher Training: Educational Research Based on the Visual Arts" (2016), photography becomes an educational medium that renders the commonplace new and connects our gaze to events, emotions, forms and education.
Photography in educational research based on the arts
Mesías Lema, J. M., & Ramon, R. (2021). La fotografía en la investigación educativa basada en las artes / Photography in educational research based on the arts. IJABER International Journal of Arts-based Educational Research, 1(1), 7-22., 2021
This article discusses the use of photography as a pedagogical artefact and documentation tool for Arts-based Educational Research. Its implementation is accomplished through the collaborative project "Ways to make worlds", developed by two Spanish universities. This project delves into the educational discourses, methodologies and thinking through performative actions using photography. These actions constitute a means of subverting the classroom and reflecting on it, above all, by focusing on the initial training of teachers in the visual arts. The results of the actions allow us to visualize the spaces of reflection and analysis that the participants develop with their own bodies, acquiring a new way of thinking and offering an instrument of artistic action to engage educationally in their future classrooms.
Abstract This chapter looks at the unique qualities of photography that makes it an ideal tool to use in classrooms for teaching all different subject matter as well as an important device to teach about. Having years of experience as a photojournalist and as an educator, the author explores theoretical underpinnings of photography as well as practical applications for teaching. Today, the camera has become a powerful pedagogical tool because of its ubiquity in society, low price, ease of use, and democratic potential. What had for years been too expensive or difficult to utilize in the classroom, is now an invaluable teaching aid that educators should integrate throughout their curricula and encourage students to analyze and use. Photographs have become so common these days that neither adults nor children are accustomed to questioning the construction or bias of the pictures that surround them. When using a critical media literacy framework, teachers and students can support democratic pedagogy by using photography to co-construct knowledge and create alternative representations of their world.
As humans, we have the ability to use many forms of “language” to express our self and our experiences, where visual art, an image, is one. Accordingly, experiences can be described in many different ways. In this paper we describe the challenges and benefits of using visual art as a research method to voice lived experiences of students and teachers based on life-world phenomenology. We give three examples of the analysis of visual art works, such as photographs, lino prints, and drawings made by students and teachers, as a way to express their lived experiences of different phenomena. The conclusion is that there are limits with using visual art as the sole source of empirical data. We argue that such data has to be accompanied by oral or written comments to enhance credibility and rigor. A life-world phenomenological analysis of visual art and subsequent comments emphasizes openness and humility to participants’ experiences as well as an all-inclusive understanding of a phenomenon.