Fall 2022 - EDUC 843 G001

Embodiment and Curriculum Inquiry (5)

Class Number: 1868

Delivery Method: In Person

Overview

  • Course Times + Location:

    Tu 4:30 PM – 9:20 PM
    SRYC 3280, Surrey

  • Instructor:

    Celeste Snowber
    celeste@sfu.ca
    1 778 782-4453
    Office: SFU Surrey, 5th Floor Galleria, 5206
    Office Hours: By appointment

Description

CALENDAR DESCRIPTION:

The scholarship on embodiment and its implications for the body as a site for knowledge and its relationship to contemporary curriculum inquiry will be studied with specific emphasis on the area of performative and narrative inquiry and arts education. Central to this course will be the investigation of embodiment from both a philosophical perspective and a literary/poetic perspective. Equivalent Courses: EDUC712

COURSE DETAILS:

Each class will consist of lecture, group discussion, writing, practices of physicality as movement/dance, walking, somatic practices, and connection to the natural world.  It is important to note that we will often meet in other locations in order to facilitate the connection to physicality and creation as well as access to a dance studio and galleries.  There will be several field trips including visits to Surrey Art Gallery, Bill Reid Gallery, Green Timbers Urban Forest in Surrey and Holland Park in Surrey. A detailed schedule will be given out in the beginning of the semester.

COURSE-LEVEL EDUCATIONAL GOALS:

This course will examine the scholarship on embodiment and its implications for the body as a site for knowledge and its relationship to contemplative education, specifically in the area of embodied ways of inquiry. Central to this course will be to look at embodiment from a philosophical perspective, a literary/poetic perspective and a visceral perspective rooted in movement, dance, walking and physicality in a variety of forms, and even our limitations.  Particular attention will be given to the relationship between philosophies of the body and their relevance to us as researchers, educators, artists, and human beings. The mind-body dualism will be examined and its impact on how research is enacted, and how we enter the practice of teaching and reflect on our practice. The notion of "bodily attending" will be developed both for reflexivity, moving, writing, and pedagogy. A major emphasis will concern how an informed understanding of embodiment can have pragmatic influence on the way we experience knowledge and articulate knowledge and its importance for bodily mindfulness. The student will have opportunity to relate the notion of embodiment to his/her particular research and integrate performative, narrative and poetic writing to articulate knowledge, which is situated in bodily experience.  Movement and somatic/dance practices as well as walking will be integrated in the class to  facilitate embodied connections to learning.

Grading

  • Body Narrative 20%
  • Presentation on Chapters 20%
  • Bodygraph Project-FINAL PIECE 50%
  • Participation- Sharing writing in class and embodied voice 10%

NOTES:

Writing from the body practice in and out of class
It will be expected that you write during class in each session and at certain times bring your writing to the larger group. You will also be expected to engage in short writes several times a week and bring small segments of your work to the class. You will also be required to take an hour of solitude (bodily mindfulness) a week connected to physicality,  which your writing can emerge from. This will be explained during the first class.

Somatic/Movement work
Each class will provide opportunity to integrate somatic and movement work which will consist of a variety of practices connected to embodiment, including, but not limited to creative movement, yoga stretches, breathing, Interplay, creative dance, improvisation and voice work  This movement work will be connected to writing from the body, the poetic,  and developing ideas, insights and contribute to your own inquiry in your bodygraphy. 

Grading Requirements

  1. Body narrative 20% These body narrative pieces will be developed out of exploring the relationship between the body, memory and narrative. This can also consist of prose, poetry, essay, or poetic prose. DUE: October 4
  2. Group presentations on chapters 20% You will present in groups on the chapters in your text Arts-based and contemplative practices in research and teaching: Honoring presence. You will engage the class collectively in an arts-based practice related to the chapter to deepen the exploration of the ideas from the scholars. DUE: Throughout semester
  3. Bodygraphy including presentation 50%
    This assignment is your major project that includes your writing, performative work, and growing perceptions/understanding of how the body intersects research, writing, teaching, and aspects of being. There is room within this piece to include various artistic representations, i.e. film, video, dance, drama, reader’s theatre, visual work, poetry, prose, or performance art, as well as essay writing. This assignment combines a significant research inquiry with an oral presentation, so you will present your work to the class. You will be required to pass in an abstract which provides a synopsis of your inquiry. Presentation of your bodygraphy will be done during the last two weekends.  This assignment connects to your ongoing inquiry, and is important to start early, and integrate your own autobiographical inquiry and exploration of your embodied knowing and learning.  Arts-based practices are encouraged, and writing from the body as ways of creating your bodygraphy.  DUE: Abstract October 18 Final presentations/project Due: Last 2 classes Nov. 29 & Dec. 6

    Bodygraphy is a term that I utilize which is a combination of autobiographical inquiry and embodied inquiry to create an intertextual piece, which expresses the depth of your embodied learning and how it connects to you personally and professionally.

  4. Participation – Sharing writing and embodied voice 10%

As much as possible, within an online capacity participation and presence is expected.  Part of this component is also sharing writing within the class and having opportunity to work and develop your embodied and poetic voice.





 

REQUIREMENTS:

Tuesdays, 4:30-9:20 pm, SFU Surrey. Rm. 3280

There will be several field trips and a full list of dates will be handed out in including, Holland Park in Surrey, Surrey Art Gallery, Green Timbers Urban Forest and Bill Reid Gallery in Vancouver. These trips are all low risk. We will also try to acquire the yoga studio at SFU Surrey as well for some classes. There also may be a few classes on ZOOM so we can take advantage of guest scholars.

Dates for off-campus times.

September 13 Holland Park – Public Art/Art Installation/Writingacross from SFU Surrey 13438 Old Yale Road, Surrey, BC . Leave during classhttps://www.surrey.ca/parks-recreation/parks/holland-park

September 20 Green Timbers Urban Forest at Surrey Nature Centre entrance 14225 Green Timbers Way. Meet there at 4:30.

https://www.surrey.ca/parks-recreation/surrey-parks/surrey-nature-centre

https://www.surrey.ca/parks-recreation/parks/green-timbers-urban-forest

October 11, Surrey Art Gallery, 13750 88 Ave, Surrey.  

We will meet at 4:30 at the gallery for a tour. https://www.surrey.ca/arts-culture/surrey-art-gallery

November 22 Vancouver Art Gallery,  750 Hornby Street, Vancouver
We will meet at 4:45 at the gallery. 

Materials

MATERIALS + SUPPLIES:

A journal to write in by hand.  The class will encourage writing by hand as a way to access writing from the body.

REQUIRED READING:

Snowber, C. (2016). Embodied inquiry. Rotterdam, The Netherlands: Sense Publishing.
ISBN: 978-94-6300-753-5

S. Walsh, B. Bickel, & C. Leggo (Eds.). (2015). Arts-based and contemplative practices in research and teaching: Honoring presence. New York, NY: Routledge.
ISBN: 9781138286740

Friedman, L. & Moon, S. (Eds.) (1997). Being bodies: Buddhist women on the paradox of embodiment. Boston: Shambhala.
ISBN: 1-57062-324-4

Selected Journal articles and chapters will be given to the class.

RECOMMENDED READING:

Abram, D. (1996). The spell of the sensuous: Perception and language in a more- than-human world. NY: Vintage.
ISBN: 0-679-77639-7

Lamothe, L. K. (2015). Why we dance: A philosophy of bodily becoming. NY: Columbia University Press.
ISBN: 978-0-231-17105-2

Williamson & B. Sellers-Young (Eds.) (2020) Spiritual herstories: Call of the soul in dance research. Bristol: Intellect Books. (electronic bk.)
ISBN: 9781789380835

REQUIRED READING NOTES:

Your personalized Course Material list, including digital and physical textbooks, are available through the SFU Bookstore website by simply entering your Computing ID at: shop.sfu.ca/course-materials/my-personalized-course-materials.

Graduate Studies Notes:

Important dates and deadlines for graduate students are found here: http://www.sfu.ca/dean-gradstudies/current/important_dates/guidelines.html. The deadline to drop a course with a 100% refund is the end of week 2. The deadline to drop with no notation on your transcript is the end of week 3.

Registrar Notes:

ACADEMIC INTEGRITY: YOUR WORK, YOUR SUCCESS

SFU’s Academic Integrity website http://www.sfu.ca/students/academicintegrity.html is filled with information on what is meant by academic dishonesty, where you can find resources to help with your studies and the consequences of cheating. Check out the site for more information and videos that help explain the issues in plain English.

Each student is responsible for his or her conduct as it affects the university community. Academic dishonesty, in whatever form, is ultimately destructive of the values of the university. Furthermore, it is unfair and discouraging to the majority of students who pursue their studies honestly. Scholarly integrity is required of all members of the university. http://www.sfu.ca/policies/gazette/student/s10-01.html