“Towards a vital pedagogy: Learning from anti-ableist practice in art education” details a methodological approach of using “storyboards as a graphic method for cripping the curriculum”. In this study, PGCE students were asked “to investigate taken for granted notions regarding ability that might be implicit in projects they had witnessed, designed or delivered”. (Penketh 2020)
I used the method to crip Advanced Juki workshops. This blog post works as further reflection from blog post 3 about pre-recorded and live video learning material.
Plenketh’s outline for storyboard (Plenketh, 2020, p. 19, fig. 1)
Your Project:
Advanced Juki workshop
- Workshop includes taught techniques: shading, fringing, and 3D embroidery.
- A recap of how to operate the machine is given at the start of the workshop.
- Samples demonstrating various techniques are introduced.
Samples
Cripping an Advanced Juki workshop
Limitations:
- Assumption of fine motor skills
- Assumption of vision – ability to see demonstration, read learning material, thread machine, control direction of stitch.
- Memory – remembering technical terms and actions associated with operating the machine.
- Time – Time to create, make notes & master techniques…
In Penketh’s study…
“A group… discussed the limitations associated with projects designed to generate similar and predictable responses. This resonates with Atkinson’s description of the ‘normative canopy’ generated by the dominance of preconceived ideas and approaches in art education (Atkinson 2017a: 7). Reduced opportunities for individualized creative practice were subject to criticism in generating unhelpful comparisons regarding the perception of ability…. This normative canopy can be extended to include the importance of temporality. Participants drew attention to the sustained time dedicated to producing a piece of work, and the constraints that this might place on different bodies and minds making work. (Penketh 2020)
Fine and gross motor skills are needed to operate the knee press and simultaneously operate the foot pedal, whilst also controlling the fabric. Operating the machine requires a degree of coordination which some students, particularly students with dyspraxia, may struggle with. The machines don’t have an option to change the operating leg and “one large study from 2016… found that for left-handers, 59 percent were left-footed, 25 percent were mixed-footed, and 17 percent were right-footed. Tran & Voracek, (2016 cited in Ocklenburg 2022).
As well as limitations presented with basic operation of the machine, the shading technique requires a higher degree of fine motor skills. I demonstrate this using the common shape of a petal, requiring the student to move the hoop to create curves and blend stitches.
Stills from ‘shading’ video
Revisions:
Whilst the reason for using the petal is intended for familiarity, I can see how this approach resonates with Atkinson’s description of a ‘normative canopy’ above. Shading techniques should be shown using various sample references that require a range of fine motor skills to highlight the preciseness is not synonymous with value.
…More Revised:
- Tools to help thread needles on machinery.
- Magnifying lenses attachments for machines.
- Allow more time to complete fine motor skill reliant tasks (threading).
- Glossary of technical terms.
- Clearly labelled needle sizes
- Samples descriptions
- Enlarged/zoomed in images of samples, specifically areas of reference.
Gains
- More varied student outcomes
- More equitable learning environment
Reflection
As a visual learner this method is helpful and I intend to continue revising limitations already identified as “a vital pedagogy informed by crip theory demands that we remain open to the uncertainty of subjects in order to come to know them better.” (Penketh 2020).
References:
Ocklenburg, S. (2022) Can You Be Left-Handed But Right-Footed?. Available at: https://www.psychologytoday.com/us/blog/the-asymmetric-brain/202212/can-you-be-left-handed-but-right footed#:~:text=One%20large%20study%20from%202016,Tran%20%26%20Voracek%2C%202016). (Accessed: 11/03/2024).
Penketh, C. (2020) ‘ Towards a vital pedagogy: Learning from anti-ableist practice in art education’, International Journal of Education Through Art, 16(1), pp. 13–27. Available at: https://doi.org/10.1386/eta_00014_1