Student teachers consider cooperating teachers to be one of the most important contributors to their teacher preparation program. Therefore, the ways in which cooperating teachers participate in teacher education are significant. This review seeks to move conceptions of that participation beyond commonly held beliefs to empirically supported claims. The analysis draws on Brodie, Cowling, and Nissen's notion of categories of participation to generate 11 different ways that cooperating teachers participate in teacher education: as Providers of Feedback, Gatekeepers of the Profession, Modelers of Practice, Supporters of Reflection, Gleaners of Knowledge, Purveyors of Context, Conveners of Relation, Agents of Socialization, Advocates of the Practical, Abiders of Change, and Teachers of Children. When set against Gaventa's typology of participation, the resultant grid highlights the importance of negotiated or invited spaces for cooperating teacher participation and provides a new way of thinking about, planning professional development for, and working with cooperating teachers.
The City of Richgate project worked with eight intergenerational immigrant families and examined immigrant experiences and narratives through a community‐engaged process that employed a/r/tography as a methodology. As such, the research also investigated the extent to which a/r/tographical research could visually and narratively portray the analysis of data collected by the co‐a/r/tographers. After interviewing and collecting images from each family, large artistic gates (banners) were created. This first phase of the project revealed the power of images in situ, and thus the power of a/r/tography in situ. For the community members and co‐a/r/tographers meanings were constructed within ongoing a/r/tographic inquiries described as collective artistic and educational praxis. The second phase involved the identification of important places by each family within the City of Richmond. After analysing all of the data, several works of art were created with each family in mind: bus shelter images juxtaposing close‐up and far away geographical images; side‐by‐side images portraying historical and contemporary images of family ideals and/or issues; banners illustrating families in meaningful poses; and archival collections portraying the importance of identity and memory in the transformation of culture. This phase culminated in a citywide exhibition of the artwork performing public pedagogy. The exhibition questioned the idea of a City of Richmond having a community centre, and instead exhibited many Richgates, or conceptions of Richmond. Rather than having a city centre, there are many centres, a Network of Cities of Richgates, where centres are constantly changing and shifting to reflect the narratives of individuals living in a psycho‐geographical region of a city.
Through a year-long collaborative practice of walking as art, three artists/researchers/teachers investigated embodied perception in terms of its capacities for self-sustenance. Amidst the rush and routine of busy lives, familiarity with feelings of potential as the nourishment sustaining bodily movement is often forgotten. However, in immersive practices such as walking, conceptual categories are not as significant as the positions and orientations that postures address, and the degrees of potential bodies feel in assuming these postures. Perception derives its sustenance in a social awareness at the level of the body where availabilities for next movement are generated by sensations of a world in movement already underway. The repeated aesthetic experience of practice-generated potential in every bodily repositioning grounds philosophical matters of perception in this study. This article describes our enquiry into the integrating capacities of walking art for feelings of relational aliveness and it includes both poetry and visual art as part of the study.
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