Teaching to Listen: Listening Exercises and Self-Reflexive Journals

Norkunas, Martha

doi:10.1093/ohr/ohr043

Cited by 8 publications

(2 citation statements)

References 22 publications

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“…Influenced by the work of composer Pauline Oliveros, oral historians such as Martha Norkunas and Alessandro Portelli, leadership and creativity scholar Laura Brearley, Black feminist visual theorist Tina Campt, and especially Indigenous elders such as Abuela Ilhuicatlahuili-Bea Villegas (Mexica), I offer a methodology for “deep visual listening” (Brearley, 2014; Norkunas, 2011; Villegas, 2014). This methodology allows us to engage with children’s art in times of crisis more profoundly by using the characteristics of “deep listening” to enhance our viewing.…”

Section: Deep Visual Listeningmentioning

confidence: 99%

“Behind each beautiful painting is a child longing to be free”: Deep visual listening and children’s art during times of crisis

Leyva

2021

Global Studies of Childhood

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“Deep visual listening and children’s art during times of crisis” explores a way to understand children’s art created amidst crisis as well as the meanings we can discern from it through the lens of the “Uncaged Art Tornillo Detention Center” exhibit. In 2018, the U.S. government opened a detention center to hold youth who either crossed the border by themselves or were separated from their families through Trump’s Zero Tolerance policy. The youth were from Central America and came seeking asylum. Fleeing profound poverty and violence, they came to save their lives. To deter asylum-seekers through a series of cruel policies, the United States detained the youth in militarized camps where they were under constant surveillance. They did not know when or if they would be released and experienced depression and trauma. An art project at the detention center resulted in their creating approximately 400 pieces, of which 30 survived. “Uncaged Art” exhibited these works in 2019. This article answers the question “What can we learn about the children, the anonymous artists who created the works, through visual listening?” Visual listening is a process that involves all our senses. Listening requires conscious action, unlike hearing which is automatic and is one of the first senses we develop while still in our mother’s womb. This methodology allows us to engage with children’s art in times of crisis more profoundly than simply seeing the artwork. There are two parts to this practice: deep listening and visual listening. Combined, they provide a powerful way to listen to the stories, the histories, the memories, and the emotions embodied by the art and brought to life by our reflections and understanding

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Section: Deep Visual Listeningmentioning

confidence: 99%

“Behind each beautiful painting is a child longing to be free”: Deep visual listening and children’s art during times of crisis

Leyva

2021

Global Studies of Childhood

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“…Many assume it merely involves nodding one's head, not interrupting, and "remaining open" to a participant's answers. Listening, however, is a difficult skill that not only takes practice, but comes with challenges for which a researcher should be prepared (Norkunas, 2011). Without attention to listening as a practice, qualitative researchers risk not attending to the full set of skills that one needs, and even more impor-tantly, risk being unprepared for what it means to listen to another person talk.…”

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confidence: 99%

Vulnerable listening: Possibilities and challenges of doing qualitative research.

McClelland

2017

Qualitative Psychology

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In this paper I reflect on an important and infrequently discussed aspect of qualitative research: listening. Listening is often imagined as easy. It is however, is a difficult skill that not only takes practice, but also comes with possibilities and challenges for a researcher. In an effort to develop and elaborate a practice of listening in a research context, I develop the idea of vulnerable listening and offer 3 scenarios from my own research. These include: (a) emotional dangers associated with listening, (b) the often unacknowledged role of the listener's body, and (c) the role of extreme emotions in research, such as feeling outraged. Drawing on my own experiences interviewing women diagnosed with Stage IV breast cancer, I highlight how researchers who collect data by listening might care for their own and others' vulnerability. Toward this end, I outline several strategies for researchers looking to support and maintain a practice of vulnerable listening.

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Oral Histories and Enlightened Witnessing

Michell

2019

Children’s Voices From the Past

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Teaching to Listen: Listening Exercises and Self-Reflexive Journals

Cited by 8 publications

References 22 publications

“Behind each beautiful painting is a child longing to be free”: Deep visual listening and children’s art during times of crisis

“Behind each beautiful painting is a child longing to be free”: Deep visual listening and children’s art during times of crisis

Vulnerable listening: Possibilities and challenges of doing qualitative research.

Oral Histories and Enlightened Witnessing

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