Abstract:This paper maps the development of a response-able (Barad 2007), creative professional learning programme for in-service teachers of an unfolding relationships and sexuality education (RSE) curriculum in Wales (UK) where the authors are uniquely and deeply entangled. We chart crucial aspects of the ethical, political and creative praxis informing this journey and explore how the post-qualitative concepts of darta and dartaphacts (Renold 2018), through creative audits facilitated by teachers that surfaced what … Show more
“…It’s a story that captures the potential of a holistic, trans-disciplinary RSE, across areas often deemed taboo, from queer kinship cultures where posthuman desires manifest in mums marrying mermaids, to violent fantasies of blowing up invisible walls. In the spirit of post-qualitative inquiry (see also Renold, Ashton, and McGeeney 2021 ), we share the story and the images that sparked the story ( Figure 5 ) as a future resource in the making – a story that will be re-animated and take flight in a life beyond this journal article. Figure 5.…”
Section: Crush Cards On the Makementioning
confidence: 99%
“…The lofty and impossible aim was to introduce the potentially transformative vision of RSE in Wales and stay close to ‘what matters’. These workshops developed into a bespoke creative professional learning programme (PLP), with Ester McGeeney and Leanne Coll preparing teachers for the new statutory RSE in 2022 (see Renold, Ashton, and McGeeney 2021 ). And with each cohort (2018–19, 2019–20, 2020–21, 2021–2022) the programme expands, and resources are co-produced.…”
Section: Why ‘Crush Cards’? Attuning To What Mattersmentioning
confidence: 99%
“…The crush cards have been on the turn, and on the make, ever since our first introduction of them with teachers participating in our professional learning programme in 2018. While this process is only now beginning to be researched, hundreds of teachers have shared and used the cards and the crushing pedagogy with other teachers, school governors and with parents (see Renold, Ashton, and McGeeney 2021 ). Some teachers have adapted the resource and pedagogy back in schools by sharing just the images, or replacing the images with physical objects with their students.…”
Section: Crush Cards On the Makementioning
confidence: 99%
“…These are a suite of illustrated data calling-cards designed to re-animate research findings and stay close to the ways in which children and young people are entangled in, and navigate their way through, complex human and more-than-human gender and sexuality assemblages. As we briefly set out in the section, ‘Why Crush Cards?’, the cards were part of a bespoke professional learning programme designed to experiment with new ways to bring ‘what matters’ to life by offering ‘art-ful encounters’ that facilitate emergent, speculative ways of working (see Renold, Ashton, and McGeeney 2021 ). The focus in this paper has been to share our rhizomatic journey from the making of the cards in 2018, and how they and we have continued to become resourceful as part of a wider process of co-production to re-matter youth voice and the complexity and diversity of lived lives.…”
Section: Coda: What Else Can a ‘Crush Card’ Do?mentioning
This paper shares a rhizomatic unfolding of how a creative, post-qualitative praxis for becoming adventurous in the field of Relationships and Sexuality Education (RSE) can unfold in a conducive policy and practice context (Wales, UK). Specifically, we focus on the making and mattering of what we call ‘Crush-Cards’. These are a suite of illustrated data calling-cards designed to re-animate research findings and stay close to the ways in which children and young people are entangled in, and navigate their way through, complex human and more-than-human gender and sexuality assemblages. Each section progressively provides a glimpse at how our art-ful rhizomatic praxis has evolved and how the resource and emergent CRUSHing pedagogy is becoming resourceful in unexpected ways.
“…It’s a story that captures the potential of a holistic, trans-disciplinary RSE, across areas often deemed taboo, from queer kinship cultures where posthuman desires manifest in mums marrying mermaids, to violent fantasies of blowing up invisible walls. In the spirit of post-qualitative inquiry (see also Renold, Ashton, and McGeeney 2021 ), we share the story and the images that sparked the story ( Figure 5 ) as a future resource in the making – a story that will be re-animated and take flight in a life beyond this journal article. Figure 5.…”
Section: Crush Cards On the Makementioning
confidence: 99%
“…The lofty and impossible aim was to introduce the potentially transformative vision of RSE in Wales and stay close to ‘what matters’. These workshops developed into a bespoke creative professional learning programme (PLP), with Ester McGeeney and Leanne Coll preparing teachers for the new statutory RSE in 2022 (see Renold, Ashton, and McGeeney 2021 ). And with each cohort (2018–19, 2019–20, 2020–21, 2021–2022) the programme expands, and resources are co-produced.…”
Section: Why ‘Crush Cards’? Attuning To What Mattersmentioning
confidence: 99%
“…The crush cards have been on the turn, and on the make, ever since our first introduction of them with teachers participating in our professional learning programme in 2018. While this process is only now beginning to be researched, hundreds of teachers have shared and used the cards and the crushing pedagogy with other teachers, school governors and with parents (see Renold, Ashton, and McGeeney 2021 ). Some teachers have adapted the resource and pedagogy back in schools by sharing just the images, or replacing the images with physical objects with their students.…”
Section: Crush Cards On the Makementioning
confidence: 99%
“…These are a suite of illustrated data calling-cards designed to re-animate research findings and stay close to the ways in which children and young people are entangled in, and navigate their way through, complex human and more-than-human gender and sexuality assemblages. As we briefly set out in the section, ‘Why Crush Cards?’, the cards were part of a bespoke professional learning programme designed to experiment with new ways to bring ‘what matters’ to life by offering ‘art-ful encounters’ that facilitate emergent, speculative ways of working (see Renold, Ashton, and McGeeney 2021 ). The focus in this paper has been to share our rhizomatic journey from the making of the cards in 2018, and how they and we have continued to become resourceful as part of a wider process of co-production to re-matter youth voice and the complexity and diversity of lived lives.…”
Section: Coda: What Else Can a ‘Crush Card’ Do?mentioning
This paper shares a rhizomatic unfolding of how a creative, post-qualitative praxis for becoming adventurous in the field of Relationships and Sexuality Education (RSE) can unfold in a conducive policy and practice context (Wales, UK). Specifically, we focus on the making and mattering of what we call ‘Crush-Cards’. These are a suite of illustrated data calling-cards designed to re-animate research findings and stay close to the ways in which children and young people are entangled in, and navigate their way through, complex human and more-than-human gender and sexuality assemblages. Each section progressively provides a glimpse at how our art-ful rhizomatic praxis has evolved and how the resource and emergent CRUSHing pedagogy is becoming resourceful in unexpected ways.
“…It is beyond the scope of this paper to chart what Tess Lea (Lea, 2020, p. 12) might describe as the "wild" forces of Wales' RSE policy ecology, with its "natural incoherence" made up of complex interactions of multiple human and nonhuman actors. EJ has written elsewhere of the unruly, dispersed and fitful stutters and meanderings of how a wild RSE policy assemblage is taking shape in Wales (Renold, 2018(Renold, , 2019Renold et al, 2021). Our praxis dialogues with a growing scholarship of phEmaterialist (Ringrose et al, 2020a) gender and sexuality education policy and practice in schools (see Allen, 2018;Allen, 2020;Allen and Rasmussen, 2017;Alldred and Fox, 2019;Renold and Ringrose, 2017;Ferfolja and Ullman, 2017;Quinlivan, 2018;Osgood and Robinson, 2019;Robinson Garland-Levett, 2020;Ringrose et al, 2020b;Pasley, 2020;Marston, 2020;Wolfe, 2021;Timperley, 2021;Zarabadi, 2021;Mohandas, 2021).…”
PurposeThis paper introduces the concept of posthuman co-production. It explores how processual and relational onto-epistemologies inform an artful, response-able (Barad 2007) feminist new materialist praxis that decentres the human and re-centres matter.Design/methodology/approachPosthuman co-production gives prominence to crafting “dartaphacts” (Renold, 2018); creative research artefacts, carrying “what matters” and enacting change that can be mapped across time and multiple “problem spaces” (Lury, 2020), as an expansive, post-qualitative praxis of slow, co-production.FindingsThe paper stories this praxis across three “fugal figurations” providing glimpses into the post-qualitative journeys of assembled dartaphacts in the policy and practice field of relationships and sexuality education (RSE) in Wales. Each fugue hints at the polytical, resourceful and living potential of dartaphacts in the making and their mattering over a period of six years. Collectively, they chart a rhizomatic journey that re-configures co-production as a response-able, becoming-with what matters.Originality/valueAs more-than-human forces for change, dartaphacts continue to surface “the cries of what matters” (Stengers 2019) for children and young people well beyond the periods of funded research and engagement, giving new meaning to the sustainability and material legacies of research impact.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
