Analysing changing cultural representations and creative resistance Pete Shepherd University of Portsmouth

Why examine and analyse creative resistance? Brief background to a curriculum development on the BSc Social Work Teaching content and methods of delivery Assessment task and an evaluation of outcomes

Why examine and analyse creative resistance? To gain knowledge of how cultural representations of particular groups can perpetuate or challenge oppression To provide tools for students to deconstruct representations in terms of discourse and power Showcase narratives that provide insider voice and challenge notions of ‘otherness’ Draw parallels with creative engagement, assessment, social pedagogy and social theory

Creativity and Empowerment 20 credit Level 2 BSc Social Work Unit Two areas of focus: For Students to analyse personal challenges involved in challenging discriminatory processes whilst on placement For Students to identify and analyse changing cultural representations of a group through a particular creative medium, eg film, art, music etc

The relevance of culture & mediated representations (Burton (2002), Hall (2003), Barker et al (2001) with a focus upon power, discourse and language How oppression is perpetuated: ‘Lies ‘,Disability & Film (Shakespeare 1999) Mental Health & ‘straightjackets’ of representation (Kuppers 2007) and ‘spoiled identity ‘ (Riddell & Watson 2003) DVDs on changing cultural representations : Ethnicity, oppression and music. Sexual identity, TV & comedy. Authorship, edit and production. Showcasing ‘insider voices’ : ‘Outsider’ Art (Adams 2008), ‘Killing Time ‘ : Older prisoners experiences (Clarke 2008) Personality Plus : Tate Modern 2007) & Parallels: Ways of ‘seeing’ and assessment ‘Truth ‘claims and Post Modernity

Giving contradictory messages eg ‘Help the Aged’ Pulp (1997) and ‘Through the eyes of the old’ BBC1 (2001) edit Use of irony, paradox, taboo and reclaimed language: Dogma 2 : ‘The Idiots’ (Lans Van Trier 1995) ‘Cast offs’ Channel 4 (2009) ‘At your own risk’ (Jarman 1992) ‘The Psychiatrists Pocket’ : Art Installation and poem (SWIG 2007) Decoding exercises: Deconstructing agendas and commentaries. Issue based/mainstreamed material Involvement of SWIG and seeing a film on a production process and analysing issues of power and edit Introductory music and imagery: engaging the audience before the lecture begins. Encouraging greater critical awareness.

Critical deconstruction of the representation of people living with disabilities on TV: Examples included, ‘Britain’s missing models’ BBC2 (2008), ‘Dancing with wheels’, BBC2 (2009 ) &‘Cast offs’ C Issues explored: ‘Hierarchy of disabilities ‘(Riley 2005) ‘cultural appropriation’ (Sturken 2001) and ‘the thin line between exploitation and empowerment ‘(Lacey 1998) Photographic images of gay men and the work of Nan Goldin 1976 – 2001 Made links with changing socio- political environments in terms of law, dominant discourses and social theory (Hicks 2005) and relevant research (Daley et al 2008) Considered ‘connotations’ and meanings of these images (Cartwright & Sturton 2001) ‘Social stance/ distance’ of the photographer (Sussman 1996) Critique of journalist and media portrayals of British Muslim people: Analysis of dominant themes in reporting since 9/11 Moore et al (2008) Underlying discourse of New Labour’s policies on citizenship Mc Ghee (2005) Language and imagery that perpetuates notions of ‘otherness’ Karim (2006) & Poole (2002)

Evaluation of outcomes Provided new ways to engage Students and raise their critical awareness of the 24/7 medias that surround them (Packard 2008) Highlighted the power and influence of image, edit and language in mediated representations Raised awareness of active ‘seeing’ and ‘decoding’ and parallels with everyday assessment Provided a way of showcasing contemporary developments that seek to challenge oppression and provide alternative narratives (Baker 2010) Identified the relevance of theory and how many representations reflect aspects of post modern society Explored the value and issues involved in creative engagement