The UCU strike for USS has been a roller coaster and I don’t really know what it means yet, being a historian and all. But the strike over pensions and the marketization of universities has changed how I understand our structures and possibilities and how I feel about work, and how I feel about feeling things about work. (But I will leave the truly brilliant Claire Langhamer to take that one on) Its also changed the way academics in different institutions relate to each other, and filled our lives with Twitter.
I’ve never had an overly easy relationship with Universities, or really with education, but over the last few weeks I’ve never felt so completely at home in academia, or wanted to leave academia so much.
Continue reading My Strike Scrapbook by Lucy Robinson aged 48 1/3 yrs
I’ve been out of the country for a week at a great workshop in Berlin “How to Write and Conceptualize the History of Youth Cultures” organised by Felix Fuhg, Doctoral Student, with the Centre for Metropolitan studies. I was travelling with the histrrry girls and The Subcultures Network, so there were Harringtons. There are always Harringtons. We spent one day working and talking in the Archiv der Jugendkulturen. Its an incredible community archive and library that has brought together all the different traces of resistance in youth culture and subcultures. From magazines made by school pupils to the Love Parades’ backdrops and giant cut outs of Nena – the transational and hyper local are boxed up together and are being carefully catalogued by local participant experts in each scene.
Continue reading A week ago we stood together: is it fixed yet?
Yesterday was the last seminar of this year’s Post-Punk Britain course that I teach with Chris Warne in the third year of our History degree. It is a funny sort of course; it is not really about Punk, and quite a lot of people might think it is not really about History either. It is about what we can do with punk. We do some history of subcultures stuff, but really it is about thinking of punk as a methodology, as an ethos and as a form of dissidence or resistance. In practice that means it’s an ongoing pedagogical experiment. Each of the three years we’ve run the course has been totally different. This is partly because the students collaboratively set the agenda and choose what directions they want to go. It is partly because we’ve been funded through Technology Enhanced Learning and Excellence in Teaching to run a set of student led projects; DIY Digital and DIT Digital. These projects are scavenger history. Students create open access educational resources inspired by the course using apps, social networks, and websites that were often designed with other purposes in mind. Like a DIY zine, it is a way of taking what we can find and making it our own.
When I attended Sussex’s Annual and Teaching conference I was introduced to the idea of using Plickers (paper clickers) in teaching I knew this was something we could play with.
Continue reading Plicker the Punk Rock Clicker : Quant into Qualt won’t go?
Have you ever been on holiday with your students? Its got a lot of awkward potential.
This year Chris Warne and I were awarded an Innovation in Teaching Award to take a group of students to Margate and set up a digital pedagogy experiment. DIT Digital: Doing Subcultures Online involved tours and workshops with two of Margate’s significant heritage sites; The Turner Contemporary and Dreamland. Our Twitter hashtag is #DITDreamland
Last year we had run a less ambitious project DIY Digital: Doing Punk Online with students on our Post-Punk Britain module. Students had created open access educational resources around topics from the module. One of the key lessons from the project last year had been the importance of ‘being in the room’ to facilitate virtual interaction so a field trip offered a way of sharing a physical space together whilst doing digital work. Furthermore last year’s MA mentors had been absolutely central to the success of the project and we now had a group of masters students who had been part of the original project as undergraduates who could act as mentors.
Continue reading The awkward pleasure of Doing it Together
Over the past few weeks Class War and LSE’s Lisa Mckenzie in particular have been taking a lot of stick for their choice of target and tactics. For months Class War and the Women’s Death Brigade have been standing up against the relocation of young teenage mothers by supporting E15 Mums’ campaign, opposing Poor Doors, challenging Gay Pride’s for profit associations with big business and international banking, and exposing the dodgy deals and marketing of working class women’s bodies for profit at the Jack the Ripper Museum in Cable St. All pretty straight forward. Not everyone likes the shouty, irreverent style of the brigade, but its pretty hard to defend kicking out teenage mums, humiliating social housing tenants, censoring gay activists in the name of Pride, or possible shonky negotiations for planning permission. But then Class War went too far. They went for the hipster – and the infamous Cereal Killer Café. Jokes were made on Radio 4 quizzes. Newspapers dug around in activist’s private lives and recreational choices for a few exposes. Friends of mine argued that these were the wrong targets and the wrong tactics. I’m not going to get into analysis of cultural capital and bearded entitlement (but honestly doesn’t your face take up enough space already?). But I found it difficult to see the cereal café as the biggest victim in the struggle around austerity.
Fair enough, the other side of that coin is that the bearded cereal sellers might not be your biggest problem either. In fact you might not have heard about all the grassroots activism that Class War and the Fuck Parade had been doing if they hadn’t annoyed Shoreditch. [disclaimer – I am gluten and lactose free so cereal prices are never going to be my biggest issue] But the issue of personal taste, and personal tactics really isn’t the problem anymore. The truth is, it doesn’t matter what your personal political style is. It doesn’t matter how your particular political form and content sit together. Because whether you like it or not, whether we like each other’s style or not, we really are all in it together. If we didn’t know that already, the CPS have just made it very clear.
Continue reading Persons Unknown
I love a training session. I’m always signing up for new workshops. I know there is often a load of nonsense from academics who somehow think that they are instinctively good teachers and don’t need to engage in professional development, that isn’t explicitly developing their reputation as an international scholar. In fact I’ve heard early career and established academics say some pretty shoddy things about pedagogical training. Shoddy things that they wouldn’t accept being said about their own work, their own research or indeed their own teaching. Why wouldn’t we want to benefit from the high quality pedagogical research and training experience of experts? We certainly expect people to take our own research and experience seriously. In fact I have noted a direct correlation between historians who dismiss pedagogical training whilst simultaneously separating themselves from public history, heritage, amateur archivists, genealogists or school and FE based history curriculum as not being ‘real history’. So it is alright for historians to blag it as teachers but not for teachers to blag it as historians?
Continue reading Part 1: Remote Control Supervision – The hybrid puppet master supervisor
DIY Digital: Doing Punk Online grew out of the third year Special Subject History course ‘Post-Punk Britain’.
The course is in its second year and from the start, my co-tutor Chris Warne and myself, imagined it as an experiment in democratic teaching and learning. We use the growth of academic work around subcultures and youth culture since 1976 to explore bigger questions around what it means to be a contemporary historian today. This means that we look at local histories, archival practices, life history like memoirs, sound, image and moving images, and oral history alongside popular culture. Although there has been a determined growth in academic work on subcultures in history, sociology, criminology, English studies and beyond, PPB puts these alongside other forms of history work outside of the formal universities. We take the memories that people inherit, share and turn into stories as seriously as the academic theories around the politics of popular culture.
Continue reading DIY Digital: First Steps to Selling Out
This post is based on a speech that I gave as part of UCU industrial action I had proposed that Union members and students shared our two hour strike on 28th January 2014 by watching the 1984 film Footloose. I’m not sure how I got away with it, but I did. Here is how I explained why to those who came to watch the film.
Continue reading FOOTLOOSE AND THE POLITICS OF PLEASURE