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Detournement as Pedagogical Praxis

  • Book
  • © 2014

Overview

Editors:
  1. James Trier

    1. University of North Carolina at Chapel Hill, USA

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  • Detournement as Pedagogical Praxis is the first book about detournement to be published in the overall field of Education, and each chapter describes an actual critical project that was carried out (rather than merely conceptualized without being realized).

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Table of contents (9 chapters)

  1. Front Matter

    Pages i-viii
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  2. The Introduction to Detournement as Pedagogical Praxis

    • James Trier
    Pages 1-37

  3. A Detournement of Joe Clark’s Problematic “Motto” of Personal Agency in lean on me 1.

    • James Trier
    Pages 39-54

  4. Juan Skippy

    • Amy Senta
    Pages 55-78

  5. The Hollywood Indian Goes to School

    • Trey Adcock
    Pages 79-105

  6. Detournement as Anti-Oppressive Pedagogy and Invitation to Crisis

    • Ashley Boyd
    Pages 107-128

  7. In God’s Country

    • Tim Conder
    Pages 129-154

  8. Challenging Waiting For Superman Through Detournement1

    • James Trier
    Pages 155-169

  9. Detourning the Charterization of New Orleans Public Schools with Preservice Teachers

    • Joseph D. Hooper
    Pages 171-194

  10. Revisiting “Sordid Fantasies”

    • Jason Mendez
    Pages 195-209
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Keywords

About this book

The Situationist International (SI) was a Paris-based artistic and political avant-garde group that formed in 1957, went through three distinct phases during its existence, and dissolved in 1972.  In 1967, SI leader Guy Debord published his book The Society of the Spectacle, which presents his theory of how “the Spectacle” (i.e., the Capitalist system in its totality) works endlessly (though not always successfully) to transform people into spectators whose sole purposes are to consume commodities and to live de-politicized, passive, isolated, and contemplative lives.  To challenge and subvert “the Spectacle,” Debord and his SI associates theorized and practiced the anti-spectacular critical art they called “detournement,” which entails reusing existing artistic and mass-produced elements to create new combinations or ensembles.  As Debord wrote in 1956, detournement has the potential to be “a powerful cultural weapon in the service of real class struggle.”
In this edited book, the authors contribute chapters about how they created their own detournements and used them as central audio-visual texts in critical projects that they designed and carried out in a variety of pedagogical situations.  Most of the projects involved preservice teachers in teacher education courses, and the anti-spectacular purposes include challenging Hollywood’s problematic representations of Native Americans,  subverting the racist stereotypes of Latin@s in a popular children’s book, and critiquing the neoliberal agenda of the charter school movement. This book offers readers detailed accounts of pedagogical projects that can serve as examples of the critical possibilities of detournement.

Editors and Affiliations

  • University of North Carolina at Chapel Hill, USA

    James Trier

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