Inside out and outside in. Thinking a Tagorean Future of Education.

Rabindranath Tagore’s ideas can still inspire education in the East as well as in the West today. In this paper, I survey Tagore’s philosophical anthropology and argue that there is more coherence to his philosophy and pedagogy than is usually seen. For Tagore, the highest goal is to make the world one’s own, as well as to enlarge one’s self to encompass the world. The educational practices through which this ideal can be reached can be classified as “creative action,” “love,” and “freedom.” On the basis of such an ideal, realms such as the arts, nature, and movement no longer remain expendable additions to the kind of knowledge-driven education that aims primarily at making everyone economically productive.One of the problems with such a pedagogical strategy is that it treats human beings as means and not as ends. Tagore’s educational approach (his “method of nature”) refrains from turning children into adults as soon as possible and accepts the deceleration of learning and the simplification of living asmost forward-leading approach to a successful and comprehensive education.

I film therefore I am: process and participation, networks and knowledge – examples from Scottish community media projects.

This chapter examines community media projects in Scotland as social processes that nurture knowledge through participation in production. A visual and media anthropology framework (Ginsburg, 2005) with an emphasis on the social context of media production informs the analysis of community media. Drawing on community media projects in the Govan area of Glasgow and the Isle of Bute, the techniques of production foreground “the relational aspects of filmmaking” (Grimshaw and Ravetz, 2005: 7) and act as a catalyst for knowledge and networks of relations embedded in time and place. Community media is defined here as a creative social process, characterised by an approach to production that is multi-authored, collaborative and informed by the lives of participants, and which recognises the relevance of networks of relations to that practice (Caines, 2007: 2). As a networked process, community media production is recognised as existing in collaboration between a director or producer, such as myself, and organisations, institutions and participants, who are connected through a range of identities, practices and place. These relations born of the production process reflect a complex area of practice and participation that brings together “parallel and overlapping public spheres” (Meadows et al., 2002: 3). This relates to broader concerns with networks (Carpentier, Servaes and Lie, 2003; Rodríguez, 2001), both revealed during the process of production and enhanced by it, and how they can be described with reference to the knowledge practice of community media.