(Un)veiling desire: re-defining relationships between gendered adult education subjects and adult education programmes

My underlying argument, in this paper, is that conceptualisations of power as a commodity, through which the 'disempowered-as-illiterate' subject moves towards becoming an 'empowered-as-literate' subject, forces constructs of identities into a powerful/powerless dichotomy which does not always do justice to diverse experiences. The claimed 'empowering' intentions of adult education programme and policy practice may, in reality, contribute to the dominance of restrictive disciplining and regulatory discursive practices. Moving away from emancipatory trajectories of adult education programmes that allege only liberation from domination, through 'literacy', can promise freedom points to another position of hope. Drawing on Foucauldian analysis, I explore sites of resistance as possibilities of transforming 'structures of understanding' at different levels. Officially validated and recognised transformations, in adult education programme as well as policy understandings, of the 'illiterate' subject may also hope to include choices in postures of autonomy (see Spivak 1996) made by programme participants in other 'fields' of socio-cultural practice linked to their material realities. Subsequently, 'empowerment' of the 'illiterate Indian village woman' cannot solely be imagined as a product of laws, policies and institutional discursive practices (see, for example, Gouws 2005; Rai 2003 on gender mainstreaming and Mosse 2005 on aid policy and practice). The 'illiterate Indian village woman' represented as a site of resistance, throughout this paper, displaces homogeneous representations of the 'illiterate' which situate her in the role of 'dependent' or 'victim', as failed attempts to rob her of her historical and political agency (Mohanty 1996). Through narrating other 'images' of refusal in my ethnographic vignettes, I hope to recognise different individuals' sense of agency, at all levels, as embedded in and evolving through forms of collective action that activate differences in order to develop possibilities and sustain hope for transforming historically rooted discursive practices of inequality. I provide ethnographic accounts of resisting 'literacy' programme participants, based in different villages in Bihar (Northern India), as accounts of resistance impacted on by notions of norms, translating and interpreting Others, networks and empowerment.

Twenty years of schooling: student reflections on their educational journeys

[From cover and SRHE website] Nearly half of young people go into higher education today compared with around one in five 20 years ago. What do those who have grown up during this time make of their educational experiences? These chapters give an insight into how one group of students at the University of Greenwich experienced the 'education, education, education' stressed so much throughout their lives at school, college and university as the most tested and intensively taught generation in history. They bring sociological ideas to bear on their personal reflections, which are written in a lively style accessible to other students elsewhere, whether in higher education or thinking of going there. They will also be revealing for their teachers and parents. These reflections are a starting point for comparisons across the new system of 'lifelong learning'.

Spank [at Intimacy: across visceral and digital performance]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank [at Queer in Europe, Exeter University, September 08]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank performance tour [at Signals 07 arts festival]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank performance tour [at OMSK]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank performance tour [at National Review of Live Art 2008]

Spank is a duet about two women’s journeys as they play out different roles. One woman recalls stinging anecdotes marked by intimacy, jealousy, fear and fantasy from her childhood in the 70s suburbs – round the corner from where Mike Leigh would film Life Is Sweet. Her Double (projected on screen) reads from a newspaper about an event that punctured the local community, creating an enduring cultural scar, her voice lacking emotion. Both women must eventually face one another and ask, who is deceiving whom? The consequences of guilt and shame and the unstable shift from private memory to public consequence is inevitable and deadly.[ABSTRACT BY THE AUTHOR]

Spank performance tour [at Betsey's Salon of Interdisciplinary Arts]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]

Spank performance tour [at Further investigations, The Space In Between]

Spank follows the journeys of two women as they reveal stories from private and public sources set apart by two centuries. It investigates notions of 'faction' and what is filtered out historically within a theme of female trauma and the body. [ABSTRACT BY THE AUTHOR]