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here's the authors' note from The Magic Fish.
1. Choose one (or more) panel(s) that spoke to you. What did you like about that panel? How would you use that panel in a lesson?
2. How does The Magic Fish help us understand queer theory?

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go to settings and change your name to whatever you want it to be ! think BIG! or smol. or don't think. idk

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go to settings and change your name to whatever you want it to be ! think BIG! or smol. or don't think. idk

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Activity: You're cooking a meal for your friends, family members, and students. You want them to taste what queer & abolitionist utopia looks like to you. What goes into your meal?

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Activity: You're cooking a meal for your friends, family members, and students. You want them to taste what queer & abolitionist utopia looks like to you. What goes into your meal?

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Can you think of ways in which your theoretical underpinnings may/ may not manifest in abolitionist pedagogical practices (when you're on the ground)?

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Can you think of ways in which your theoretical underpinnings may/ may not manifest in abolitionist pedagogical practices (when you're on the ground)?

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 How is abolitionist teaching related to queer pedagogy?                                                                                              

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 How is abolitionist teaching related to queer pedagogy?                                                                                              

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player amarillo, guess what? you've made it to the end of your journey at this stage in life. you are now evolving into player morado. go back to the top of the page and follow the quest towards queer pedagogy

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player amarillo, guess what? you've made it to the end of your journey at this stage in life. you are now evolving into player morado. go back to the top of the page and follow the quest towards queer pedagogy

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don't cry now, this isn't the END end. We'll meet again in no time.

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if you've completed both amarillo and morado stages of life, congratulations players! welcome to the passage of pprrrprprprrpprrr praxis !

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if you've completed both amarillo and morado stages of life, congratulations players! welcome to the passage of pprrrprprprrpprrr praxis !

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I spy with my critical eye... a bopping kitty! (≧▽≦)
[ go find that kitty !! (=^ェ^=) ]

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welcome to the end, player morado... you are now evolving to player amarillo... ♪♫*•♪♫*•♪♫*•♪

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welcome to the end, player morado... you are now evolving to player amarillo... ♪♫*•♪♫*•♪♫*•♪

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Go back to the top of the page and take the amarillo path towards teaching for liberation.

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What are the "spaces of childhood" you return to when creating a liberating pedagogy?

A lot of us go back to our childhood to think about what could've been different at school Let's also explore what worked for us at that time.

How do you accept hooks' invitation to explore why we think a classroom will be "uncontrollable" when talking about behavior, language, race, gender, sexuality, and status?

[ Pop your responses down below! ]

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pr... pr... praxis ?! why is it so hard?

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pr... pr... praxis ?! why is it so hard?

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Nap with: (Shalaby, 2019) Imagining "Classroom Management" as an Abolitionist Project

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Nap with: (Shalaby, 2019) Imagining "Classroom Management" as an Abolitionist Project

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Imagining "Classroom Management" as an Abolitionist Project

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Sing with: (Cuauhtin, 2019) The Matrix of Social Identity and Intersectional Power, A Classroom Resource

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Sing with: (Cuauhtin, 2019) The Matrix of Social Identity and Intersectional Power, A Classroom Resource

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Dance with:   Lessons in Liberation : an Abolitionist Toolkit for Educators. Chico, CA: AK Press, 2021. Print.

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Dance with:   Lessons in Liberation : an Abolitionist Toolkit for Educators. Chico, CA: AK Press, 2021. Print.

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Teaching occurs from your mind AND your body, your literal existence is part of your students' development! This is different but similar to this question: how do you embody something?

Splitting both invites teachers, like us, to avoid talking about privilege and be complacent to hegemonic classroom norms regarding race, gender, sexuality, status, language.

This is where we are the most fearful, imo. When we realize we are a teacher stereotype and believe challenging/reflecting on ourselves won't be liberating.

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How does a critically engaged pedagogy manifest?

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How does a critically engaged pedagogy manifest?

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Students' non-compliance means they do not comply with things that harm them. This is a possibility to create dialogue and imagine what does "safer together" looks like in class, all from inviting struggle.

Actually deconstruct radical content, so students get to choose how they transform it to be liberating! Also, identity-building and literacy-building is loved here.

Not splitting up the mind/body so people reciprocate dialogue.

Allows teachers to question their identity as, well, teachers. Taking criticism in one way of doing that.

[ How else might a critically engaged pedagogy manifest? Pop you ideas in the chat and/OR turn and talk to your besties ]

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“I found a place of sanctuary in ‘theorizing’ in making sense out of what was happening. I found a place where I could imagine possible futures, a place where life could be lived differently. This ‘lived’ experience of critical thinking, of reflection and analysis, because a place where I worked at explaining the hurt and making it go away. Fundamentally, I learned from this experience that theory could be a healing place.” (p. 61)

“Confronting one another across differences means that we must change ideas about how we learn; rather than fearing conflict we have to find ways to use it as a catalyst for new thinking, for growth.” (p. 113)

"once you learn to look at yourself critically, you look at everything around you with new eyes”. (p. 117)

“My commitment to engaged pedagogy is an expression of political activism. Given that our educational institutions are so deeply invested in a banking system, teachers are more rewarded when we do not teach against the grain. The choice to work against the grain, to challenge the status quo, often has negative consequences. And that is part of what makes that choice one that is not politically neutral.” (p .203)

[ Share your own favorite quotes using the reply function below! └(＾＾)┐]

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Yagelski, R. (1999). Writing Roles for Ourselves: Local Literacies and Students' Lives. 

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Yagelski, R. (1999). Writing Roles for Ourselves: Local Literacies and Students' Lives. 

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p. 124

[ What connections can you make between the hooks and Yagelski reading? ]

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Read/ Review: hooks, b. (1994). Teaching to Transgress: Education as the practice of freedom (Chapters 5, 10, 11, and 12)

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Read/ Review: hooks, b. (1994). Teaching to Transgress: Education as the practice of freedom (Chapters 5, 10, 11, and 12)

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1. Watch this video with your pals
2. What elements of DQST does Bella Noche practice? What makes her storytime particularly successful?
3. How does this video enhance our understanding of Drag Pedagogy?

[ pop your responses down below! ]

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Storytime with The Met: “Julián Is a Mermaid” by Jessica Love

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“Queer” as an identity vs. “queer” as an analytic

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“Queer” as an identity vs. “queer” as an analytic

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Queer Identity: individual resistance to confining constructs of gender and sexuality as they are produced by institutions and social relations that govern our lives

Queer Theory: used to examine how often-impossible standards of normalcy are formed, not only through institutional categorizations of gender and sexuality, but also through social expectations produced through the racialized structures of capitalism (p.444)

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Drag pedagogy...

Engages deeper understandings of queer cultures and envision new modes of being together

Resists didactic instruction

Not prescriptive

Artfully invites children into building communities that are more hospitable to queer knowledge and experience

Not about token inclusion of LGBT heroes

[ Is there anything missing? Please add your thoughts using the reply function. (づ｡◕‿‿◕｡)づ ]

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P.441:

“Despite the dominant portrayal of issues like marriage and military inclusion as the principal goals of the LGBT civil rights movement, queer and trans activists are working to draw public attention to queer poverty, violence against queer/trans people of color, and anti-LGBT governmental policies."

P.443:

“What if we took play, defiance, and imagination seriously as forms of knowledge production? If we celebrated the convergence of children and drag queens, what kinds of potentialities might their collaboration hold?’

P.452:

“The aesthetics of drag offer a landscape of becoming through a vision of self-determination and freedom within a collective: you can do what you want to do, you can be who you want to be, in a practice that takes place in constant conversation with others.”

[ Can you think of any other quotes you'd like to share? Pop them in the reply function! (. ❛ ᴗ ❛.) ]

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Authors’ guiding question:

What might Drag Queen Story Hour offer educators as a way of bringing queer ways of knowing and being into the education of young children?

How does DQSH “thread the needle between queer activism and broad cultural acceptance” (p.441)?

In what ways does drag story hour break the limiting stereotypes of a teacher? How does this relate to queer teaching?

Why is it important to engage the history of drag in order to meaningfullly address trans history and struggle?

How can drag pedagogy be used to teach “strategic defiance” (p.451)?

[Pop your thoughts in the comment section! ~(˘▾˘~)]

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Read/ Review: Keenan, Harper, and Lil Miss Hot Mess. “Drag Pedagogy: The Playful Practice of Queer Imagination in Early Childhood.” Curriculum inquiry 50.5 (2020): 440–461. Web.

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Read/ Review: Keenan, Harper, and Lil Miss Hot Mess. “Drag Pedagogy: The Playful Practice of Queer Imagination in Early Childhood.” Curriculum inquiry 50.5 (2020): 440–461. Web.

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Drag pedagogy The playful practice of queer imagination in early childhood