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Theoretical perspectives of feminist pedagogy provide an alternative lens to examine the teaching and learning process within music education programs in higher education. Music programs have traditionally emphasized formal constructions and static content, which typically are associated with Western European, patriarchal ideologies. Feminist pedagogy, originating in social constructivism and critical theory, offers an instructional approach for a more democratic and diverse curriculum and pedagogy. Extending from feminist pedagogy is Black feminist pedagogy, which offers a more specialized instructional approach for underrepresented populations in education. Both feminist pedagogy and Black feminist pedagogy foster a unique intersection for institutions of higher education whose historic mission integrates race and gender as part of its targeted efforts. When examining the music education literature, particularly as it relates to diverse groups, a feminist instructional approach addresses the interconnections of race and gender as social and cultural constructions, which are almost absent from higher education research altogether. Using the intrinsic case study model and qualitative data, I examine ways feminist pedagogy and Black feminist pedagogy, are integrated into the undergraduate music program at Spelman College, a historically Black college for women. I also investigate how course curricula are inclusive of both traditional feminist and Black feminist pedagogical principles. I explore how discourses of gender, as well as race, play a role in the pedagogical practices of teachers within a single-sex institution committed to the education and empowerment of women of color. Furthermore, I describe ways in which students are influenced by both traditional feminist and Black feminist pedagogical approaches, and how music educators are fulfilling the need to teach music outside their own experiences, which are in some cases, a Western European patriarchal approach. Using Barbara Coeyman’s (1996) four principles of traditional feminist pedagogy for women’s studies in music and the general music major curriculum (i.e., diversity, opportunities for all voices, shared responsibility, and orientation to action), as a theoretical framework the following three components were examined in this study: context (structural influences of gender and race), content (curriculum and course design), and pedagogy (classroom instruction and goals). Data was ascertained through triangulated measures of interviews with faculty and students, observations of class time and performances, and document collection of relevant data sources (e.g., course syllabi, music department handbook, and performance programs). I used findings from the research to demonstrate how discourses of gender and race permeate the institutional environment at Spelman College, and have direct links to curricula structure, as well as the institutional mission of the teaching and learning process of its students. I also used findings to further enhance the knowledge base of music education literature and implications for African-American females in higher education. Finally, suggestions were given as to how music educators can design and teach within a music environment that is socially and culturally inclusive for all students.

This thesis details my process of teaching Devising Theatre, a course of my own design, in Spring of 2005 and Fall of 2005. I address my curricular development from semester to semester (readings, assignments, assessments) as well as the students' responses to the material. Additionally, I discuss my reasons for teaching the course and the place that alternative theatre can and should have in theatre training programs and in the realization of feminist pedagogy.

While memoria is the fourth canon of rhetoric, its generative power remains essentially absent from rhetoric and composition studies. In my dissertation I use Mnemosyne's story as a way to reconceptualize memoria beyond the confines of mnemonic techniques and memorization. I provide an overview of memoria using the terministic screens of storehouse, invention, and subjectivity in order to explain its absence and the consequences of this gap. I posit that the generative, critical, and embodied qualities of memory shape our ways of knowing and being and our hermeneutical, inventive, and revisionary practices.I argue that memory is rhetorical: it's not just what is remembered/forgotten that matters, but how it is remembered, by whom, for what purpose, and with what effect. Rhetorical memory is a process and product(s) of remembering. Rather than remaining fixed, rhetorical memory is dynamic, relational, infused with emotion, steeped in imagination, and context dependent. It is also relational, not autonomous and continuous. When memory is written, it expresses, analyzes, connects, rebuilds, and transforms the links between private and public, past and present, self and other, reason and emotions, fact and fiction, and mind and body. Rhetorical memory is (re)visionary. In chapter two, I explicate the constructed/reconstructed nature of rhetorical memory as demonstrated by Maxine Hong Kingston in No Name Woman. I also examine how rhetorical memory enriches feminist pedagogy(s), especially how agency might emerge and be sustained. In chapter three, I focus on the critical aspects of rhetorical memory by investigating how the memory of Mary Magdalene was constructed to maintain cultural hegemony. I argue that rhetorical memory provides a critical tool for underrepresented groups to critique, disrupt, and revise truth claims often represented in traditional bodies of knowledge. In chapter four, I assert that rhetorical memory empowers writers to uncover white privilege and take action against such injustices. I also include a section on how I incorporate rhetorical memory into my pedagogical practices. I call on scholar teachers to address how our professional discourses and scholarly conventions impede how we communicate about the kinds of insights we gain from rhetorical memory.

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This thesis explores how introducing intersectional theory to self-identified activists in a Swedish folkbildning context challenges the theory/practice-divide. The study has been carried out through thematically structured discussions with students and teachers at Kvinnofolkhögskolan, Gothenburg, Sweden. In this thesis I argue that the deconstruction of the theory/practice-divide is dependent on perceptions of what theory and practice entails, students’ expectations of Swedish folkbildning in general and Kvinnofolkhögskolan in particular and pedagogical considerations on how to teach intersectionality intersectionally.Additionally, the thesis addresses issues of institutionalization, feminist pedagogy and the broadening of intersectional theory. Finally, the thesis highlights the need for extensively addressing the issue of the theory/practice divide in the curriculum, for students and teachers to discuss what is perceived as theory and practice respectively and for teachers to consider time and place as part of an intersectionally aware pedagogical practice.

Thesis(M.A.)--Auburn University, 2006. / Abstract. Includes bibliographic references.

Assessment is crucial for students’ learning. The theory and practice of assessment, however, has received little attention in the literature on critical feminist pedagogy, due to difficulties in reconciling the notion of feminist pedagogy with that of assessment.This study aims to address that issue by exploring forms of assessment in higher education language learning that align with feminist principles. This research employs both case study and autoethnographic approaches. Data were collected from interviews with six university instructors and from the researcher’s own teaching journal. All participants were full-time faculty at a department of modern languages and literature at a large Canadian research university.This study addresses three questions: 1) What forms of assessment do instructors in the Department of Modern Languages and Literatures use that comply with principles of critical feminist pedagogy? 2) What tensions exist for instructors related to assessment in higher education? 3) How can these tensions be addressed using a feminist reconceptualization of assessment? The study revealed that implementing graded summative assessment, especially when teaching large classes, creates pressure and discontent for university instructors. It was also found that formative teacher’s feedback, peer and self-assessment, complete/incomplete grading, and diagnostic assessment reduce competition between students and serve to mitigate the power imbalance between students and teachers. Suggestions are provided to address the discontent and pressures reported by the participants and to recon ceptualize assessment practices to bring them into alignment with feminist pedagogy. / Graduate

In an attempt to address the disregard for holistic practices in much of Western culture and education, I present yoga as an alternative learning strategy to banking instruction often used in current educational practices. Specifically, I examine Hatha yoga in its content and methodology as a platform from which K-5 students can learn to engage in strategies of mindfulness practices to counter underlying causes of cognitive and behavioral problems seen in many public schools. Drawing from research based in the field of somatics and feminist/critical pedagogy, I articulate a yoga curriculum that supports bodily knowing and encourages the cultivation of self-/social awareness and empathy. I organize my findings into two separate curriculums: one for students in the grades K-2 and another for grades 3-5. Each curriculum is further divided into three units to include learning objectives, themed activities, lists of skills and concepts, and specific notes for instructors that take into consideration the motor and cognitive developmental patterns of students at each grade level. By establishing a curriculum consistent with current curricular standards in California, my hope is that policy-makers, administrators, educators, and parents alike will take into consideration the importance of embodied knowledge in the classroom and further advocate for its role in public schools.

In this thesis, I identify and explore approaches to middle school art curricula that address the cultural expectations of gender in visual culture media. I use images from the Japanese comic Manga: Ranma1/2 to develop units of instruction with goals of engaging students in relating the study of art to their visual culture outside the classroom. The unit has three lessons that deal with cultural expectations of gender to help students become aware of understand gender differences in contemporary society. In the lessons, students examine how the Manga characters are depicted differently according to the character's gender. Also, the teacher utilizes feminist pedagogy which considers how educators and students can work in a classroom with less power struggles. Educators provide students space to let them open-minded to have conversation in the classroom. Through sharing personal experience and interacting with classmates and teachers, students may owing to the empower activity to get more confidence in their academic studies.