Performed Ethnography as Critical Pedagogy

          In class a couple of weeks ago we performed a play created by Tara Goldstein called Snakes and Ladders. Snakes and Ladders is what Goldstein calls a performed ethnography. A performed ethnography is a play which exposes a specific flaw or flaws in a given situation. Goldstein wrote Snakes and Ladders using “data from an empirical study on anti-homophobia education [which she] undertook in four Toronto schools from 2002 to 2003” (Goldstein, Collins and Halder, 2008). In recent classes we have also been discussing critical pedagogy, an "educational movement, guided by passion and principle, to help students develop consciousness of freedom, recognize authoritarian tendencies, and connect knowledge to power and the ability to take constructive action" (Giroux, 2010). If we look at this definition it seems clear that Goldstein’s performed ethnography is an example of critical pedagogy.
           If we tear apart the definition above and look at Snakes and Ladders in this context we can see the correlation. Giroux definition begins with an "educational movement, guided by passion and principle, to help students develop consciousness of freedom” (Giroux, 2010). Goldstein’s performed ethnography is guided by both passion and principle with the hope of changing the views and rules around discussing anti-homophobia in schools. One of the intentions of this play is to show students that they have a say in what the school does; that they have a voice. Within Snakes and Ladders we see students coming together and trying to talk about homosexuality within the school and spread awareness and understanding so that those who are gay, transgendered and bisexual do not feel as if they are misunderstood or treated unfairly.

            The next part of Giroux’s definition of critical pedagogy says that critical pedagogy must look at the tendencies of those in power. Goldstein’s play looks at this by creating the role of the principal. The principal in the Snakes and Ladders, Karen Diamond, is uneasy about the idea of a Pride Day within her school. She tries to blame the powers above her, such as the superintendent, but she resists throughout the play to even truly consider having a Pride Day at all. What is most interesting, I found, in this play was that the majority of the characters were supportive of the Pride Day but because the one person in power was against it there had to be a struggle.

            The last part of Giroux’s definition looked at connecting knowledge and power and instilling within students and teachers the ability to take constructive action. This play shows students and teachers taking an active role in their school to make a positive change. It also showed students asking questions and becoming more aware. By being informed and having the knowledge they needed, both students and teachers were able to make valid arguments to why Pride Day should take place in their school.

            The fact that this play that contains all of the elements of critical pedagogy and is performed either by students, as we did it, or for students, makes this an extremely effective way of creating a change within the education system. Performed ethnographies present ideas and knowledge in a different, attention-grabbing way that engages students in the material and the message. Snakes and Ladders presents students with a problem, the challenges that comes along with trying to make a change, and a sense of hope that things can change. It does not create unrealistic expectations, but presents possibilities and awareness. Because of these aspects, it is clear that Goldstein’s performed ethnography is an example of critical pedagogy.

Works Cited

Giroux, H. (October 27, 2010) "Lessons From Paulo Freire", Chronicle of Higher Education.

Goldstein, T. (2010). Snakes and Ladders: A Performed Ethnography. International Journal of Critical Pedagogy, 3(1), 68-113.