A collaborative exploration of pedagogical refrain within science education

Abstract

As ’n wetenskap-opvoeder wat ’n opvoedkundige navorser word, deel ek hierdie persoonlike vertelling met die hoop om ’n dieper bewustheid van alledaagse ervarings aan te moedig en hoe my integrasie van geheue en verbeelding my gehelp het om verontagsaamde kompleksiteite van lewensbestaan te verken. Sulke verskerpte bewustheid kan die veld van wetenskaponderrig subtiel beïnvloed en bly ’n onderwerp vir toekomstige verkenning. In hierdie studie, gekenmerk as ’n post-kwalitatiewe ondersoek en ’n kreatiewe eksperiment wat uitruilbare begin- en eindpunte het, het ek die konsep van refrein gekies om my te help verstaan ​​hoe ek geheue en verbeelding saamvoeg tydens my beleefde interaksies met mense en die meer-as-menslikheid. Vroeg in my kinderjare het ek ontdek dat my persepsie van menslike en meer-as-menslike verhoudings verskil van dié van ander en tydens hierdie studie het ek my begrip van sulke verhoudings verbeter deur met artistieke materiaal om te gaan. Tydens hierdie ondersoek het ek William Pinar se interpretasie van currere gevolg om my opvoedkundige reis te vertel, en beklemtoon hoe my nuuskierigheid my gelei het om die studie van wetenskappe te volg. Deur verskeie stadiums van currere het ek van ’n kwantitatiewe perspektief in die wetenskappe beweeg om kreatief te eksperimenteer met verwisselbare begin- en eindpunte tydens die produksie van kuns. Oor dekades heen het ek in bewuste maniere van weet gedelf en verdiep geraak in Westerse epistemologie. Ek het egter toenemende frustrasie ondervind in my pogings om my persepsies oor die kompleksiteite van menslike en meer-as-menslike verhoudings aan ander oor te dra. Tydens my PhD-reis het ek die transformerende potensiaal van artistieke uitdrukking ontdek, spesifiek deur middel van mediums soos teken, trommespel, skilder en poësie. Deur te reageer op persoonlike veelvlakkige, sintuiglike persepsies deur middel van artistieke wyses, het ek ’n naasbestaan ​​van werklike en virtuele ontmoetings ervaar en teorie het vir my in die praktyk verval. My denke met refrein het my toegelaat om my herhalende neiging te bepaal om verbeeldingryk onbekende take aan te pak en te worstel met die uitdaging om my optrede en insigte aan ander te kommunikeer. Metafories gesproke het dit gevoel asof ek ’n tapisserie van agter af weef, wat ’n ietwat chaotiese proses tot gevolg gehad het. Deur samewerking met ander en verdere betrokkenheid by artistieke praktyke tydens hierdie studie het ek egter geleidelik besef dat ek deur gelyktydig bekende take saam met onbekendes uit te voer, ek die doek metafories kon omdraai en ook op die voorgrond kon werk. So het my begrip van die transversale verbindinge tussen inligting verdiep, en eweneens het my interaksie met artistieke materiaal aan my die voorwaardes verskaf om sulke verbintenisse te vestig. Gevolglik het ek besef dat, deur aandagtige interaksie met artistieke materiaal, opvoeders en opvoedkundige navorsers in wetenskaponderwys kan aandag gee aan verontagsaamde kompleksiteite tydens gewone lewenservaringe en moontlik deur die integrasie van geheue en verbeelding, erkenning kan gee aan pedagogiese refreine wat hul wording inlig.

As a science educator becoming an educational researcher, I share this personal narrative hoping to encourage a deepened awareness about everyday experiences and how my integrating of memory and imagination helped me to explore disregarded complexities of life-living. Such intensified awareness could subtly influence the field of science education and remains a topic for future exploration. In this study, characterised as a post qualitative inquiry and a creative experiment folding interchangeable beginnings and endings, I have chosen the concept of refrain to help me understand how I put memory and imagination together during my lived interactions with humans and the more-than-human. Early in my childhood, I discovered that my perception of human and more-than-human relationships differed from that of others and during this study I enhanced my understanding of such relationships by engaging with artistic materials.

During this inquiry I have followed William Pinar's interpretation of 𝘤𝘶𝘳𝘳𝘦𝘳𝘦 to narrate my educational journey, highlighting how my curiosity led me to pursue the study of sciences. Throughout various stages of 𝘤𝘶𝘳𝘳𝘦𝘳𝘦 I moved from a quantitative perspective in the sciences to creatively experiment with interchangeable beginnings and endings during art making. Over decades, I delved into conscious modes of knowing and became deeply immersed in Western epistemology. However, I faced increasing frustration in my attempts to convey my perceptions about the complexities of human and more-than-human relationships to others. During my PhD journey, I discovered the transformative potential of artistic expression, specifically through mediums such as drawing, drumming, painting, and poetry. By responding to personal multifaceted, sensory perceptions through artistic means, I experienced a co-existence of actual and virtual encounters and theory collapsed into practice for me.

My 𝘵𝘩𝘪𝘯𝘬𝘪𝘯𝘨 𝘸𝘪𝘵𝘩 refrain allowed me to figure out my recurrent inclination to imaginatively undertake unfamiliar tasks and grapple with the challenge of communicating my actions and insights to others. Metaphorically speaking, it felt as though I was weaving a tapestry from behind, resulting in a somewhat chaotic process. However, through collaboration with others and further engagement with artistic practices during this study, I gradually realised that by concurrently performing familiar tasks alongside unfamiliar ones, I could metaphorically, flip the canvas and work on the forefront as well. Thus, my understanding of the transversal connections among information deepened, and likewise, my interaction with artistic materials provided me with the conditions to establish such connections. Consequently, I recognised that, through attentive interaction with artistic materials, educators and educational researchers in science education may attend to disregarded complexities during ordinary life-living and possibly, by way of integrating memory and imagination, acknowledge pedagogical refrains informing their becoming.

Njengothisha wesayensi oseba umcwaningi wezemfundo, ngilandisa ngalokhu ngethemba lokukhuthaza ukuqwashisa okujulile mayelana nezenzakalo zansuku zonke nokuthi ukuhlanganisa kwami inkumbulo nokucabanga kungisize kanjani ukuba ngihlole inkimbinkimbi enganakiwe yokuphila. Ukuqwashisa okunjalo okuqinisiwe kungase kube nethonya elicashile emkhakheni wezemfundo yesayensi futhi kuhlale kuyisihloko sokuhlola esikhathini esizayo. Kulolu cwaningo, oluphawulwe njengophenyo lwekhwalithethivu lwangemumva kanye nokuhlolwa kokudala okugoqa iziqalo neziphetho ezishintshashintshayo, ngikhethe umqondo wokugoqa ukuze ungisize ngiqonde ukuthi ngihlanganisa kanjani inkumbulo nomcabango ngesikhathi sokuxhumana engibenakho nabantu kanye nokunye okungaphezu kwabantu. Ebunganeni bami, ngathola ukuthi umbono wami ngobudlelwane babantu kanye nobudlelwane obungaphezu kobuntu uhlukile kowabanye futhi ngeskhathi salolu cwaningo ngathuthukisa ukuqonda kwami ubudlelwano obunjalo ngokuzibandakanya nezinto zobuciko. Ngesikhathi salolu phenyo ngilandele incazelo kaWilliam Pinar yekhurene ukuze ngixoxe ngohambo lwami lokufunda, ngigqamisa indlela ilukuluku lami elingiholele ngayo ukuba ngiqhubeke nezifundo zesayensi. Kuzo zonke izigaba ezihlukahlukene zekhurene ngisuke embonweni wekhwantithethivu esayensini ukuze ngizame ngobuciko ngeziqalo neziphetho ezishintshashintshayo ngesikhathi sokwenza ubuciko. Emashumini eminyaka adlule, ngajula ezindleleni zokwazi futhi ngagxila kakhulu kwi-ephistimoloji yaseNtshonalanga. Nokho, ngabhekana nokukhungatheka okwandayo emizamweni yami yokuveza imibono yami mayelana nobunkimbinkimbi bobudlelwano babantu nobobungaphezu kwabantu. Ohambweni lwami lweziqu zobudokotela (PhD), ngathola amandla okuguqula amazwi obuciko, ikakhulukazi ngokusebenzisa izindlela ezinjengokudweba, ukushaya izigubhu, ukupenda, kanye nezinkondlo. Ngokuphendula emibonweni yomuntu enezici eziningi, yezinzwa ngokusebenzisa izindlela zobuciko, ngihlangabezane nokuhlangana okungokoqobo kanye nenjululwazi yashabalala yasebenza kimi. Ukucabanga kwami ngerifreyini kwangivumela ukuba ngithole ukuthambekela kwami okuphindaphindiwe kokwenza imisebenzi engingayijwayele futhi ngibhekane nenselele yokudlulisela izenzo zami kanye nemibono kwabanye. Uma ngifanekisa, ngingasho ngithi kwaba sengathi ngeluka ithepstri ngemuva, okwaholela entweni engahlelekile. Kodwa-ke, ngokusebenzisana nabanye nokusebenzisana okwengeziwe nezindlela zobuciko ngesikhathi salolu cwaningo, kancane kancane ngabona ukuthi ngokwenza kanyekanye imisebenzi engiyijwayele eceleni kwaleyo engingayijwayele, ngokufanekisa, ngangiphenya ikhanivasi futhi ngisebenze nangaphambili. Ngakho, ukuqonda kwami ukuxhumana okunqamulayo phakathi kolwazi kwajula, futhi ngokufanayo, ukusebenzisana kwami nezinto zobuciko kwanginika izimo zokusungula ukuxhumana okunjalo. Ngakho-ke, ngabona ukuthi, ngokusebenzisana ngokucophelela nezinto zobuciko, othisha nabacwaningi bezemfundo kwezemfundo yesayensi bangase babhekane nezingqinamba ezinganakiwe ngesikhathi sokuphila okujwayelekile futhi ngokunokwenzeka, ngendlela yokuhlanganisa inkumbulo nomcabango, babheke amarefreyini ezindlela zokufundisa azisa ukuphila kwabo.

Jwaloka mosuwe wa saense ya leng mothating wa ho ba mofuputsi wa thuto, ke buisana le lona ka pale ena ya botho, ka tshepo ya ho le hlokomedisa ka matla mabapi le diphihlello tsa letsatsi le letsatsi le kamoo ho kopanya mohopolo le monahano ho nthusitseng ho hlahloba ho rarahana ho sa tsotelleheng ha bophelo. Tlhokomediso e matlafaditsweng jwalo, e ka susumetsa ka tsela e poteletseng tshimo ya thuto ya saense, mme e ntse e le taba e lokelang ho hlahlojwa nakong e tlang. Diphuputsong tsena tse hlalositsweng e le diphuputso tsa boleng le teko ya popo e kopanyang qalo le qetello tse ka fapanyetsanwang, mofuputsi o kgethile kgopolo ya ho phetapheta ho mo thusa ho utlwisisa hore na o kopanya mohopolo le monahano jwang ha a sebedisana le batho le ba fetang batho. Mathwasong a bongwana ba mofuputsi, o ile a sibolla hore tsela eo a neng a bona dikamano tsa batho le tse fetang tsa batho ka yona, e ne e fapane le ya ba bang mme nakong ya thuto ena o ile a ntlafatsa kutlwisiso ya hae ya dikamano tse jwalo ka ho sebedisana le disebediswa tsa bonono. Nakong ya diphuputso tsena, o ile a latela tlhaloso ya William Pinar ya moralo o ikamahantseng le diketsahalo tse fetileng bakeng sa ho pheta leeto la hae la thuto, a totobatsa kamoo thahasello ya hae e ileng ya etsa hore a phehelle thuto ya saense. Ka mekgahlelo e sa tshwaneng ya mosebetsi wa hae o ile a tloha ponong ya bongata dithutong tsa saense ho ya ho teko ya ho bopa, e nang le qalo le qetello e ka fapanyetsanwang nakong ya ho etsa bonono. Ka dilemo tse mashome, o ile a ithuta mekgwa ya ho tseba dintho ka hloko mme a matlafatsa ka ho teba thutong ya tsebo ya Bophirimela. Leha ho le jwalo, o ile a tobana le ho ferekana ho ntseng ho eketseha ha a leka ho fetisa maikutlo a hae ka dikamano tse rarahaneng tsa batho le tse fetang tsa batho ho ba bang. Nakong ya leeto la hae la PhD, o ile a sibolla matla a ho fetola dintho ka ho hlahisa maikutlo a bonono, haholoholo ka mekgwa e kang ya ho taka, ho letsa meropa, ho penta le ho ngola dithothokiso. Ka ho arabela dikgopolong tsa botho tse fapafapaneng, tsa kutlo ka mekgwa ya bonono, o ile a ba le phihlello ya ho kopana ha sebele le ho kopana ka ho sa tshwarehe mme lewa le ile la phethahala ka yena. Ho nahana ha mofuputsi ka tsela e tsitsitseng, ho ile ha thusa mofuputsi hore a lemohe tshekamelo ya hae e sa kgaotseng ya ho etsa mesebetsi e sa tlwaelehang ka monahano le ho lwantsha diphephetso tsa ho buisana le ba bang ka diketso tsa hae le seo a se tsebang. Ka tsela ya tshwantshiso, o ne a ikutlwa eka o loha leano a qala morao, e leng se ileng sa qetella se bakile pherekano e kgolo. Leha ho le jwalo, ka ho sebedisana le ba bang le ho sebetsana haholwanyane le mekgwa ya bonono nakong ya diphuputso tsena, hanyanehanyane o ile a hlokomela hore ka ho etsa mesebetsi e tlwaelehileng ka nako e le nngwe e tlwaelehileng le e sa tlwaelehang, ka tsela ya tshwantshiso, o ne a ka fetola letlapa mme a sebetsa ka pele. Ka hona, kutlwisiso ya hae ya dikamano tsa boitsebiso, e ile ya teba, mme ka ho tshwanang, ho sebedisana ha hae le disebediswa tsa bonono, ho ile ha mo fa maemo a ho theha dikamano tse jwalo. Ka lebaka leo, o ile a hlokomela hore, ka ho sebedisana ka hloko le disebediswa tsa bonono, barupelli le bafuputsi ba thuto ya saense ba ka hlokomela dintho tse rarahaneng tse sa tsotellweng nakong ya bophelo ba letsatsi le letsatsi mme mohlomong, ka ho kopanya mohopolo le monahano, ba ananela dithibelo tsa thuto tse pakang ho ba teng ha bona.