A collection of essays written by arts and humanities scholars across disciplines, this book argues that higher education has been compromised by its uncritical acceptance of our culture’s standards of productivity, busyness, and speed. Inspired by the Slow Movement, contributors explain how and why university culture has come to value productivity over contemplation and rapidity over slowness. Chapter authors argue that the arts and humanities offer a cogent critique of fast culture in higher education, and reframe the discussion of the value of their fields by emphasizing the dialectic between speed and slowness.

This volume argues that refusal is a viable political ethics in education. It is an ethics that allows space for new possibilities to emerge, with the potential to enrich higher education study and pedagogies in the future. Chapters examine the ethical, epistemological, political and affective premises of refusing the colonial university, and reflect upon what refusal means for higher education decolonization across international settings. Refusal marks a political ethos and praxis that denies, resists, reframes and redirects colonial and neoliberal logics, while asserting diverse sovereignties and lifeworlds. Whereas resistance may reinscribe the weakness of the colonized in the power relations with the colonizer, refusal interrupts the smooth operation of power relations, denying the authority of the settler state and remaking the rules of engagement. It is a political stance and action that denies the very legitimacy of power over the subjugated. This collection views refusal not as an end in itself, nor as a mode of critique, but as a necessary first step for educators and students in higher education to invest in the idea of radically different modes of futurity. It explores how educators and students in higher education can invent pedagogies of refusal that function ethically, affectively and politically, and asks: What do pedagogies of refusal look like? How might western universities sustain and support refusal, rather than discipline it? What assumptions are sustained by ruling out certain educational futures as out of bounds, or impossible? This book will be important reading for researchers, scholars and educators in Decolonizing Education, Higher Education Transformation, and Philosophy of Education. It will also be valuable to policymakers and activists who are considering how refusal might be carried out within and outside institutions.

Music, Gender, and Sexuality Studies: A Teacher’s Guide serves as a guide to the professor tasked with teaching music to undergraduates, with a focus on gender. Although the notion of feminist approaches in musicology was once greeted with scorn, the last 40 years have seen a seismic shift across music studies, to the point that classes on women and music are now commonplace in most undergraduate music program. The goal of this book is to give the instructor some tools and strategies that will build confidence in approaching music as it relates to gender and sexuality, and to offer some advice on how to make the class rewarding for all. The book is organized into four broad sections, plus an introduction outlining how to use the book and how the teaching of music, gender, and sexuality can be rewarding. Each section – Composition, Support, Performance, and Audience – includes possible themes for study and examples of music that can illuminate those themes, allowing the instructor to shape the course according to their own preference for classical, jazz, or popular styles. The author offers a practical guide to building syllabi that can fit the instructor’s interests and the priorities of the institution, crafting assignments that will engage and inspire students, choosing repertoire from a range of styles and genres, and maintaining a focus on how music shapes gender, and how gender shapes music.

Hydrofeminist Thinking with Oceans brings together authors who are thinking in, with and through the spaces of ocean/s and beaches in South African contexts to make alternative knowledges towards a justice-to-come and flourishing at a planetary level. Primary scholarly locations for this work include feminist new materialist and post-humanist thinking, and specifically locates itself within hydrofeminist thinking. Together with a foreword by Astrida Neimanis, the chapters in this book explore both land and water with oceans as powerfully political spaces, globally and locally entangled in the violences of settler colonialism, land dispossession, slavery, transnational labour exploitation, extractivism and omnicides. South Africa is a productive space to engage in such scholarship. While there is a growing body of literature that works within and across disciplines on the sea and bodies of water to think critically about the damages of centuries of colonisation and continued extractivist capitalism, there remains little work that explores this burgeoning thinking in global Southern, and more particularly South African contexts. South African histories of colonisation, slavery and more recently apartheid, which are saturated in the oceans, are only recently being explored through oceanic logics. This volume offers valuable Southern contributions and rich situated narratives to such hydrofeminist thinking. It also brings diverse and more marginal knowledges to bear on the project of generating imaginative alternatives to hegemonic colonial and patriarchal logics in the academy and elsewhere. While primarily located in a South African context, the volume speaks well to globalised concerns for justice and environmental challenges both in human societies and in relation to other species and planetary crises. The chapters, which will be of interest to scholars, activists and other civil society stakeholders, share inspiring, rich examples of diverse scholarship, activism and art in these contexts, extending international scholarship that thinks in/on/with ocean/s, littoral zones and bodies of water. The book offers ethico-political perspectives on the role of research in ocean governance, policy development and collective decision-making for ecological justice. This book is suitable for students and scholars of post-qualitative, feminist, new materialist, embodied, arts-based and hydrofeminist methods in education, environmental humanities and the social sciences.

Postfoundational Approaches to Qualitative Inquiry is an edited collection that aims to move beyond a critique and deconstruction of method in order to present an engagement with various postfoundational frameworks and approaches that produce new concepts and enactments. What makes this book innovative is the singular focus on postfoundational paradigms, borrowed from the humanities and sciences, that are enveloped in what is referred to as the ontological turn, the new empiricisms, and the new materialisms. Postfoundational inquiry is conceived by the editors as emergent, relational, responsive, involuntary, and inventive. While the editors name the facets of these contingent approaches and explain how they work, they do so not in order to fix a new method, but to spur new connectives. In this collection, authors take up a range of postfoundational theories such as poststructuralism, posthumanism, postcolonialism, feminist new materialism, speculative/ new empiricism, agential realism, immanent ontologies, and affect theory. Provoked by a series of reorienting questions, chapters in the book offer enactments as a way of unfurling what is unthought, not yet, and becoming. The chapters are organized according to four Openings: Atmospheres, Affects, and Hauntings; Archives, Worldings, and Sketchings; Escaping Tradition, Beginning Elsewhere, and the Politics of Doing Otherwise; Pre-personal Agencies and Thought Taking Flight. This book can be used as a standalone text in advanced qualitative inquiry courses, or as a supplementary text in courses that examine the use of theory in research.

Teaching Critical Performance Theory offers teaching strategies for professors and artist-scholars across performance, design and technology, and theatre studies disciplines. The book’s seventeen chapters collectively ask: What use is theory to an emerging theatre artist or scholar? Which theories should be taught, and to whom? How can theory pedagogies shape and respond to the evolving needs of the academy, the field, and the community? This broad field of enquiry is divided into four sections covering course design, classroom teaching, the studio space, and applied theatre contexts. Through a range of intriguing case studies that encourage thoughtful theatre practice, this book explores themes surrounding situated learning, dramaturgy and technology, disability and inclusivity, feminist approaches, race and performance, ethics, and critical theory in theatre history. Written as an invaluable resource for professionals and postgraduates engaged in performance theory, this collection of informative essays will also provide critical reading for those interested in drama and theatre studies more broadly.