Edited By Nena Mo\u010dnik, Ger Duijzings, Hanna Meretoja, Bonface Njeresa Beti<\/p>\n\n\n\n
This book provides case-studies of how teachers and practitioners have attempted to develop more effective \u2018experiential learning\u2019 strategies in order to better equip students for their voluntary engagements in communities, working for sustainable peace and a tolerant society free of discrimination.<\/p>\n\n\n\n
All chapters revolve around this central theme, testing and trying various paradigms and experimenting with different practices, in a wide range of geographical and historical arenas. They demonstrate the innovative potentials of connecting know-how from different disciplines and combining experiences from various practitioners in this field of shaping historical memory, including non-formal and formal sectors of education, non-governmental workers, professionals from memorial sites and museums, local and global activists, artists, and engaged individuals. In so doing, they address the topic of collective historical traumas in ways that go beyond conventional classroom methods.<\/p>\n\n\n\n
Interdisciplinary in approach, the book provides a combination of theoretical reflections and concrete pedagogical suggestions that will appeal to educators working across history, sociology, political science, peace education and civil awareness education, as well as memory activists and remembrance practitioners.<\/p>\n\n\n\n
Published July 13, 2021 by Routledge<\/p>\n\n\n\n
292 Pages 22 B\/W Illustrations<\/p>\n\n\n\n
Table of Contents<\/strong><\/p>\n\n\n\n Introduction<\/p>\n\n\n\n Part 1: Creative Engagements with \u2018Ghosts from the Past\u2019 in Traditional Classroom Contexts<\/strong><\/p>\n\n\n\n 1. Why would you use a Fascist Greeting to Celebrate a Football Victory? Discussing Historical Revisionism and Genocide Memory with Danish High School Teenagers<\/p>\n\n\n\n Tea Sindb\u00e6k Andersen and Tippe Eisner<\/em><\/p>\n\n\n\n 2. Breaking the Nationalistic Master-Narrative: The Case of Teaching History in Contemporary Croatia<\/p>\n\n\n\n Stevo Djura\u0161kovi\u0107<\/em><\/p>\n\n\n\n 3. Fictional Family Tree: Storytelling and Short Film Project<\/p>\n\n\n\n Elina M\u00e4kil\u00e4 and Taina Kilpel\u00e4<\/em><\/p>\n\n\n\n 4. <\/em>From Traditional to the Moving Classroom: Empathy as a Key Component of the Classroom Teaching<\/p>\n\n\n\n Alma Jefti\u0107<\/em><\/p>\n\n\n\n Part 2: Places of Pain as Sites of Critical Knowledge Production<\/strong><\/p>\n\n\n\n 5. The Last Ones: Serbian and Russian Prisoners on the Alpine Front<\/p>\n\n\n\n Niccol\u00f2 Caranti, Luisa Chiodi, and Marco Abra<\/em>m<\/p>\n\n\n\n 6. #Never Forget: Teaching Trauma Experience at Historical Places<\/p>\n\n\n\n N<\/em><\/strong>eringa Latvyt\u0117<\/em><\/p>\n\n\n\n 7. Exploring the 1991 Battle of Vukovar through experiential learning<\/p>\n\n\n\n Sandra Cviki\u0107<\/em><\/p>\n\n\n\n 8. Speak Your Mind but Mind Your Speech<\/p>\n\n\n\n Benedikt Hielscher<\/em><\/p>\n\n\n\n Part 3: Using Artistic Strategies to Respond, Reflect, and Overcome<\/strong><\/p>\n\n\n\n 9. Atomic Poetry and Active Learning: From Japan to Newfoundland<\/p>\n\n\n\n Shoshannah Ganz<\/em><\/p>\n\n\n\n 10. “Through the Refugee\u2019s Eyes\u2019: Experiences with the Experiential and Interactive Theatre Show<\/p>\n\n\n\n Manca \u0160etinc Vernik<\/em><\/p>\n\n\n\n 11. The Gestalt of Historical Research, Art, and Education: The Circus Theme and Performing Arts in Remembering the Tyranny of the National Socialist Regime<\/p>\n\n\n\n Malte Gasche<\/em><\/p>\n\n\n\n Part 4: Healing and Embodied Strategies of Learning<\/strong><\/p>\n\n\n\n 12. Utilising the Breath as an Experiential Tool to Teach, Learn and Manage Trauma<\/p>\n\n\n\n Anna Walker<\/em><\/p>\n\n\n\n 13. Art Therapy and Integral Education with Traumatized Youths in Bosnia and Herzegovina<\/p>\n\n\n\n Anna Druka and Hannah Scaramella<\/em><\/p>\n\n\n\n 14. Poetry Against Trump: Shared Experience and Creative Resistance<\/p>\n\n\n\n Adam Beardsworths<\/em><\/p>\n\n\n\n Part 5: Playing (with) the Past, Rehearsing (for) the Future<\/strong><\/p>\n\n\n\n 15. Performative Experiential Learning Strategies: Reenacting the Historical, Enacting the Everyday<\/p>\n\n\n\n Ger Duijzings, Frederik Lange, and Eva-Maria Walther<\/em><\/p>\n\n\n\n 16. Escaping the Thucydides Trap in IR class<\/p>\n\n\n\n Mikael Mattlin<\/em><\/p>\n\n\n\n 17. Designing Videogames for Teaching about Transmission of Historical Traumas: A Case Study of Memory Gliders<\/em><\/p>\n\n\n\n Nena Mo\u010dnik<\/em><\/p>\n\n\n\n 18. In Memory of Memory Gliders<\/em>: Preservation of EU-Funded Serious Games as Digital Heritage<\/p>\n\n\n\n Maria B. Garda and Jaakko Suominen<\/em><\/p>\n\n\n\n Nena Mo\u010dnik<\/strong> is a researcher at CY Cergy Paris Universit\u00e9, France. She is the author of \u201cSexuality after War Rape: From Embodied to Narrative Research\u201d and \u201cTrauma Transmission and Sexual Violence: Peacebuilding and Reconciliation in Post-Conflict Societies.\u201d<\/p>\n\n\n\n Ger Duijzings <\/strong>is Professor of Social Anthropology (with focus on southeastern and eastern Europe) at Universit\u00e4t Regensburg, Germany. He has published extensively on the conflicts in the former Yugoslavia, and was a researcher and expert witness at the International Criminal Tribunal for the former Yugoslavia (ICTY).<\/p>\n\n\n\n Hanna Meretoja<\/strong> is Professor of Comparative Literature and Director of SELMA: Centre for the Study of Storytelling, Experientiality and Memory at the University of Turku, Finland. She has authored The Ethics of Storytelling <\/em>(2018) and co-edited (with Colin Davis) The Routledge Companion to Literature and Trauma<\/em> (2020).<\/p>\n\n\n\n Bonface Njeresa Beti<\/strong> is an African multidisciplinary practitioner. He has co-published book chapters and journal articles. He is a committee member of NADTA and board member of Pedagogy and Theatre of the Oppressed. He has an\u00a0MA degree in Peace and Conflict Studies from the University of Manitoba in Canada and has been admitted to the European Graduate School to pursue his PHD.<\/p>\n\n\n\n
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Biography<\/h3>\n\n\n\n
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