Finding Their Voice: Understanding the Robust Critical Pedagogical Terrain in Glee

• In Event: The Monstrous Other: Exploring the Intersections of Youth Culture and Critical Pedagogy in a Monster-Making World

Abstract

The study of popular culture has examined the ways in which popular culture texts are read and interpreted (Fiske, 1989). Critical pedagogy, however, seeks to examine how these con/texts are read in addition to examining how they are ideologically laden and serve to reproduce hegemony and ruling class ideas (Giroux & Simon, 1989). The majority of educational discourses tend to focus on the “core subjects” (e.g., math, science, English, and social studies) while the “other subjects” (i.e., those not obligated to national standardized testing requirements, e.g., vocational studies, foreign language, physical education, and the arts) are often regarded as less important or peripheral. In examining Glee, music is a central focus. Abrahams (2007) notes that music has been in schools for the past century, yet “it remains on the fringe of curriculum” (p. 224).
This paper will provide a theoretical construction of critical pedagogical tenets and considerations that exist in the popular TV show Glee. In particular, I seek to examine how the Glee club (a.k.a “New Directions”) provides a “pocket of hope” (Reyes & Gozemba, 2002); that is, a space in which students are free to explore themselves (and their identity constructions), engage democratically in curriculum choices, and learn “collectivity” and “solidarity” above individualism (and capitalizing). The show’s robust pedagogical landscape is exhibited in its diverse topics covered throughout the seasons (e.g., race, homo/sexuality, teen pregnancy, death, disabilities, religion, body image, and more). Each theme is connected to a key song or set of songs and performance. For the purpose and space allowed in this paper, I will address several key questions:
1. How are the voiceless and marginalized Glee club kids given a space to have a voice? In addition, how is Freire’s notion of dialogue, i.e., speaking “with” the teacher and other students and not “to” or “for”, exemplified?
2. What are the sociopolitical and ideological roles represented in Glee? Why is the composition of the Glee club an intricate multicultural model?
3. How is Freire’s critical consciousness (conscientição) exemplified in the mutual/reciprocal learning of the Glee club and its director Mr. Schuster?
4. How is neoliberalism and competition rejected by the Glee club in favor of solidarity, collectivity, and radical love?
The theoretical framework set up here will hopefully ground an empirical study using focus groups with students to explore how they read the overt and covert cultural texts of Glee. The goal is also to explore the degree to which the viewers understand the complicated and contested space that Glee provides.

Author

• Antonio Garcia, College at Brockport - SUNY