These conversation-starters help learners become sensitive to the presence of the Making Moves in their own and others’ learning. They also help learners have substantive conversations about the Making Moves with their peers.
This piece is the first in a series of Field Notes which can be read as a Take Apart Toolkit of sorts, including how to use Take Aparts to engage in deep analysis, to increase accessibility, to explore the complexity of less tangible objects and systems, and more.
Cracking the case of a computer always inspires a small gasp—an intake of breath that is part fear and part wonder. And it really is beautiful in there.
For that matter, so are the guts of a blender or a blow dryer or an FM radio. When I first started using Take Apart practices in the classroom, it was for the simple unwrapping of the incredible miniature landscape inside of the familiar objects that we think we understand most intimately. The view from the inside is a powerful and nearly instantaneous entrypoint into what Agency by Design names a sensitivity to design—that the world around us is designed and made by humans like us, and can be remade, too.
Over time, I came to think of a Take Apart a perfect first dip into maker-centered learning for learners of any age or context because it requires very little prior knowledge. When I’m guiding a group of learners, I like to ask: Look at the object in front of you—do you know its name? Have you ever used it? Most of us can stare down a clock with some level of confidence and firsthand experience. We have a connection to an object we recognize and ready access to what we already know about how it is used, some alternative forms it may have, and even some ideas about how it works. We have memories that may connect it to our home, the Kindergarten teacher who taught us how to tell time, the last clock we touched. A Take Apart has an emotional locomotion that is hard to resist.
A first, essential step is looking closely—slowly observing and reflecting on the whole. One of the key requirements of a Take Apart, and one that I share with learners, is this important permission: You will not be asked to put it back together. You do not need to preserve it. Once the clock is really Taken Apart, it does not go back together, literally or conceptually. It is a plastic rain poncho that can never be stuffed back into its perfect tiny pouch. When we unpack the parts and complications of the clock—when we explore complexity—our understanding of it balloons out dimensionally.
Permission to break things is a visceral release, and the small shock of cracking the case of a clock marks that crystal moment of transgression. “No going back now,” some learners might say, or “Is this what I’m supposed to do?” They have entered forbidden territory.
The real processing begins when learners' hands are deep in the guts of the clock and a flurry of questions and inferences rise out of their inherent curiosity. It can get wild in there, and conversations and observations help make order and meaning of what they find. I like to prompt, What do you see? What words or numbers can you find? How are things connected? How does it work to move the hands? As pieces start to come out onto the table, I ask: Sort them in a way that makes sense to you. Is it the way they fit together on the inside? Is it by size or color? What way explains the clock best?
When everything is out, when it is arranged as a representation of our understanding of the clock, it has changed irreversibly. It is broken, for sure, but it is also now physically and conceptually larger than it has ever been. Reflection can make visible how learners’ understandings of the clock and their thinking about it have grown. They can teach what they have learned, or explain a moment of surprise where what they thought they knew about the clock was upended. I often invite my students to consider the following: What was hard about taking it apart, physically or emotionally—and what does that mean? What was hard about explaining its workings? What puzzles remain?
Then finding opportunity becomes a natural next step. Often, learners will ask me if they can keep a piece of this clock. I might ask: Why this piece? What do you want to do with it? What should be thrown away, and what is just too interesting?
In the past year, the Making Across the Curriculum project at Washington International School has supported our faculty to dig into an exploration of what Take Apart practices might look like in a classroom. The curiosity and enthusiasm of students during a Take Apart is often the most obvious impact, but we are also trying to identify more subtle evidence of student understanding.
Jaime Chao Mignano is a Senior Practitioner Specialist on the JusticexDesign (JxD) project, and an ongoing leader in the project's conception and development, including developing tools and supporting educators to apply the emerging JxD framework in their contexts.
We find ourselves in a thorny historical moment, in the United States and around the world. Like my colleagues on the JusticexDesign project—and like many educators—I wonder: How will we support our students in deepening their understanding of the world around them and exploring the complex interplay of histories we are taking part in? In the US, we are debating the fate of American monuments, the legacy of American founders, and the impact of America’s own super story on the lived experiences of its people. How might we offer a path of agency to our students that champions historical honesty? And as we guide our students in considering colonial legacies, migration crises, and global economic injustice, what are some ways we might actively value the voices of communities adding their own truth to a contested history, even at terrible risk?
Artist Titus Kaphar’s work offers a rich model, pieces “that are honest, that wrestle with the struggles of our past but speak to the diversity and the advances of our present.” WIS History teacher Nora Brennan, a colleague in Agency by Design's Making Across the Curriculum project, and I had been struck by Kaphar’s 2017 TED Talk, “Can Art Amend History?” He asks, with his own children in mind, “What is the impact of these kinds of paintings on some of our most vulnerable in society, seeing these kinds of depictions of themselves all the time?” Kaphar concludes by urging us to “amend our public sculptures, our national monuments” in order to expand and deepen our historical narrative.
In the fall of 2018, Nora took her history class to visit the Titus Kaphar collection in the “UnSeen: Our Past in a New Light” exhibit in the National Portrait Gallery. This experience was clearly powerful for students—we could sense that Kaphar’s artworks were shifting their gazes, pointing them to an actively unfolding dialogue on American history. Nora knew she wanted her students to connect more deeply to Kaphar’s philosophy of historical amendment. She combined this art exhibit and the history lessons she was teaching on the Civil War and Reconstruction as the foundation to challenge students to research a Civil War monument and reimagine it.
At the same time, Nora knew it was important to contextualize this project in the very active conversation in the U.S.—and around the world--about monuments and public memory. The controversy around Civil War monuments was and is a real current event—many city and state governments have been taking steps to address the symbolic presence of historical racial terror embedded in public spaces by tearing down monuments, renaming streets and buildings, etc. We wanted students to situate their thinking within these substantive critiques - not to attempt reconciliation but to explore their own perspective.
Nora drew on the Agency by Design framework to build her students’ sensitivity to the design of monuments and portraits. She knew that historical artworks can both express and obscure, offering us complex legacies that we can guide students in unpacking and probing. We wondered what maker empowerment might look like as students approach a portrait of Robert E. Lee or a statue of John. C. Calhoun.
This piece is based on a workshop titled “Taking Apart Racism: Using Maker-Centered Practices to Break Down Systems of Oppression,” led by Jaime Chao Mignano and Mark Perkins at the National Association of Independent Schools People of Color Conference (PoCC).
Like a lot of educators, I want my students to be empowered to impact the world around them. I want them to have social and political agency in a sense that is perfectly aligned with what Agency by Design means by agency—that is, skills and tools in combination with intention and impulse to action. When I task my students with dismantling systems of oppression, how do they know what that means? Do they feel ready to enact it? And how can I be a support?
This was the seed of a workshop for this year’s National Association of Independent Schools People of Color Conference (PoCC), a gathering of thousands of educators from around the United States to explore ideas and share experiences around equity and justice in our schools and lives. My colleague, Mark Perkins (Media and Theater Coordinator), and I wondered what insights we could offer by putting Take Apart practice in service to racial justice education. I was nervous to try to build under the conference throughline “Anti-Racist Teaching Tools” - the stakes felt so high. We had an inkling, though, that combining the enthusiastic engine of taking stuff apart with the resonant act of creating stories that reimagine existing narratives of power could be an important experiment.
Mark and I built a workshop we call “Taking Apart Racism: Using Maker-Centered Practices to Break Down Systems of Oppression.” The heart of the workshop is the idea that looking closely and exploring the complexity of an object can create a bridge of metaphor that helps us understand a system of racial oppression. If we build the connection between these two systems—the system of the object and the system of oppression—then we can see the oppressive system in a new light and probe new possibilities.
This routine helps students explore complexity by encouraging them to look closely at the details of something, considering its various viewpoints, users, and stakeholders, and reflecting on their own connections and involvement with it.
An easy reference handout of the Agency by Design Framework for Maker-Centered Learning.
This thinking routine helps learners slow down and make careful, detailed observations by encouraging them to look beyond the obvious features of an object or system. This thinking routine helps stimulate curiosity, raises questions, and surfaces areas for further inquiry.
這個思考模式通過讓學生慢慢、細心地觀察物件和系統中的細節，鼓勵他們不止觀察物件的表面特徵，更重要的是了解其內部運作。這個思考模式可以激發學生的好奇心，鼓勵他們勇於提出問題，並且能做更深入的研究。
The Agency by Design Inquiry Cycle has been designed to support educators in the processes of designing, documenting, assessing, and reflecting on maker-centered learning. This tool was collaboratively developed over time, and formally prototyped with cohorts of maker educators in two locations: Oakland, California, and Pittsburgh, Pennsylvania. In this paper, Agency by Design researchers Jessica Ross and Edward P. Clapp loosely use the structure of the Inquiry Cycle to describe the iterative process of developing this tool, along with some suggested implications for practice. Throughout the piece, we share the experiences of our teacher partners as they grappled with this tool—tweaking, hacking, and remixing it—as they explored its potential for designing, documenting, assessing, and reflecting upon their work in the maker-centered classroom.