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The purpose of this paper is to examine students’ perceptions of a development course designed to increase global understanding by virtually connecting students from multiple world regions.

This paper describes a graduate course that connected campuses across America, Africa, Europe, and Asia. Qualitative data about students’ perceptions of the course at one participating campus were then analyzed by course component, and synchronous and asynchronous interactions. Feedback was also solicited for suggestions to improve the course.

The analyzed data indicate strong positive student attitudes toward connecting with global counterparts. However, these data also imply that there are various obstacles to overcome in order to meet student expectations of increased and better quality peer interaction, and to prepare faculty across all disciplines for successful design and implementation of this type of course.

The use of synchronous communication to facilitate the exchange of local perspectives on issues of global significance is valuable to all disciplines, and is even more critical in the area of development where understanding local context is key. This exploratory study offers recommendations for future research on courses connecting students across borders and suggestions for course activities to increase peer engagement.

This study aims to discuss the ethical and political possibilities offered by the presence of teaching artists (TAs) and visual artwork in racially and culturally diverse high school literacy (English Language Arts) classrooms.

This study explores episodes from two separate ethnographic studies that were conducted in one teacher’s critical literacy classroom across a span of several years. This study uses a transliteracies approach (Stornaiulo et al., 2017) to think about “meaning-making at the intersection of human subjects and materials” (Kontovourki et al., 2019); the study also draws on critical scholarship on art and making (Ngo et al., 2017; Vossoughi et al., 2016). The TA, along with the materials and processes of artmaking, decentered the teacher and literacy itself, inviting in new social realities.

TAs’ collective interpretation of existing artwork and construction of new works made visible how both human and nonhuman bodies co-produced “new ways of feeling and being with others” (Zembylas, 2017, p. 402). This study views these artists as catalysts capable of provoking, or productively disrupting, the everyday practices of classrooms.

Both studies demonstrated new ways of feeling, being and thinking about difference, bringing to the forefront momentary possibilities and impossibilities of complex human and nonhuman intra-actions. The provocations flowing from the visual artwork and the dialogue swirling around the work presented opportunities for emergent and unexpected experiences of literacy learning.

This work is valuable in exploring the boundaries of literacy learning with the serious inclusion of visual art in an English classroom. When the TAs guided both interpretation and production of artwork, they affected and were affected by the becoming happening in the classroom. This study suggests how teaching bodies, students and artwork pushed the transformative potential of everyday school settings.