The history of changes in program design in education abroad since 1965 is not, to use Jean-Francois Lyotard’s term, one grand "master narrative" (Woodward, 2006). That history, rather, offers a veritable exhibit hall containing thousands of individual, inventive and original models, each representing distinctive programming designed to respond to: •at a micro level, the needs and circumstances of students and clients on a particular campus or at a particular agency, shaped by the vision and consequent actions of a program designer and the actions he or she was able to stimulate •at a mezzo level, the issues higher education was facing at the time: calls for increased access, critiques of “the canon,” demographic changes, more •at a macro level, political, economic, cultural, technological, and other kinds of broad social trends, both national and international
Study abroad has meant many things to many people. It has meant an education, a civic obligation, an experience, a commodity, an opportunity of a lifetime, and a ritual for millions of students and sojourners. Accessibility and quality of the designed programming and its associated outcomes for the sojourner remain of paramount importance as we seek the next “state-of-the-art.” We will make our choices and it will become history. As designers, we would do well to adopt frameworks and perspectives that account not only for the building blocks of programming that create this “state”, but also to remain keenly sensitive to our lock’s tumblers, their movement and action, that help create an educational process that slips the sojourner “betwixt and between” culture (Turner, 1964) and toward transformation. Good design has and will challenge our students to discover authentic education for themselves in this way.
- Education Abroad,
- Study Abroad,
- Higher Education,
- International Education
Available at: http://works.bepress.com/richard_rodman/5/