The Gaze and the Gesture: Hypervisible Insiderness and the Politics of Recognition in Somali Ethnography

abstract: This article explores inclusive approaches to data literacy in academic libraries through a case study of Python Camp, a four-day introductory programming workshop offered by George Washington University Libraries and Academic Innovation. We position computational literacy as a dimension of data literacy, emphasizing the ability to engage with data through code, modeling, and algorithmic reasoning. Unlike traditional boot camps that prioritize technical skill acquisition, Python Camp fosters collaborative learning, frames computation as a communicative and exploratory act, and embeds coding within interdisciplinary, context-rich problems. Drawing on facilitator reflections and semistructured interviews with participants, we argue that academic libraries are uniquely positioned to challenge exclusionary norms in data education. Our pedagogical approach centers relevance, learner agency, and ethical engagement with data, aligning with broader library trends toward inclusive, user-centered instruction. We describe how our team-based model supports a growth mindset and inclusive learning culture through varied lesson structures, reduced educator bias, and peer communication. We conclude by framing computational literacy as a social, situated practice. More than acquiring syntax, it is a process of building fluency, confidence, and relevance. Library-based data literacy programs that foreground ethical, critical, and user-centered approaches can broaden access to computational tools while modeling inclusive pedagogy. Reflection by both participants and facilitators is essential, not only for assessing program effectiveness but as a core practice of inclusion itself.

WhatShouldWeCallMe? Self-Branding, Individuality and Belonging in Youthful Femininities on Tumblr

Book Review| June 01 2021 Review: The Sound of Navajo Country: Music, Language, and Diné Belonging, by Kristina M. Jacobsen Kristina M. Jacobsen. The Sound of Navajo Country: Music, Language, and Diné Belonging. Chapel Hill: University of North Carolina Press, 2017. 195 pp. Nadine Hubbs Nadine Hubbs University of Michigan Email: nhubbs@umich.edu Nadine Hubbs is professor of women's and gender studies and music at the University of Michigan and author of Rednecks, Queers, and Country Music. She was guest co-editor (with Francesca Royster) of JPMS 32.2, Uncharted Country: New Voices and Perspectives in Country Music Studies, and is writing a book called Country Mexicans: Sounding Mexican American Life, Love, and Belonging in Country Music. Search for other works by this author on: This Site PubMed Google Scholar Journal of Popular Music Studies (2021) 33 (2): 151–154. https://doi.org/10.1525/jpms.2021.33.2.151 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Nadine Hubbs; Review: The Sound of Navajo Country: Music, Language, and Diné Belonging, by Kristina M. Jacobsen. Journal of Popular Music Studies 1 June 2021; 33 (2): 151–154. doi: https://doi.org/10.1525/jpms.2021.33.2.151 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentJournal of Popular Music Studies Search The Sound of Navajo Country is an ethnographic study of Navajo (Diné) language and music. The book declares up front a “dual ethnographic focus on music and language” (4). This is a work of ethnomusicology and of cultural and linguistic anthropology, complete with the latter field’s specialized terminology and preoccupations (see especially chapters two and three). In all of these dimensions, it is also a work of critical Indigenous studies, and it appears in the University of North Carolina Press’s Critical Indigeneities series. The book’s musical focus is not on heritage culture, as in much ethnographic scholarship, but on the uses and meanings of U.S. commercial country music as performed by, and largely for, Navajo people. Such performance is a tradition in its own right dating from the 1950s, when Navajo teens increasingly attended high school off reservation and so, engaged with country, rock ’n’ roll, and other... You do not currently have access to this content.