The Freinet method applied to digital mediation

7 February 2023. Published by Benoît Labourdette.
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The pedagogical method known as “Freinet” (conceptualized by the pedagogue Célestin Freinet from the 1920s to the 1960s, as a synthesis of pre-existing new pedagogies) is centered on doing, with tools, a purpose and autonomy for the students.

The making of a newspaper, with all its stages (structure, subjects, illustrations, surveys and interviews, writing, layout, printing, distribution) was one of the important pedagogical tools used by Freinet. In 1932, Freinet triggered what is known as the “Freinet affair”: a pupil recounted in the newspaper, which was distributed in the village, his dream of revolting against the mayor. A national campaign to denigrate Freinet was orchestrated from this “scandalous” newspaper. Paradoxically, this scandal also contributed to Freinet’s notoriety.

What seems to me that can be retained from the Feinet method in terms of methodology for digital mediation is:

  • The technical tools, organized in a productive and functional way in autonomy, are the backbone of the educational device.
  • Learning takes place within the framework of a project with a concrete end: a film shown to spectators, a website visited by Internet users, a printed newspaper, a photo exhibition, etc.
  • The responsibility of the learners is full and complete both in technical terms and in terms of content.
  • The teacher becomes a supporter.

These concepts almost seem to be common sense, but with digital tools it requires a real methodological work to be able to use them fully. Here are a few questions to ask yourself, to address the pitfalls that can be faced:

  • Are the technical tools (computer, cameras, tape recorders, web server...) fully accessible to learners? Can they operate them in a truly autonomous way? Can we “leave them the keys” without feeling fear in ourselves?
  • If not, then it is better to simplify the tools than to keep tools that may be more efficient but that do not allow full autonomy. The goal is pedagogy, and it can only be effective if there is real autonomy.
  • Does the project have an end goal to which the learners will be actors? That is to say, for a film for example, that they also make the projection of the film (which is the moment of finality, of meeting with the public), for a photo exhibition that they make the hanging, the communication, the mediation and the unhooking, etc.
  • Will the learners be subject to censorship for their content? If this is to be the case, then the initial framework of the project must be modified so that the learners can be totally free, and responsible, for their content.

We can see that it is not easy, with the digital tools and the regulatory frameworks of projects in our contexts, to respect these criteria. Yet it is essential. Thus, the purpose, the forms and the technical chain mobilized for the project must be adapted to the pedagogy, and not necessarily mimetic of the professional practices of the production (cinematographic, literary, musical...).

Here you will find educational tools, practical and conceptual. These tools are based on the experiences and thinking that I have been developing in a large number of contexts since the 1990s. I have developed a singular, operative pedagogical practice, inspired by Célestin Freinet’s methods among others, adapted to contemporary human issues and to the tools of the 21st Century.

Pedagogy is an experimental practice, which has its theories, its history and its thinkers. It is a central construction tool in the educational field but also beyond, in the framework of professional interactions or cultural mediation for example. Thus the usefulness of the methods and reflections you will find here goes beyond the context of teaching.


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