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sant and inviting scene. The young women are well dressed, their hair is well styled. If we did not know better, we might not think that the young women are workers, that they live under miserable conditions, without any privacy at home. 12 This picture says: here is a place where you can be, where you can follow your interests, where you will meet other women who share your interests. The picture gives an impression of comfortableness and security. The picture does not evoke our pity. On the contrary, it demonstrates a sense of pride; it represents a public scene, but also appears intimate and private. A sense of pride and a close connection between private and public life are characteristics of both the women’s movement and social work. And the photograph is a medium giving its objects a public meaning. Let me explain this in several brief concluding remarks. I said that the picture could even be compared to a painting. It has often been overlooked that paintings help us to share a public or collective view and experience (as do all pieces of art), and they do this through the work of the artist himself. The fascination with photography around 1900 and thereafter was due not least to the fact that photography allowed for a combining of the public character of traditional works of art with the intimate and private view and experience of the photographer and viewer. 13 But such a connection of two opposite spheres is of a very precarious character. It remains hidden in technology. As everybody knows, it may be misused and needs to be handled in a responsible manner. The album of 1929 is impressive not least because it is an example of such a responsible approach. It shows the clients of social work in their individuality and their human dignity, and it reflects the problem of social work in demanding recognition of and respect for the ones who are thrust aside by society and acceptance of the marginalised as full members of this society. This is what the viewer of the photos in the album may learn in particular from the images depicting services for young people with intellectual and psychological disabilities and the female police (figure 40, figure 41, figure 42). 12 The young workers at that time did not have a room, and a lot of them not even a bed, to themselves. A common source of additional income for the worker families was to rent the beds for hours to so-called Schlafburschen. Cf. Alice Salomon, „Klubs und Erholungsheime für jugendliche Arbeiter,“ Die Jugendfürsorge, 1, no. 9 (1900): 534- 541; repr., Salomon, Frauenemanzipation und soziale Verantwortung, vol. 1(Neuwied: Luchterhand Verlag, 1997): 64-70. 13 Cf. Roland Barthes, Die helle Kammer: Bemerkung zur Photographie (Frankfurt a.M.: Suhrkamp Verlag, 1985); Ernst H. Gombrich, Die Geschichte der Kunst (Köln: Phaidon, n.d.); Ernst H. Gombrich, The Story of Art (UK: Phaidon Press, 16th ed. 2006). 184
This may be a starting point for discovering and reflecting upon the world of social work and its history – in following the traces women have left behind. These women experienced their entrance into the field of social work as the discovery of a world that had been unknown and foreign to them, the world of the working class and of the outcasts, of poverty and misery. In addition, they experienced new ways of working and of helping to change the social situation in general as well as new ways of working together. Finally but importantly, they also experienced the bounds of their own female situation mirroring the absence of fundamental social and political rights. I have tried to explain that reflecting on social work cannot simply be replaced by putting forward a scientific theory. One reason for this is the inherent ambivalence of social work, which is so clearly shown and illustrated by the photographs in the album. Some more pointers for teaching Finally I would like to give some pointers towards issues and source texts which can supplement and enlarge upon the discussion of the photos and the photo album. I will limit these ideas to the two features that have been at the centre of my presentation and interpretation: the Female Workers’ Club and the keyword “modernity” in the characterisation of the middle-class women’s project of social work. Many trails can be followed in further teaching related to the photo album page “Das Arbeiterinnenheim” (figures 25 and 39). Some are given here. The founding of the Female Workers’ Club in Berlin just before the turn of the century explicitly picked up on English examples as described by Alice Salomon in several articles, for example, the article “Klubs und Erholungsheime für jugendliche Arbeiter” (Clubs and recreation centres for juvenile workers), of 1900. 14 This likewise includes a pointer towards the significance of international linkage and cooperation in which and through which social work could be substantially developed. This is a thread which 14 Alice Salomon, „Klubs und Erholungsheime für jugendliche Arbeiter,“ Die Jugendfürsorge, 1, no. 9 (1900): 534- 541; repr., Salomon, Frauenemanzipation und soziale Verantwortung, vol. 1(Neuwied: Luchterhand Verlag, 1997): 64-70. 185
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Teaching Gender in Social Work Teac
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© Alice Salomon Archive der ASFH B
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Visual intervention: research for s
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LIST OF TABLES Gender division at m
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Introduction Vesna Leskošek The bo
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• Working with the poor and peopl
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especially valuable when seeking to
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le is aimed mostly at educators, es
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ween’ reflect the majority view w
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with each perspective in order to a
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6. Do you think there was a need to
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provide another way in which to bro
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wherein the majority of students an
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mothers, but she definitely believe
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c) from a history of the present pe
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alongside, and not above or below,
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The Roots of the Social Work Profes
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Our aim is to make history and the
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for teaching gender from a historic
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loyalty and duty, the new one requi
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The Feminisation of Poor Relief At
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and mother. Even the ever well-info
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As an example of what it meant for
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their ability to empathise. All thi
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fictive or non-fictive materials, i
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• Orientatation, warming up Episo
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Conscience alley /teacher-in-role:
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3. Ask your students to visit a loc
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Visual Sources in Teaching History
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In addition to this, the interpreta
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We have used these ideas in classes
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Visualisation of concepts: • Stud
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students express their expectations
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We have used the mapping technique
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Some authors employ visual particip
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Social work educators may develop t
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Visual methods for social reforms:
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One of the few women among the famo
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We were inspired by this idea and r
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Jo Spence (1934 - 1992) was a Briti
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The most effective application of t
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Huss, Ephrat, and Julie Cwikel. “
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PART II - TEACHING WITH HISTORY: US
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Wave of Feminism. Reclaiming the po
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Toleration of domestic violence was
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• Can they share stories from the
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When speaking of mass deaths in Slo
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girls were exposed in many ways to
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public sphere. Those belonging to t
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Many services and professions are c
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of various nations or ethnic groups
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Scott, Wallach Joan. Gender and the
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Teaching Gender Through Diagnosis i
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other organs 3 and later as an illn
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Instructions for a case study Altho
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In addition, Savnik draws attention
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in Europe was a “family wage”,
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Many documents report a high number
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a “health police” in Lombardy a
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control, while the latter can be cu
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narration. Women’s stories were p
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Vari, Sandor. The case study of Ilm
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From Visiting Ladies Towards Munici
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the modernization process and inclu
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tions. These were the generations t
Page 135 and 136: to bring sick people to hospitals o
Page 137 and 138: As we can see, the aim of Bojana Ch
Page 139 and 140: In the 1930s female teachers and ad
Page 141 and 142: must save them from getting enraged
Page 143 and 144: Questions for students: 1. What was
Page 145 and 146: We conclude with a final set of que
Page 147 and 148: Human Reproduction Issues in Social
Page 149 and 150: that reproductive decisions are of
Page 151 and 152: ate. Natalist policies may be intro
Page 153 and 154: was that a child, due to one or bot
Page 155 and 156: and retrieval of egg or sperm, fert
Page 157 and 158: citizens have achieved so much, the
Page 159 and 160: Case Study Two: Cultural Difference
Page 161 and 162: Spektorowski, Alaberto, and Elisabe
Page 163 and 164: PART III - TEACHING MATERIAL A Phot
Page 165 and 166: The album consists of two parts, th
Page 167 and 168: On the following page we see a phot
Page 169 and 170: Figure 1. Photo album of Alice Salo
Page 171 and 172: Figure 4. Alice Salomon, 1899, Phot
Page 173 and 174: Figure 9. Margarete Treuge and Lili
Page 175 and 176: Figure 21. The Soziale Frauenschule
Page 177 and 178: Part 2: Ausbildungsstätten - Insti
Page 179 and 180: Figure 31. Die Wohlfahrtsstelle des
Page 181 and 182: Figure 36. Service for mentally han
Page 183 and 184: The second part of the album is hea
Page 185: Römer-Gobbin, who wrote about the
Page 189 and 190: Salomon and Beatrice Webb, for exam
Page 191 and 192: References Addams, Jane. Twenty yea
Page 193 and 194: NOTES ON CONTRIBUTORS Dr. Adriane F
Page 196: Teaching with Gender How can educat
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