Pedagogies of Hope and the Leuven DisABILITY Film Festival

by Pieter Verstraete

Introduction

The discourse surrounding hope in pedagogy has evolved over decades, shaping the way educators conceptualize their roles in fostering optimism and agency among students. This paper explores the seminal ideas of Dutch historian of education Lea Dasberg (1930-2018) and her pedagogical philosophy of hope, juxtaposing them with contemporary applications such as the Leuven DisABILITY Film Festival. By contextualizing historical perspectives on education within broader social narratives, this discussion underscores the relevance of hope as a central tenet of both educational theory and practical initiatives aimed at fostering inclusivity.

Lea Dasberg and the Pedagogy of Hope

Lea Dasberg was a historian of education whose works significantly influenced pedagogical discourse in the Netherlands and beyond. Born into a Jewish family and physically disabled, Dasberg’s intellectual pursuits were shaped by her experiences and the socio-political climate of her time. Her seminal work, Grootbrengen door kleinhouden (1976), challenged prevailing educational paradigms, arguing that the prevailing tendency to restrict children's growth through overprotection inhibited their willingness to become adults. Dasberg’s academic prominence was cemented with her appointment as a professor at the University of Amsterdam in 1980. Her inaugural lecture, Tribute to Hope, addressed key challenges in pedagogical thinking as the 20th century approached its end. She argued that education should be forward-looking, yet cautioned against the perils of millennial pessimism, which, she believed, undermined constructive pedagogical efforts.

The Crisis of Future-Oriented Pedagogy

Dasberg identified several factors impeding a hopeful pedagogy. She critiqued the rising influence of apocalyptic thinking, particularly within science fiction and futurology, which often portrayed bleak and dystopian futures. She also scrutinized anti-authoritarian educational movements that advocated for absolute freedom, cautioning that such approaches could lead to nihilism rather than empowerment.

Drawing parallels between the anxieties surrounding the year 2000 and those of the year 1000, Dasberg highlighted the cyclical nature of millennial fear. She argued that such fears often resulted in educational stagnation, where young people were conditioned to expect decline rather than progress. To counteract this, she proposed a pedagogy rooted in hope, emphasizing the educator’s responsibility not only to translate knowledge but also to embody optimism.

Figure 1: Cover of the inaugural lecture “Pedagogy in the shadow of the year 2000: Tribute to hope” by Lea Dasberg (1980) © Private collection Pieter Verstraete

Constitutive Elements of Dasberg’s Pedagogy of Hope

Dasberg’s theory of hope-based pedagogy was built on three foundational principles: historical consciousness and action, the importance of the other (world), and the social rather than the individual.

1. Historical Consciousness and Action

Dasberg argued that teaching history should extend beyond rote memorization of facts and figures. For her, historical education had to be an active process that inspired students to engage critically with the past. She emphasized Holocaust education as an example, advocating for pedagogical methods that encouraged students to internalize lessons from history and apply them to contemporary issues. Her own initiatives, such as educational reforms in the Negev Desert and school exhibitions on the Holocaust, exemplified this belief.

2. The Importance of the Other (World)

One of Dasberg’s major critiques of contemporary education was its excessive preoccupation with the self. She observed that children’s literature often reinforced this trend by encouraging self-identification rather than exposure to new perspectives. Instead, she proposed that children’s books should introduce young readers to unfamiliar worlds, challenging them to engage with experiences beyond their immediate reality. By doing so, she believed that education could cultivate empathy, curiosity, and a broader worldview.

3. The Social Instead of the Individual

Dasberg was critical of the growing emphasis on individualized education, which she viewed as counterproductive to the development of a collective future. She lamented the Romantic turn in pedagogy, which had shifted educational goals from social utopias envisioned during the Enlightenment to inward-focused psychological development. In her view, an overemphasis on individual needs constrained children’s potential by defining them according to their current attributes rather than their future possibilities.

The Leuven DisABILITY Film Festival: A Contemporary Application of Hope-Based Pedagogy

 

Figure 2: DisABILITY Filmfestival Team 2025 © DisABILITY Filmfestival

Origins and Philosophy

Founded in 2011, the Leuven DisABILITY Film Festival embodies some of Dasberg’s pedagogical principles. With an overarching goal of fostering inclusivity, the festival provides a space for meaningful dialogue between individuals with and without disabilities. The initiative emerged from a recognition of the need to challenge stereotypes and promote nuanced understandings of disability.

At its core, the festival seeks to achieve three primary objectives: ensuring an enjoyable experience for all participants, creating spaces for people to interact beyond identity-based divisions, and facilitating discussions that move away from simplistic representations of disability. By adopting a pedagogical approach akin to Dasberg’s, the festival prioritizes engagement and dialogue over prescriptive narratives.

Activities and Accessibility

The festival’s programming includes a range of activities designed to maximize inclusivity and engagement. These include:

•    Film screenings with contextual introductions and discussions
•    A film café to encourage informal dialogue
•    A short film competition
•    Public lectures in collaboration with the Leuven Centre for Health Humanities
•    Targeted screenings for primary and secondary schools

To ensure accessibility, the festival incorporates multiple accommodations, including sign language interpretation, step-by-step guidance for individuals with autism, and audiodescription for visually impaired attendees. Additionally, all promotional materials undergo review by city accessibility councils to enhance inclusivity.

Budget and Organizational Structure

Operating as a non-profit organization, the festival relies on a mix of ticket sales, subsidies, and volunteer contributions. With an annual budget of approximately 30,000 euros, it maintains financial viability through a combination of public funding and grassroots support. A core team of six individuals coordinates the efforts of around 30 volunteers, ensuring the smooth execution of the festival’s diverse activities.
 

The Intersection of the DisABILITY Film Festival and the Pedagogy of Hope

Togetherness Instead of Identity Politics

One of the key distinctions of the Leuven DisABILITY Film Festival is its emphasis on togetherness rather than rigid identity politics. While many disability-focused film initiatives center on promoting specific identity-based narratives, the festival fosters a space for collective engagement. This approach aligns closely with Dasberg’s critique of self-preoccupation in educational settings. Rather than reinforcing predetermined identities, the festival encourages participants to engage in open-ended discussions that transcend personal backgrounds.

 Figure 3: Performance by Sofie Cox during the 13th edition of the Leuven DisABILITY Filmfestival © DisABILITY Filmfestival

 

Cracks Instead of Concrete Alternatives

Another crucial aspect of the festival’s philosophy is its commitment to highlighting possibilities rather than prescribing rigid alternatives. Rather than simply countering stereotypes with fixed representations, the festival seeks to expose the constructed nature of social narratives surrounding disability. This approach resonates with Dasberg’s belief in historical consciousness and action. By demonstrating that existing social structures are products of historical developments, the festival empowers new generations to envision alternative futures.

Conclusion

The pedagogy of hope, as envisioned by Lea Dasberg, remains highly relevant in contemporary educational and social initiatives. By advocating for historical consciousness, engagement with the unfamiliar, and a shift from individualism to collective responsibility, Dasberg provided a blueprint for an education system that fosters optimism and agency. The Leuven DisABILITY Film Festival exemplifies the application of these principles in practice, offering a dynamic space for dialogue and transformation.

In a world often dominated by narratives of crisis and decline, initiatives that embrace hope-based pedagogy are more crucial than ever. Whether in the classroom or in cultural spaces such as film festivals, fostering a pedagogy of hope can serve as a powerful antidote to despair, inspiring individuals to actively shape a more inclusive and optimistic future.

Pieter Verstraete is a senior lecturer in the history of education at KU Leuven (Belgium). He is one of the founders of the annual Leuven DisABILITY filmfestival.

 

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References 

 

Recommended citation:  Pieter Verstraete (2025): Pedagogies of Hope and the Leuven DisABILITY Film Festival. In: Public Disability Histoy 10 (2025) 5.