Food Studies Matter, Meaning, Movement Contents

CONTENTS Introduction How to use this book Submissions and Review Adopting this book Accessibility Statement About the Editors MAIN BODY Creative Illustrating Food Ali Creative Poetics and Politics David Perspective Food and Identity Kate Gardner Burt Case Japanese Food Identity Maya Hey Creative Food Practices Photo Essay Lynn Walters Case ' Menus Sasha Gora Creative Tasting Annika Walsh and lee xiv 17 36 43 60 74 115 127

Case Food in Garrett Perspective Designations Eden Creative Food Tours Natalie Perspective Food Meanings Perspective Gastronomy Stan and Donald Reid Case Food in Christian Kelly Scott and Chi Creative Street Food Vendors Vincent Case School and Lina Creative Collaborative Eating Performances Annika Walsh Perspective Food Relationships Sarah Creative Poems for Pollinators Andrea Elena Case Food and Folklore Lucy Long Perspective Household Mary Anne Martin and Michael 131 148 162 174 186 201 213 223 236 242 257 263 272

Creative Making Mead Joshua Perspective Nutrition Paradigms Perspective Eating Healthy Jennifer Brady Activity Classifying Food Erin Sperling and Sara Scharf Creative The Gaze Annika Walsh Perspective Food Allergies Janis Goldie Creative Form and Matter Annika Walsh Perspective Salt Liam Cole Young Case Artisan Cheese Amy Perspective Disordered Eating and Andrew Ryder Case Advertising Anne and Irena Perspective Breast Milk Janet Colson Perspective Food Insecurity Michael and Mary Anne Martin 290 298 315 331 339 342 361 365 378 387 404 420 442

Creative Food System Blues Ahmed and Tommy Wall Creative Food Waste Pamela Perspective Food Access Laine Young Case Food Rescue Leda Cooks Perspective of Food Phoebe Stephens Creative Solidarity for Food Businesses Annika Walsh Perspective Fair Trade De Gelder Case Migrant Farm Workers Courtney Jane Clause Case Pollinator Susan Willis Chan and Jennifer Marshman Perspective Pollinators and People Jennifer Marshman and Susan Willis Chan Creative Ode to Pollinators Andrea Elena Case Community Gardens Howard Ben and Amy Case Backyard Chickens Johanna Wilkes 456 465 472 488 499 514 516 537 551 567 584 586 609

Creative Ode to Nature Andrea Elena Perspective Fisheries Kristen Perspective Evelyn Nimmo and . Creative Food Tarot Toolkit Interview Indigenous Food Knowledge Mandy and Andrew Spring Perspective Digital Agriculture and Kelly Case Food Traceability Blue Dong Case Food Safety Act Amanda Creative A Last Supper Stephanie Case Meat in Literature Stephanie Perspective Meat and Materiality Case Food and Art Edward Case Food Systems lain and Shannon 620 622 634 651 666 681 698 708 717 720 735 747 755

Perspective Sustainable Protein Ryan Andrew and Anil Perspective Eating Insects Laura Shine Case and Morality Melissa Creative Herding Humans Annika Walsh Glossary Recommended Citations 769 784 796 805 811 857 This project is made possible with funding by the Government of and through support of the Virtual Learning Strategy . Learn more about the Virtual Learning Strategy . Cover design by Alexandra . Cover photos dorado Ilya Stock pineapple Stock INTRODUCTION What is food ?

A thing we eat , a creator of cultures , an passing system ?

An object , a process , a way of understanding ourselves ?

A focus of practice and study ?

A through which to altogether reimagine study and ?

This book aims to help students address these and other , providing perspectives and insights about numerous themes , while also opening up possibilities for ongoing ration . It is also intended as a pedagogical tool with which to probe and transcend disciplinary boundaries , so that the stuff and significance of food itself might become starting points for learning and conducting research . In developing this book , We began with the fundamental tion that food and food systems are lively , intersubjective , and plex . This means that they change in time , resisting universal definitions and explanations . It also means that , even as we study food , it changes us and our perceptions of it . And , finally , as dynamic and adaptive , food systems need to be understood through pluralistic means . While positivism , science , and causality are useful for some aspects of food studies , so are poetry , wonder , affect , and . The three of our , meaning , our way of the pluralistic nature of food . Food is stuff that we eat , but it is equally stuff that we use to symbolize other parts of human existence , as well as stuff that we load with discourse and ideas . Moreover , as evidenced by the ways in which we transport edible things around the globe , process and INTRODUCTION

transform them , and insert them into from finance to fashion , food moves . Even as we parse these elements of food , however , they remain intractably connected . Food is whole , always already entangled . Any examination of foods materiality raises questions about how it is meaningful . Tracing the movements of conceptually or its ingredients , its aging , and its waste . Food , divided , ceases to be food by its nature , food resists being reduced to distinct variables . As you use this book , perhaps a transformed sense of food , food culture , and food systems will with a new sense of your own place and role within them . Perhaps a particular method or practice from one of the chapters will resonate with a poem or illustration , helping to illuminate a scrap of theory you have struggled to apprehend . Perhaps a perception of how culture and economics and identity are linked will start to form in your consciousness , motivating you to take part in activism or . Perhaps you will be inspired to draft a contribution to the second , third , or edition of this book , and you will become a future editor of Food Studies , or a teacher of new learners . And then , together , perhaps we will all acquire an understanding of food that becomes , over time , as lively , subjective , and complex as this wonderful subject itself . FOOD STUDIES

HOW TO USE THIS BOOK In putting out the call for submissions to this book , we prompted our contributors to think about the distinctions and among food matter , food meaning , and food movement . They responded to this prompt , and each chapter both highlights how these different elements are also inseparable . Some texts may foreground the symbolic , traditional importance of , say , Green Bean Casserole , while others demonstrate how tion can transform not just molecules but also the cultural and economic significance of a given food stuff . We encourage you to note for yourself what elements come ward as you read and listen and look . Does a chapter about backyard chicken polices make you think about municipal , the architecture of hen houses , or maintaining relationships ?

Do the sounds of Cuban ice cream street vendors make your mouth water ?

Do they raise questions about the history of sugar production ?

Do they make you want to travel ?

We also asked our contributors to format their chapters in one of three ways as a Case , a Creative , or a Perspective . Cases look at more examples of food system , from food in the Polynesian country of to the practices of san in Vermont to the communications challenges facing migrant farm workers in Canada . Creatives come at food from more oblique angles , visualizing the sense of closeness one can have with pollinators , or using poetry to shout , cry , and laugh about food emotional impacts . Perspectives pull the reader up to a broader View of things , sometimes of the invisible but HOW TO USE THIS BOOK

effects of , sometimes of how eating and identity can produce both a sense of belonging and problematic effects of isolation and . Overall , the book is organized within a loose , thematic evolution . We start with subjects that are close to everyone personal , the self , and the intimate meanings that food conveys . Subsequent chapters flow into questions about the relationships among humans , other living things , and the places and issues that food production and consumption cate . Toward the latter part of the book , more challenging themes are presented , including the morals and ethics of meat , the of and law , and the intersecting futures of digital technology , people , and food . As much as we could , we created a certain logic in the transitions from one chapter to creative or more as to help ers identify or build connections among them . This structuring , however , is just one way to use Food Studies . As it is a digital publication , readers are encouraged to curate their own selections of chapters , and to jump from one theme to another . To this end , the search and cation on our website can help find the most pertinent entries for a given discussion or assignment . Abbreviated chapter titles summarize the main focus of each , noting also the format ( Case , Creative , or Perspective ) that the chapter takes . The authors own , more expansive titles then low , deepening the framing they have used . Author biographies also appear at the top of each chapter , intentionally positioning themselves and their text , all in support of critical reading . Learning objectives follow , guiding students and teachers to attend to key elements of the text , whether more factual or more synthetic . Creatives do not include learning objectives , largely to enable more subjective and reading of what follows . FOOD STUDIES

We encourage teachers to use these chapters in both guided and unguided ways , and to propose to students ways they can think about what these pieces suggest . Most chapters include one or more highlighted glossary terms clicking on a link will bring up our interpretation of that term , which is sometimes more generalized and sometimes more to food or to the chapters content . It should be noted that these terms are neither definitive nor exhaustive as with much knowledge related to food , word meanings are pluralistic . Many terms also cross chapters and show connectivity among themes . Overall , we have attempted to keep references and citations to a minimum , both to support an accessible , generalized reading experience and to help readers grasp key aspects of the text without extensive distraction . and additional resources are nonetheless included , to give teachers and learners prompts for further exploration . Similarly , discussion questions and exercises follow most chapters , enabling the text to serve as a jumping off point for a broader classroom exploration , debate , and . The Website Our website , includes a search page , which is a helpful way to find chapters . Much thanks to University of School of Information Studies master student , for developing the library . Searching for keywords will return all chapters tagged with that term . It also provides a useful way of seeing which chapters address similar themes , such as power , taste , agriculture , or . The entire text of every chapter is also searchable within the version of the book , using the Search bar in the corner . HOW TO USE THIS BOOK

The website also offers links to the and versions of the book , which can be downloaded and used in an text . The version offers the most dynamic reading experience , but it also requires internet access , which we is not universally available and accessible . Food Studies is also available as a textbook , and copies can be purchased from Spark . While there is a price associated with printed copies , it is solely to cover the duction cost no profit is returned to the publishers , editors , or authors . Please contact us for more details . What to do if you an As is increasingly standard for , openly accessible educational resources ( and as required by our funding ment ) Food Studies is and compliant with the Accessibility for with Disabilities Act of 2005 . All tent is designed based on current Universal Design Standards , including for all graphics and proper colour ratio . If , however , you find an issue related to accessibility , or other content that is either in error or problematic in your view , we encourage you to get in touch with us to report the problem . This can also include such minor issues as typos , formatting problems , or broken links . While the book has been extensively reviewed and proofread , mistakes always happen ! FOOD STUDIES

SUBMISSIONS AND REVIEW How did we solicit submissions ?

In December 2020 , we distributed a Call for Expressions of Interest ( with guidelines and formatting prompts ) to a wide range of scholarly association newsletters , and book groups . Proposals came in from a broad range of food scholars and practitioners , ranging across North America , Europe and the , Asia , and . Each was reviewed and discussed by the editors before providing feedback about ble ways to refine and structure an eventual contribution . approximately 80 texts in all were received 60 are included in this , the first edition of Food Studies . How did we review and edit submissions ?

Our editorial and peer review process aimed at creating chapters that would be both complementary to one another and accessible for our readers . All three editors provided initial feedback that was synthesized for each author in advance of the peer review . Following the principles of open publishing , the peer review process was also authors and reviewers knew each others identity , allowing both the text and the review to be through the lens of the author . While we used careful editor judgement in choosing reviewers for each text , we also asked reviewers to determine and declare whether any potential conflict might arise in conducting a review . As the reach of open publishing grows wider , we hope that this process can contribute both awareness of and SUBMISSIONS AND REVIEW

ation for an alternative to more conventional , anonymized peer review experiences . Our sincere thanks go out to the large and generous community of reviewers who participated in this project Peter , Patricia , Linda , Anna , Kelly , Jillian , Michael , Logan , Gillian , Jonathan , Frank , Shawna Holmes , Kathleen Irwin , Ryan , Ryan , Ali , Jordan , Charles , Kristen , Meghan Lynch , Janet lin , Catherine Mah , Tabitha Robin , Mary Anne Martin , Sarah Martin , Wanda Martin , Rod , Alexia , Erin Nelson , Elizabeth , Lenore Newman , Andrea Elena , Elaine Power , Cecilia , Caitlin Scott , Christian Scott , Rebecca , Laura Shine , mara Soma , Jennifer Sumner , Jennifer , Ted , and Laine Young . Following review , each piece was both edited and for clarity , meaning , and a degree of consistency . Our pedagogical editor , Amanda Di , worked diligently to refine learning outcomes , discussion questions , and exercises , and to create a glossary in which the descriptions of terms remain open and contextually meaningful , while neither tive nor encyclopedic . The Communication and Media Studies program at University provided seed funding for the Food and Media Hub initiative , where this book was initially conceived . Throughout the development process , we also received ongoing tive support and instructional design advice from the mighty team at University Teaching and Learning Services ( FOOD STUDIES

Sincere thanks to Valerie , Andrea Gorra , David , Patrick Lyons , Laura Fuentes , and for their guidance and cheerleading . In addition to the Creative chapters that were formally , David also worked with a University of fine arts student , Annika Walsh , to produce documentation of a number of her artworks . As part of a study internship during the Fall of 2021 , Annika read through the and drew out themes and subjects that related to her own work . A variety of these pieces are included throughout Food Studies , building on the three of matter , meaning , and movement . Finally , as a check of both content and structure , the entire book was reviewed for readability and relevance by undergraduate students at University and the University of . We are grateful for the feedback and insights of Rose , Claire Chapman , Yi Shan , Grace , Landry , Nanda , Han ( Ryan ) Clara , and Annika Walsh . SUBMISSIONS AND REVIEW

ADOPTING THIS BOOK While this book is targeted at early undergraduate learners in introductory food studies courses , some chapters will also be in classrooms and other ing environments . As time goes on , we anticipate adding chapters to complement the current selection , expanding the books relevance and reach within the many spheres that prise food . Whether you use one or several chapters in your course or ies , we ask you to formally register your use of the book using our adoption form . This helps in several ways . First , it will allow us to stay in contact with you , if new or revised editions of Food Studies are released . In the same way , you can maintain contact with us to provide feedback on how the book is working for you , or to identify errors or omissions that need to be corrected in future editions . And , of course , knowing how many people are using the where and in what tant feedback for us . It will help us keep making changes that address real needs , while also supporting future efforts to expand or evolve the project more broadly . Eventually , we hope to build on this collection with future calls for contributions centred on Indigenous , critical theory , social ecology , queer and feminist theory , and many other themes . While our contributors covered a wide range of suggested and some range of food studies is always growing . We will be delighted if this volume spawns ( potentially ) future editions , remixes , or . 10 FOOD STUDIES

To that end , Food Studies is published under a Creative Commons license . With some exceptions noted in text ( related to artistic material ) the content in this book may be reused , remixed , repurposed , and maintained at will , provided that no commercial derivatives are created and that all future editions also carry the ( license . Any cation of the content , however , must follow Creative Commons terms . ADOPTING THIS BOOK 11

ACCESSIBILITY STATEMENT In accordance with University , University of , and the Accessibility for with abilities Act ( we have aimed to make this textbook and available to everyone . To that end , Food Studies was audited for accessibility by a team from the University Teaching and Learning Services unit . Their report served as the basis for a number of refinements and corrections . Accessibility features of the web version for this resource The web version of Food Studies was designed with accessibility in mind . It has been optimized for people who use technology , and all content can be navigated using a keyboard . To the best of our ability , and within the parameters of the books publishing platform , links , headings , tables , and images have been designed to work with screen readers . Other formats available In addition to the web version , this book is available in a number of file formats , including , for ) and various files . You can also purchase copies from Spark . Please contact us for more details . Let us know if you are having problems accessing this textbook While we have tried to make sure that this textbook is as ble and as usable as possible , there might still be some ing issues . If you are having problems accessing this resource , please contact us to let us know so we can fix the issue . 12 FOOD STUDIES

Please include the following information The location of the problem by providing a web address or page description A description of the problem The computer , software , browser , and any assistive you are using that can help us diagnose and solve your issue ( Windows 10 , Google Chrome ( Version ) screen reader ) ACCESSIBILITY STATEMENT 13

ABOUT THE EDITORS David is a freelance academic Working across a number of institutions and within several roles . He has taught food ies , gastronomy , and communications at universities in Australia , Canada , and Italy , in both undergraduate and graduate programs . A former book editor and , he has 15 years of experience in the corporate , media , and sectors . In addition to teaching , David works as a project manager , writer , and editor , and has extensive online and digital development experience . He served as Project ager and of Food Studies , and is also the of the OER Showing to Know Understanding social concepts through illustrative . Amanda Di is the Project Coordinator at the Centre for Sustainable Food Systems and Director of Programs , Education , and Communications for the Chair on Food , Biodiversity and Sustainability Studies , where she duces and hosts the food research podcast , Handpicked Stories from the Field . She Sustainable Food System Assessment Lessons from Global Practice ( 2020 ) and The Goose A journal of Arts , Environment and Culture in Canada ( Amanda research focuses on environmental pedagogy and she has taught environmental studies at the graduate level . She served as Pedagogic Editor and of Food Studies . Irena is an associate professor in Communication and Media Studies at University in , Canada , where she oversees the Food and Media Hub research initiative . She 14 FOOD STUDIES

is the lead editor of Nourishing Communities From Fractured Food Systems to Transformative Pathways ( Springer 2017 ) and her work has appeared in journals of food , cultural , and communication studies , health research , and political ecology . Irena has taught food studies at college , university , and postgraduate levels , in communication studies , cultural studies , community ment , and nutrition programs . She served as of Food Studies . ABOUT THE EDITORS 15