hurric katrina curricul
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Curriculum Connected to Visual Culture Contemporary Art and Social Change
in Multicultural Art Education
Patty Bode [email protected]
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Multiple Identities, Multiple Contexts: Redefining/Reconceptualizing
Multicultural Art Education
Patty BodeTufts University
with The School of the Museum of Fine Arts, Boston
Hurricane Katrina and The Influence of Mass Media
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Hurricane Katrina and
The Influence of Mass Media
• Finding a lens
• Responding in teaching, learning and artmaking
• Reflecting/reimaging/reimagining
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Multiple Identities Multiple ContextsMultiple Identities Multiple ContextsMultiple Identities Multiple ContextsMultiple Identities Multiple Contexts
Redefining/Reconceptualizing
Multicultural Art Education
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Dolby, N. (2000). Changing selves: Multicultural education and the challenge of new identities. Teachers College Record 102(5), 898–912.
McLaren, P., & Torres, R. (1999). Racism and multicultural education: Rethinking “race” and “whiteness” in late capitalism. In S. May (Ed.),Critical multiculturalism: Rethinking multicultural and antiracist education (pp. 42–76). London: Falmer Press.
Nieto, S., Bode, P., Kang, E. & Raible, J. (2008). Identity, Community and Diversity: Retheorizing multicultural curriculum for the postmodern era. In F. M. Connelly, M. F. He & J. Phillion (Eds.), The Sage Handbook of curriculum and instruction. Thousand Oaks, CA: Sage.
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Who COUNTS?
What does it mean to be American ?
What does it mean to participate in a democratic
society?
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• What counts as ART?
• Who counts as ARTISTS?
• What counts as KNOWLEDGE?
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James BanksDimensions of Multicultural Education
• Content Integration• Knowledge Construction• Prejudice Reduction• Equity Pedagogy• Empowering School Culture
Banks, J. A., (2004). Multicultural education: Historical development, dimensions, and practices. In J. A. Banks & C. A. M. Banks (Eds.), Handbook of research on multicultural education (2nd ed., pp. 3-29). San Francisco: Jossey-Bass.
Banks, J. A. (2006). Cultural Diversity and Education, 5th ed. Boston: Allyn & Bacon.
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Contributions Approach
Additive Approach
Transformation Approach
Social Action Approach
James Banks4 Levels of Integration of Multicultural Content
Banks asserts the theory of 5 Dimensions of multicultural education with curriculum content as one of those 5 dimensions.
Banks, J. (2008). Teaching Strategies for Ethnic Studies, 8th Ed. Boston: Allyn & Bacon.
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Sonia Nieto’s Definition of Multicultural Education
• Multicultural Education is antiracist education.
• Multicultural Education is basic education.
• Multicultural Education is important for all students.
• Multicultural Education is pervasive.
• Multicultural Education is education for social justice.
• Multicultural Education is a process.
• Multicultural Education is critical pedagogy.
Sonia Nieto and Patty Bode (2008)Affirming Diversity: The Sociopolitical Context of Multicultural Education, 5th ed. Boston/NY: Allyn & Bacon/Longman.
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Multiculturalism as a Quality of Postmodernism
• Fehr (1997)• Efland (1996)• Freedman (1996, 2003)• Clark (1996)• Gude (2003)• Emery (2003)• Neperud (1995)• Stuhr (1991, 1996, 2000,
2004)
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ART EDUCATION
MULTICULTURAL EDUCATION
VISUAL CULTURE
POSTMODERNISM
Visual Culture Praxis in the Art Room
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Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of ArtBy Kerry Freedman(Teachers College Press: 2003).
Much contemporary culture has become visual. Global culture is rapidly Shifting from text-based communication to image saturation. Visual cultureis seen on television, in museums, in magazines, in movie theaters, on billboards, on computers, in shopping malls and so on (Freedman, 2003).
(Ballengee-Morris & Stuhr, 2001; Barrett, 2003; CarpenterII & Manifold, 2003; Chalmers, 2002; Chapman, 2003; Duncum, 2001, 2002, 2003; Efland et al., 1996b; Freedman, 2003a, 2003b; jagodzinski, 1997a, 1997b; Keifer-Boyd et al., 2003; Krug, 2003; Sullivan, 2003; Tavin, 2000a, 2000b, 2003; Villeneuve, 2003; Walling, 2001; Wilson, 2003)
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Paul Duncum (2001, 2002, 2003) defines
Visual Culture Art Education (VCAE)
• art making and critique is symbiotic
• a new paradigm • profoundly historical • cross cultural
• values both aesthetic and social issues
• is as natural as any other study of culture
• will emerge incrementally
Visual Culture Art Education
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IMPLICATIONSFOR
ART TEACHER PREPARATION and
CLASSROOM PRACTICE
Postmodern Theory
My voices:
Artist, Teacher Researcher
Qual MethodABERCollages
Voices ofArt Teachers
Voices of art students
Visual Culture
Critical Theory, Critical Literacy
Multicultural Education
Critical Art History
Detractors of Multicultural Education
Art Historical Canon
Formalism
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Intersection of Multicultural Education and Postmodernism
as a site of strength in visual culture praxis
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Olivia GudePostmodern Principles
•Appropriation•Juxtaposition•Recontextualization•Layering•Interaction of text and image •Hybridity •Gazing •Representin’
Gude (2004) emphasizes that these principles “are not a set of discrete entities” (p. 12). Consistent with postmodernism, Gude resists the notion of creating a grand narrative for postmodern art education texts.
Gude, O. (2004). Postmodern Principles: In Search of a 21st Century Art Education. Art Education, 57(1).
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Steps in organizing and teaching visual cultureB. Stephen Carpenter, David Burton, Marjorie Cohee, William Wightman
(2003)
• Environment Recognition• Issue Orientation• Empowerment• Interpretive and Functional Skills
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So how does it work in the art room?
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Hurricane Katrina:
•Social injustice •Environmental concerns •Community change
-Freedman, 2003
so-called “natural disaster”
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Mass media presents us with images that shape our world viewand the world’s view of us.
Enduring Understanding
Beyond Hurricane Katrina for 7th graders
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Mass Media Images of Hurricane Katrina and the aftermath
What do you see?__________________________
What do you NOT see? _____________________
What does it mean? ________________________
What can you do? _________________________
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Negotiating community texts
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Creating and co-constructing community discourse
Sharing, reproducing, recycling and appropriating images
Raven “post-iting” her choices
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“Do I have to hang up this picture?”
Negotiating community text:
Postcolonialism, the gaze, voyeurism, studying “the other”…
Empathy as a path to social justice
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The influences on the character of Postmodern Art Pedagogy
• Lyotard (1984) loss of faith in grand or meta–narrative of history, portraying humanity as being progressively involved in steady march toward greater enlightenment.
• Foucoult (1970; 1965) power as bound with knowledge. “High art” obtains this status by conferring with dominant group. Uncovering ways in which
determination occurs may become object of teaching. Powerknowledge awareness presses art teachers with participating in social dominance or upsetting it.
• Derrida (1976) cultural and art criticism which he calls deconstruction. Shedding light on oppositions within cultural forms. No interpretation is privileged as truth.
• Jencks (1977, 1987, 1989) double coding theory: objects understood in semiotic terms, communicate messages through various codes to various viewers. Eflund, A., Freedman, K., Stuhr, P. (1996), K., Stuhr, P. (1996)
• Bourdieu, P. (1984, 1999) education is reproductive, practices in an intellectual field lead to thinking and acting in ways consistent with the education in the field. Understanding of art too linear .(Freedman, 2003)
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“Ms. Bode, I’d like you to meetZachary. He just moved here from New Orleans…”
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Raven Casey Sasha
What are we going to do with all these
pictures, Miz?
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Contemporary experiences
Contemporary images
Contemporary artists
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Juan Sanchez, 1989 Ricanstructions
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Robert Rauschenberg
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Robert Rauschenberg
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Jaune Quick-to-See Smith
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Jaune Quick-to-See Smith
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Student work and
Student voice
From mass media to mixed media
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Adalberto
Casey & Sasha
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Brianna
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Molly
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Elad
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CeliaI see fear and I don’t see hope. What it means iswe can give hope.
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Marisa
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KyleI see people in despair and I see people helping.
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Close-up: Kyle
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Close-up: Kyle
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Zoe
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I see the Louisiana flag in a storm, a really bad hurricane, but there is a glimmer of hope around the bird on flag. I don’t see what will happen next. More hurricanes? More suffering? Or more help.
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Close-up: Zoe
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Jana:You don’t see why the levees were not fixed earlier
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Close-up Jana
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Close-up Jana
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Close-up Jana
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Ho-AnnI don’t know the words. Can I use these words?
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From mixed media to multi-media
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Becoming producers of mass media
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Marco
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Marco
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Marco
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Bridget
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Bridget
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Bridget
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Simone
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Simone
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Dominic
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Dominic
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Dominic
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Jackie
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Jackie
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Tafadzwa
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Tafadzwa
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Curriculum under constant construction
•Displaying art work in a group exhibit
•Widening the community discourse
•Encircling insiders and outsiders
•Community participation
humanitarian aid social justice activism
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Post Katrina years and counting:
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The Vestiges Projectwww.thevestigesproject.orgFounded in 1984Participants Andrei Codrescu, Jan Gilbert, Debra Howell, Richard Katrovas, Carolyn Maisel, Kristen Struebing-Beazley
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The Deluge
Malcom McClay
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Wendell Pierce, left, and J. Kyle Manzay rehearsing Paul Chan’s production of “Waiting for Godot,” set in theGentilly neighborhood of New Orleans.
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Kara Walker
After the Deluge
NY:Rizzoli. 2007
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http://www.pbs.org/art21
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Insurrection! (Our Tools Were Rudimentary, Yet We Pressed On)2002. Installation view at the Solomon R. Guggenheim Museum, New YorkProjection, cut paper and adhesive on wall, 12 x 74 1/2 feet
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Joseph Mallord William Turner “Slave Ship” 1840
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Winslow Homer, Dressing for the Carnival, 1877
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Kara Walker
Negress Notes. 1996
Watercolor, ink and pencil on paper. 9 x 6 inches
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MEDIA
MEDIATE
MEDIAT/ION