hurric katrina curricul

Curriculum Connected to Visual Culture Contemporary Art and Social Change

in Multicultural Art Education

Patty Bode [email protected]

Multiple Identities, Multiple Contexts: Redefining/Reconceptualizing

Multicultural Art Education

Patty BodeTufts University

with The School of the Museum of Fine Arts, Boston

[email protected]

Hurricane Katrina and The Influence of Mass Media

Hurricane Katrina and

The Influence of Mass Media

• Finding a lens

• Responding in teaching, learning and artmaking

• Reflecting/reimaging/reimagining

Multiple Identities Multiple ContextsMultiple Identities Multiple ContextsMultiple Identities Multiple ContextsMultiple Identities Multiple Contexts

Redefining/Reconceptualizing

Multicultural Art Education

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?

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.



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.

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)

ART EDUCATION

MULTICULTURAL EDUCATION

VISUAL CULTURE

POSTMODERNISM

Visual Culture Praxis in the Art Room

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)



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

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

Intersection of Multicultural Education and Postmodernism

as a site of strength in visual culture praxis

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).

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

So how does it work in the art room?

Hurricane Katrina:

•Social injustice •Environmental concerns •Community change

-Freedman, 2003

so-called “natural disaster”

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

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? _________________________

Negotiating community texts

Creating and co-constructing community discourse

Sharing, reproducing, recycling and appropriating images

Raven “post-iting” her choices

“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

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)

“Ms. Bode, I’d like you to meetZachary. He just moved here from New Orleans…”

Raven Casey Sasha

What are we going to do with all these

pictures, Miz?

Contemporary experiences

Contemporary images

Contemporary artists

Juan Sanchez, 1989 Ricanstructions

Robert Rauschenberg

Jaune Quick-to-See Smith

Student work and

Student voice

From mass media to mixed media

Adalberto

Casey & Sasha

Brianna

CeliaI see fear and I don’t see hope. What it means iswe can give hope.

Marisa

KyleI see people in despair and I see people helping.

Close-up: Kyle

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.

Close-up: Zoe

Jana:You don’t see why the levees were not fixed earlier

Close-up Jana

Ho-AnnI don’t know the words. Can I use these words?

From mixed media to multi-media

Becoming producers of mass media

Marco

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Bridget

Simone

Dominic

Jackie

Tafadzwa

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

Post Katrina years and counting:

The Vestiges Projectwww.thevestigesproject.orgFounded in 1984Participants Andrei Codrescu, Jan Gilbert, Debra Howell, Richard Katrovas, Carolyn Maisel, Kristen Struebing-Beazley



http://www.thevestigesproject.org/



The Deluge

Malcom McClay



Wendell Pierce, left, and J. Kyle Manzay rehearsing Paul Chan’s production of “Waiting for Godot,” set in theGentilly neighborhood of New Orleans.

Kara Walker

After the Deluge

NY:Rizzoli. 2007





http://www.pbs.org/art21



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



Joseph Mallord William Turner “Slave Ship” 1840



Winslow Homer, Dressing for the Carnival, 1877



Kara Walker

Negress Notes. 1996

Watercolor, ink and pencil on paper. 9 x 6 inches

MEDIA

MEDIATE

MEDIAT/ION