vaea 2009 presentation
DESCRIPTION
Summary of methods for teaching art through a multicultural perspective, focusing on contemporary artists.TRANSCRIPT
Exploring Multicultural Approaches to Art Education
Why is it important, and how do we do it?
Background and History of Multiculturalism
• 1880’s – America as a “Melting Pot”– Immigrants expected to meld
into existing “American culture”
1920’s (after WWI) – Pluralism Small groups within society maintain unique cultures Referred originally to European cultures only John Collier – advocated for American Indians
(against assimilation)
Background and History of Multiculturalism
• 1960’s – Pluralism expanded to include all races
• 1954-1960’s – School slowly become desegregated
• 1990’s – increased interest in multiculturalism and pluralism in education
Multiculturalism in education defined
“Multicultural education is an idea, an educational reform movement, and a process whose major goal
is to change the structure of educational institutions so that male and female students,
exceptional students, and students who are members of diverse racial, ethnic, language, and
cultural groups will have an equal chance to achieve academically in school.”
(James Banks, 2005)
Art centered approaches to teaching from a multicultural perspective
• Collins and Sandell – Attack response– Escape approach– Repair response– Transformative approach
• Adapted from earlier work by James Banks
Attack Response
• Uses images which attack the dominant culture
• Useful in bringing out hidden biases and introducing themes of racism
• Can continue the cycle of racism by making the minority culture feel like victims
Escape Approach
• Approaches other cultures in a romantic and idealized way
• May arouse student interest in a previously unknown culture
• Can lead to the view that the culture is naïve and simple
Paper bag poncho
Repair Response
• Intended to build self esteem of minority groups
• Focuses on positive images from the minority culture
• Can lead to trivialization if done without research and care
Transformative Approach
• Attempts to select the best aspects of different cultures to form a new, common culture
• Aims to end violence and oppression due to race or cultural differences
• Who determines what the “best aspects” are?
Student Impact• Many student
populations are increasingly multicultural
• Helps teach tolerance and understanding
• Student interest increases when they see themselves in the art shown in the classroom
Concerns
• Lack of prior knowledge on other cultures• Difficult to find resources, visuals, etc.• Discomfort bringing up issues of race and
racism• No time to re-make the curriculum • Which cultures do we include?
Contemporary Multicultural Approach
• America is multicultural; American contemporary artists represent a variety of cultures
• Easier for students to relate • Deals with current issues which directly
impact students• Addresses cross-cultural identities• Represents a variety of points of view
Robert Colescott
Feeling his Oats. 1988
Robert Colescott
Emanuel Leutze’s famous 1851 painting George Washington crossing the Delaware
George Washington Carver Crossing the Delaware: Page from an American History Textbook. 1975
Betye Saar
“ I’m the kind of person who recycles materials but I also recycle emotions and feelings, and I had a great deal of anger about the segregation and the racism in this country. And so this series sort of evolved. ”
The Liberation of Aunt Jemima. 1972
Betye Saar
• Survival of the Spirit. 1993
Sheba. 1992
Roger Shimomura
October 16, 19421997
Camp Minidoka:"It was fine weather today. I realized that today was
Friday because fish was served. How monotonous life is here. Again, another day passed wastefully
doing laundry and miscellaneous things."
DECEMBER 7, 19411997Seattle, WA:"When I came back from church today, I heard the dreamlike news that Japanese airplanes had bombed Hawaii. I was shocked beyond belief. I sat in front of the radio and listened to the news all day. They said that at 6 a.m. Japan declared war on the United States. Our future has become gloomy. I pray that God will stay with us."
The
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Yinka Shonibare
Hopscotch. 2000
Lady on a Unicycle. 2005
Shahzia Sikander"The structure was built around narrative.
The narrative utilized language which might resemble miniature, but when you came and looked at it closely it had nothing to do with old paintings. There is nothing being copied or borrowed. It was all coming from my own sort of diary of developing forms and giving meaning to them, and meaning actually emerges by usage...For instance, with 'Hood’s Red Rider,' I did a series with children’s tales such as 'Little Red Riding Hood'..."
Hood's Red Rider #2. 1997
To R
evea
l or N
ot to
Rev
eal.
200
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Gabriel Orozco
Galaxy Pot. 2002
Black Kites. 1997
Kara Walker
Slavery! Slavery! 1997
Kara Walker"The silhouette says a lot with very little information, but
that's also what the stereotype does, so I saw the silhouette and stereotype as linked."
Saira Wasim
“ I like to put the stage drama (world politics) into the centuries-old format of the miniature painting that approaches to glamour and grandeur of the realms. “
East Versus West. 2007
Saira Wasim
Ignorance is Bliss. 2006
Kehinde Wiley
“I do it because I want to see people who look like me.”
“I have a lot of young black kids come up to me and say they are grateful to look at this monumental mega-painting with someone who they can relate to.”
LL Cool J. 2005
Ice T. 2005
Napoleon on his Imperial Throne. Ingres. 1806
Resources• Art 21 series on PBS and online• Contemporary sections of local museums– VMFA has work by Kehinde Wiley and Shazia Sikander
as well as several other interesting artists • Local galleries and artists in your community• Banks, J.A. (2006). Race, Culture, and Education.
New York, NY: Routledge.• Collins, G. and Sandell, R. (1992). The Politics of
Multicultural Art Education. Art Education, 45 (6), 8-13.