Hurric Katrina Curricul


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Hurric Katrina Curricul

  1. 1. Curriculum Connected to Visual Culture Contemporary Art and Social Change in Multicultural Art Education Patty Bode
  2. 2. Multiple Identities, Multiple Contexts: Redefining/Reconceptualizing Multicultural Art Education Patty Bode Tufts University with The School of the Museum of Fine Arts, Boston [email_address] Hurricane Katrina and The Influence of Mass Media
  3. 3. Hurricane Katrina and The Influence of Mass Media <ul><li>Finding a lens </li></ul><ul><li>Responding in teaching, learning and artmaking </li></ul><ul><li>Reflecting/reimaging/reimagining </li></ul>
  4. 4. Multiple Identities Multiple Contexts Multiple Identities Multiple Contexts Multiple Identities Multiple Contexts Multiple Identities Multiple Contexts Redefining/Reconceptualizing Multicultural Art Education
  5. 5. 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.
  6. 6. Who COUNTS? What does it mean to be American ? What does it mean to participate in a democratic society?
  7. 8. <ul><li>What counts as ART? </li></ul><ul><li>Who counts as ARTISTS? </li></ul><ul><li>What counts as KNOWLEDGE? </li></ul>
  8. 9. James Banks Dimensions of Multicultural Education <ul><li>Content Integration </li></ul><ul><li>Knowledge Construction </li></ul><ul><li>Prejudice Reduction </li></ul><ul><li>Equity Pedagogy </li></ul><ul><li>Empowering School Culture </li></ul>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.
  9. 10. Contributions Approach Additive Approach Transformation Approach Social Action Approach James Banks 4 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.
  10. 11. Sonia Nieto’s Definition of Multicultural Education <ul><li>Multicultural Education is antiracist education . </li></ul><ul><li>Multicultural Education is basic education. </li></ul><ul><li>Multicultural Education is important for all students. </li></ul><ul><li>Multicultural Education is pervasive. </li></ul><ul><li>Multicultural Education is education for social justice. </li></ul><ul><li>Multicultural Education is a process . </li></ul><ul><li>Multicultural Education is critical pedagogy. </li></ul>Sonia Nieto and Patty Bode (2008) Affirming Diversity: The Sociopolitical Context of Multicultural Education, 5t h ed. Boston/NY: Allyn & Bacon/Longman.
  11. 12. Multiculturalism as a Quality of Postmodernism <ul><li>Fehr (1997) </li></ul><ul><li>Efland (1996) </li></ul><ul><li>Freedman (1996, 2003) </li></ul><ul><li>Clark (1996) </li></ul><ul><li>Gude (2003) </li></ul><ul><li>Emery (2003) </li></ul><ul><li>Neperud (1995) </li></ul><ul><li>Stuhr (1991, 1996, 2000, 2004) </li></ul>
  13. 14. Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art By 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 culture is 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)
  14. 15. Paul Duncum (2001, 2002, 2003) defines Visual Culture Art Education (VCAE) <ul><li>art making and critique is symbiotic </li></ul><ul><li>a new paradigm </li></ul><ul><li>profoundly historical </li></ul><ul><li>cross cultural </li></ul><ul><li>values both aesthetic and social issues </li></ul><ul><li>is as natural as any other study of culture </li></ul><ul><li>will emerge incrementally </li></ul>Visual Culture Art Education
  15. 16. Visual Culture Critical Theory, Critical Literacy Multicultural Education Critical Art History Detractors of Multicultural Education Art Historical Canon Formalism IMPLICATIONS FOR ART TEACHER PREPARATION and CLASSROOM PRACTICE Postmodern Theory My voices: Artist, Teacher Researcher Qual Method ABER Collages Voices of Art Teachers Voices of art students
  16. 17. Intersection of Multicultural Education and Postmodernism as a site of strength in visual culture praxis
  17. 18. <ul><li>Olivia Gude </li></ul><ul><li>Postmodern Principles </li></ul><ul><li>A ppropriation </li></ul><ul><li>Juxtaposition </li></ul><ul><li>Recontextualization </li></ul><ul><li>Layering </li></ul><ul><li>Interaction of text and image </li></ul><ul><li>Hybridity </li></ul><ul><li>Gazing </li></ul><ul><li>Representin’ </li></ul><ul><li>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. </li></ul><ul><li>Gude, O. (2004). Postmodern Principles: In Search of a 21st Century Art Education. Art Education, 57 (1). </li></ul>
  18. 19. Steps in organizing and teaching visual culture B. Stephen Carpenter, David Burton, Marjorie Cohee, William Wightman (2003) <ul><li>Environment Recognition </li></ul><ul><li>Issue Orientation </li></ul><ul><li>Empowerment </li></ul><ul><li>Interpretive and Functional Skills </li></ul>
  19. 20. So how does it work in the art room?
  20. 21. <ul><li>Hurricane Katrina: </li></ul><ul><li>Social injustice </li></ul><ul><li>Environmental concerns </li></ul><ul><li>Community change </li></ul><ul><li>-Freedman, 2003 </li></ul>so-called “natural disaster”
  21. 22. Mass media presents us with images that shape our world view and the world’s view of us. Enduring Understanding Beyond Hurricane Katrina for 7th graders
  22. 28. 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? _________________________
  23. 30. Negotiating community texts
  24. 32. Creating and co-constructing community discourse Sharing, reproducing, recycling and appropriating images Raven “post-iting” her choices
  25. 33. “ 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
  26. 35. The influences on the character of Postmodern Art Pedagogy <ul><li>Lyotard (1984) loss of faith in grand or meta–narrative of history, portraying humanity as being progressively involved in steady march toward greater enlightenment. </li></ul><ul><li>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. </li></ul><ul><li>Derrida (1976) cultural and art criticism which he calls deconstruction. Shedding light on oppositions within cultural forms. No interpretation is privileged as truth. </li></ul><ul><li>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) </li></ul>, K., Stuhr, P. (1996) <ul><li>Bourdieu, P. (1984, 1999) education is reproductive, practices in an </li></ul><ul><li>intellectual field lead to thinking and acting in ways consistent with the education </li></ul><ul><li>in the field. Understanding of art too linear .(Freedman, 2003) </li></ul>
  27. 36. “ Ms. Bode, I’d like you to meet Zachary. He just moved here from New Orleans…”
  28. 38. Raven Casey Sasha What are we going to do with all these pictures, Miz?
  29. 39. Contemporary experiences Contemporary images Contemporary artists
  30. 40. Juan Sanchez, 1989 Ricanstructions
  31. 42. Robert Rauschenberg
  32. 43. Robert Rauschenberg
  33. 44. Jaune Quick-to-See Smith
  34. 45. Jaune Quick-to-See Smith
  35. 48. Student work and Student voice From mass media to mixed media
  36. 51. Adalberto Casey & Sasha
  37. 52. Brianna
  38. 53. Molly
  39. 54. Elad
  40. 55. Celia I see fear and I don’t see hope. What it means is we can give hope.
  41. 56. Marisa
  42. 57. Kyle I see people in despair and I see people helping.
  43. 58. Close-up: Kyle
  44. 59. Close-up: Kyle
  45. 60. Zoe
  46. 61. 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.
  47. 62. Close-up: Zoe
  48. 63. Jana: You don’t see why the levees were not fixed earlier
  49. 64. Close-up Jana
  50. 65. Close-up Jana
  51. 66. Close-up Jana
  52. 67. Ho-Ann I don’t know the words. Can I use these words?
  53. 68. From mixed media to multi-media
  54. 69. Becoming producers of mass media
  55. 73. Marco
  56. 74. Marco
  57. 75. Marco
  58. 76. Bridget
  59. 77. Bridget
  60. 78. Bridget
  61. 79. Simone
  62. 80. Simone
  63. 81. Dominic
  64. 82. Dominic
  65. 83. Dominic
  66. 84. Jackie
  67. 85. Jackie
  68. 86. Tafadzwa
  69. 87. Tafadzwa
  70. 88. <ul><li>Curriculum under constant construction </li></ul><ul><li>Displaying art work in a group exhibit </li></ul><ul><li>Widening the community discourse </li></ul><ul><li>Encircling insiders and outsiders </li></ul><ul><li>Community participation </li></ul>humanitarian aid social justice activism
  71. 89. Post Katrina years and counting:
  72. 90. The Vestiges Project Founded in 1984 Participants Andrei Codrescu, Jan Gilbert, Debra Howell, Richard Katrovas, Carolyn Maisel, Kristen Struebing-Beazley
  73. 91. The Deluge Malcom McClay
  74. 92. Wendell Pierce, left, and J. Kyle Manzay rehearsing Paul Chan’s production of “Waiting for Godot,” set in the Gentilly neighborhood of New Orleans .
  75. 93. Kara Walker After the Deluge NY:Rizzoli. 2007
  76. 95. I nsurrection! (Our Tools Were Rudimentary, Yet We Pressed On) 2002. Installation view at the Solomon R. Guggenheim Museum, New York Projection, cut paper and adhesive on wall, 12 x 74 1/2 feet
  77. 96. Joseph Mallord William Turner “Slave Ship” 1840
  78. 97. Winslow Homer, Dressing for the Carnival, 1877
  79. 98. Kara Walker N egress Notes . 1996 Watercolor, ink and pencil on paper. 9 x 6 inches