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Critical Aesthetic Pedagogy2012
This document discusses using art as a portal for critical aesthetic pedagogy and empowerment. It provides examples of how art can be used to expose oppression and privilege, and empower students to enable social justice. Specific art forms that could be used as portals include myths, fine arts, performing arts, poetry, and various participatory art activities. The document also discusses Theatre of the Oppressed techniques like image theater, forum theater, and invisible theater.
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Critical Aesthetic Pedagogy2012
- 1. Aesthetic Pedagogy Kurt Love, Ph.D. Central Connecticut State University
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- 3. “Rickshaw” Banksy Modern Day Globalization Racism Classism Slavery “Othering” Modernity First World & Colonization “Third World” Tourism & Business Exploitation Mindsets Relationships with Global Consumerism
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- 5. Critical Aesthetic Pedagogy& Empowerment By exposing students to participatory encounters with artworks that possess certain qualities that encourage the sharing of experiences and the recognition of common sources of oppression, educators can create a sense of empowerment that will prepare students to enable social justice. (Medina, 2006) Students can explore oppressions, privilege, relationships & tensions that exist in community so that they can be empowered to create change.
- 6. Art as a“Portal” The “Portal” Art serves as a medium for deeper analysis Art asks us to make deeper connections about ourselves
- 7. Art as aPortal At the very least, participatory involvement with the many forms of art can enable us to see more in our experience, to hear more on normally unheard frequencies, to become conscious of what daily routines have obscured, what habit and convention have suppressed. (Greene, 1995, p. 123) 1917 -
- 8. Art as aPortal Into Self, Soul & Society Many nature-based cultures have no word for art or artist because producing what we call art is simply part of being human. True art has nothing to do with impressing or entertaining others with pleasant or stunning creations; it’s about carrying what is hidden in the soul as a gift to others. However we embody our souls in the world, that is our art. Soul expression...(Plotkin, 2003, p. 191)
- 9. Using Art asa Teaching Method Steps: What do you see? What relationships exist among the elements of the artwork? What do you think it means?
- 10. Various Portals Myths Fine Arts PerformingArts Poetry
- 11. Art as Myth Mythsare oral art, as opposed to visual art “A myth is, in a sense, the very truest of stories, a story that reveals universal qualities of that human condition, of the world, and the deeper meanings and possibilities of our lives.” (Plotkin, 2003, p. 204) Myths contain “layers upon layers of significance, like bands of rock in a canyon wall, each stratum holding and hiding untold treasures and mysteries. We become aware of the different layers only as we develop spiritually.” (Plotkin, 2003, p. 205)
- 12. Art as Myth Mythsare “stories” acting as banks that store cultural values, origins of thinking, rituals, and traditions that might otherwise be lost. Connection to ecojustice pedagogy because of how myths can help to question dominant and privileged mindsets. http://prezi.com/lsncossgvb3c/nine-worlds/
- 13. Using Fine Artas a Portal “War By Numbers” Shepard Fairey
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- 21. “Starry Night” Van Gogh
- 22. “Girl Before aMirror” Picasso
- 23. “Girl Before aMirror” Picasso Long hours she sat looking in the mirror, trying to discover the secret of the ugliness, the ugliness that made her ignored or despised at school, by teachers and classmates alike. Bluest Eye by Toni Morrison
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- 25. “Trash People” HA Schult
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- 27. “Tree of Hope” Frida Kahlo
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- 30. GRAFFITI WALLS &STREET ART
- 31. GRAFFITI WALLS &STREET ART
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- 34. PERFORMING ARTS AS TEACHINGMETHODS
- 35. THEATRE OF THEOPPRESSED Image Theatre, Forum Theater, Newspaper Theater, Rainbow of Desire, Historical Theater, Invisible Theater
- 36. THEATRE OF THEOPPRESSED: IMAGE THEATER • Frozen image, no sound • “Spectactors” analyze what they see and provide their interpretations • Mime adds movement with no sound • Rainbow of Desire: Spectactors provide words for the actors that might explain their thinking
- 37. THEATRE OF THEOPPRESSED: NEWSPAPER THEATER • Reenacting a situation that was reported in the newspaper • Purpose is to understand the injustice and to work with it in a safe way to promote understanding, compassion, and possible actions/ decisions that might work
- 38. THEATRE OF THEOPPRESSED: FORUM THEATER • Story is one that is born out of a real community issue • Forum Theater is “rehearsal for life” • Scenes must be accurate depictions of an injustice in community. Spectactors can stop the scene if something seems exaggerated or unreal. • Spectactors yell “FREEZE” when they see an injustice and replace the protagonist in order to see if s/he can stop the antagonist’s actions. • A “joker” (teacher) asks questions of the spectactors
- 39. THEATRE OF THEOPPRESSED: INVISIBLE THEATER • Actors do something in community, but are not initially seen as actors. • Purpose is to raise awareness of how we respond to injustice when it happens right in front of us • http://www.youtube.com/watch?v=Dvzj8wyZ9PI Augusto Boal 1931-2009
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- 41. CREATE AND PERFORMPLAYS THAT RESHAPE STORIES
- 42. USE PUPPETS FORPERFORMANCE
- 43. USE MASKS ASWAYS TO REVEAL HIDDEN THOUGHT & EMOTION
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- 46. REFERENCES Greene, M. (1995).Releasing the imagination. San Francisco: Jossey-Bass. Medina, Y. (2006). Critical aesthetic pedagogy: Toward a theory of self and social understanding. Unpublished Dissertation, University of North Carolina at Greensboro, Greenboro, NC. Plotkin, B. (2003). Soulcraft: Crossing into the mysteries of nature and psyche. Novato, CA: New World Library.