Hello and welcome!
First of all, please excuse the strange paragraph alignments in this posting. I will have new laptop later this week; I assume this will resolve the problems. In the meantime, we will start the semester with
three articles about major figures in Critical Pedagogy. These articles, which
can be found at the top of the side bar on the right side of your screen, are
short introductions to the work of three influential people in the development
of Critical Pedagogy - Lev Vygotsky, Paulo Freire and bell hooks. Freire is
usually considered the founding figure of the field, but Vygotsky's ideas paved
the way. bell hooks is important because she adapted Freirean ideas to feminism
and critical race theory. There are other major thinkers in Critical Pedagogy -
Henry Giroux, Peter McLaren and Joe Kincheloe, for example, but I felt
their work might be too academic for our first reading of the semester. If
you would like to read about these educational theorists, the link at the
bottom of each article will take you to my source material.
I've written one question for each article. You may or may not find
these questions very challenging. If you find them impossible,
please don't panic. Just send me an email, let me know how you're feeling and
we'll work something out. I won't think any less of you, I promise.
Before we're halfway through the
semester, you will look back at these articles and wonder why you were
baffled. I am 100% sure of this. Therefore, you have no need to panic or
feel intimidated by big academic words. When you encounter a word you've never
seen or heard before, just look it up. Most big academic words are just
important-sounding terms for familiar concepts. For example,
"positionality" can be translated into ordinary English as meaning
"your opinion about something". "Patriarchy" and
"patriarchal" mean "dominated by males" - which in real
terms means women represent 70% of the world's poor, although in almost every
country women work longer hours than men. Worldwide, the wage gap between men
and women is 17% and women own 1% of the land. In the United States, the
wage gap is 24%. And so on.
Below please find the questions for the readings. I expect
you to write at least one full paragraph for each question.
Article #1: Lev
Vygotsky
Is Vygotsky’s understanding of the role of
artifacts and sign systems in cognitive development relevant to art education?
Explain why you think it is or is not, quoting the text of the article to back
up your answer. You may also use examples from personal experience.
Article #2: Paulo Freire
The article about Paulo Freire contains the following
passage-
"The transformation of social conditions
involves a rethinking of the world as a particular world, capable of being
changed. But the reframing proposed here depends upon the power of the
imagination to see outside, beyond, and against what is. More than a cognitive
or emotional potential, the human imagination, in Freire's view, is capable of
a radical and productive envisioning that exceeds the limits of the given. It
is in this capacity that everyone's humanity consists, and for this reason it
can never be the gift of the teacher to the student. Rather, educator-student
and student-educator work together to mobilize the imagination in the service
of creating a vision of a new society."
In
another part of the article, the author describes a Freirean educational tool
that involves making visual images. What is this educational tool, and how
might art teachers use it to “mobilize the imagination in the service of
creating a vision of a new society”? Think of an artwork, art project or
teaching strategy (real or imagined) that would reflect these principles of
this philosophy.
Article #3: bell hooks
Name at
least one way in which schools produce knowledge in ways that undermine
American claims to democracy. If you don’t think schools have policies or
engage in practices that undermine American claims to democracy, explain your
position. If you think they do, or if you’re not sure, answer the following
questions – Do you think art can help young people develop a global
perspective? Do you think art can help students learn to see themselves as
others see them? What kind of art project could move students toward greater
self-awareness and critical consciousness? (use your imagination!)
Once again, I realize that some of you may find the readings and
the questions challenging. Keep in mind that it's good to feel challenged, even
if make us a little uncomfortable. Use the anxiety to push ahead fearlessly.
Don't be afraid of the unfamiliar words. Not knowing what they mean does not
make you stupid. Everybody has to crack open a dictionary now and then. The
Surgeon General says it's good for you!
Let me know if you have questions.
There is no such thing as a stupid question. Email me if you don't want to post
your question on the blog.
Thank you ~~ and happy reading!
carolyn/Dr. Erler
Gail, Your response to this assignment showed up in my gmail, but I can't find it here on the blog. Could you repost it in the area at the bottom of screen where it says "Post a Comment" so everyone can read it? I know this blog site is new and will take time to get used to. It's also a possibility that the blog malfunctioned. At any rate,I appreciate your response to the questions and look forward to reading what others have to say. Thanks!
ReplyDeleteAll, I am trying to determine why your responses are coming to my gmail account but not showing up here. Stephen just posted a great response - thanks Steve!
ReplyDeleteI changed some of the settings - hopefully that will solve the problem. In the meantime, I'll cut & paste Gail and Stephen's comments so everyone can read them.
ReplyDeleteGail's comment #1 Lev Vygotsky - Is Vygotsky’s understanding of the role of artifacts and sign systems in cognitive development relevant to art education?
ReplyDeleteIt's almost hard to believe that anyone would argue with Vygotsky's point of view that cultural context shapes learning. To answer the direct question; Yes, the understanding of the role of artifacts and sign systems is important in cognitive development relevant to art education. What we learn, and how we learn it is dependent upon the tools available to us.
"And which tools are available to us is contingent on our social
context. Thus, he argued, it is especially through our tools that
cognition is socially mediated."
In art education, which paves the way for the understanding of STEM, the ability to learn through use of appropriate tools, techniques, vocabulary, and experiences is integral to all teaching practices. The exposure to new terms, tools, etc. as well as exposure to new ways of envisioning and thinking broadens the students mind, and thus enriches their learning experience.
Vygotsky's concept is especially potent when applied to school districts with less economic standing. Traditionally, economically challenged regions generally translate to less cultural exposure and access to the arts.
I hope that I am on point, and not full of crap!
You are indeed on point, Gail!
DeleteGail's comment #2 - - Bell Hooks -
ReplyDeleteOne way in which schools produce knowledge that undermines American claims to democracy is the unwillingness to add international cultural practices and perspectives to the general curriculum as well as the art curricula. An example of this is the almost myopic study of Texas history in 4th and 7th grades. From a regional cultural perspective, this information is necessary to cover, but the virtual exclusionary focus on this topic for two full years, excludes the inclusion of other, more relevant historical topics that might enable deeper perspectives and broader acceptance of others: e.g. history of the suffrage movement, global slave trade, immigration history, etc.
Art can help young people develop a global perspective by exposing them to the various art forms, techniques, and art products being made by their peers in other countries. When you "walk in someone else's shoes" you gain a new perspective on their experiences and motivations. This leads to a broader understanding of others, breeding more tolerance and understanding. When you endeavor to know others better, you gain a better insight into your own situation.
An art project that could move students toward greater self-awareness and critical consciousness might be to ask students to create a modern project using a technique practiced by an ancient peoples. Or maybe utilize a modern technique and appropriate (responsibly) another cultures symbols, language, or styles.
Gail, I understand your consternation about the changes in the Texas social studies curriculum. You are right that teachers of art and other subjects have to devise ways to round out the curriculum on their own. Luckily, art teachers have greater maneuverability in schools, more leeway to insert socially relevant material into their lessons. Still, it's not the best solution. Most art teachers are not prepared to teach socially relevant issues through art.
DeleteI hope that didn't sound too negative! I should have added that the reason why most art teachers aren't prepared to teach anything other than traditional 2D and 3D skills is because university programs train them that way. But like you, I believe the most powerful learning experiences come from walking in another person's shoes. If we can find a way to pass the gift of empathy on to our students, then we have done our job.
DeleteStephen's comment - -
ReplyDeleteVygotsky
#1. Artifacts and sign systems are relevant to art education. Art has been a medium for communication since the beginning of man. It a process used to tell a story or invoke an emotion. As a sign system, art may convey more than just words or language, as well as engage the viewers in some sort of dialogue. Viewing art as a sign of artifact encourages cognitive activity, more so than one who has no visual aid. The ability to discuss an idea and then put that idea into something visual, whether it is stimulating or not helps learning in a social context. This form of expression is one that can help expand or just enhance an element of cognitive activity, which would help learning.
From personal experience being a visual learner my cognitive development was very different than my brother whom had to write and read everything. But he and I went to different schools. My brother was not offered art classes, therefore leaving me to conclude that since he was denied art in a social context, he would have a slightly altered cognitive development. I am then able to say that both he and I have different Zones of Proximal Development. Vygotsky explains ZPD as a representation of a, “social context that shapes the range of potential each student has for learning.” Based on that concept I had one more resource therefore would have a higher potential for learning.
#2. Paulo Freire presents many great theories and concepts that have changes the view of critical pedagogy. Freire describes an educational tool that involves the making visual images. This tool or concept is called a “cultural circle”, and calls for an open discussion of themes. Themes “which are related to nature, culture, work, and relationships, are discovered through the cooperative research of educators and students.” This is an essential tool to helping cognitive prosperity in a student. It allows an open discussion for student to interact with one another and interpret their own ideas, with out being guided by the instructor.
As a studio art undergraduate, the privilege to present my visual representation of something to my peers was exciting. Allowing others to critically analyze art for themselves and respond accordingly. This social interaction of the “critique” allows students to engage in a dialogue with out too much input or instruction of the teacher. Art teachers use this tool to “mobilize the imagination in the service of creating a vision of a new society.” The concept of an open dialogical critique is a basic principle that supports Freire philosophy.
#3 Art is something I believe is required for people to gain a more clear conception of global perspective. Without the ability to review something visually and being able to pass your own judgment is a key factor in cognitive development. It gives ones the ability to view someone else’s perspective through visual representation. It is in this theory that students have an opportunity to show peers and colleagues their true selves. Art allows students to receive feedback in an open dialogue, which in turn allows a reflection into which their true selves are. Projects such as collaborations and group effort in a process help students gain a great self-awareness and critical consciousness, because it allows for immediate feedback. Which offers, in turn, immediate internal perspective to be interpreted freely.
Yes! Art is a sign system. Learning this sign system gives one an advantage, an enhanced and expanded ZPD. It is one of many sign systems - most people don't learn them all, and everyone learns them unevenly. For example, few people find math, art, chemistry and Latin equally enjoyable and fun to learn. Our brains shut down on some sign systems and open up to others. As art teachers, we really need to be there for learners whose minds open up to the language of art (I think the sign system opens the mind - not the other way around) but struggle with math and verbal/literary language.
DeleteThis comment has been removed by the author.
ReplyDeleteArticle #1 Lev Vygotsky
ReplyDeleteVygotsky believed that cognitive development is dependent on the presence of “artifacts” external to the individual. I can’t imagine how anyone could logically disagree with this. Both the presence of concrete tools such as computers, books, and art supplies and the use of a sign system or language at a higher level of vocabulary and discourse in the home lead to the development of higher cognitive skills. Students from affluent homes come to school more able to be successful in the right brain skills measured in public school as proof of their intelligence and achievement. Each fall, I meet new art I students who have rarely, if ever, attempted to draw or paint. They do not have art supplies at home and have never even considered buying them. Their poverty prevents buying anything other than necessities - or directs any frivolous spending to more obvious cultural symbols of prestige among their peers, such as name brand tee shirts and athletic shoes. Many still do not have computers at home. They have no vocabulary of art other than pretty and ugly and do not have any experience with critical discourse. And yet, many of these students have immense talent! As art teachers, we have the opportunity to broaden their zones of proximal development (ZPD) by exposing them to fine art, using the vocabulary of art, and providing access to electronic media and art supplies which allow them to discover and develop their talent. Through this development, they become more confident, competent and able to achieve success in other areas as well. They become aware of their own agency.
Although we witness this process in our students, as an adult learner, I particularly appreciated the following sentence.
Vygotsky saw cognitive development as anything but systematic as individuals depending on their ZPDs and social encounters experienced uneven cognitive growth characterized by potholes in the road, setbacks, drastic changes, and unexpected epiphanies.
It is one of the best things about being a teacher to watch the transformation of a student through those unexpected epiphanies.
Jennifer, I like that passage about potholes, setbacks, drastic changes, etc. too. It means anyone can encounter an obstacle or an opportunity at any time, and these encounters have the power change us. The current director of the TTU School of Art never stepped foot in an art museum until she was in her 20s. Before then, she'd had little exposure to art. This is an affirmation of your statement, "yet many of these students have immense talent!" The tone we set in our classrooms is very important, because as you said, most kids - and most adults - don't know anything about art. Sometimes they think art isn't important because it's not on The Test. Kids receive signals from home, school and public spaces that art isn't very important. Who can blame them for getting the wrong idea? As art teachers, we have to prove that art can be fun, interesting, empowering and challenging - that art serves an important role in society and can have a big impact on their lives. We may be the only person in their lives who feels this way. Yet it's completely possible that a student who seems totally disinterested could suddenly come to life in the process of working on a well-designed art project. You are right, Jennifer - one of the best things about being a teacher is watching the transformation of a student through those unexpected epiphanies!
DeleteArticle #2 Paulo Freire
ReplyDeletePaolo Freire proposes a dialogue between educator and students in a group that he calls the “culture circle.” In this group students and coordinator discuss themes that have significance in the students’ lives. They express the contradictions that confront the students in their world and develop visual representations for the identified situations.
An open minded and caring art teacher might engage in this type of dialogue through the examination of social and political issues as depicted in works of art at various points in history. This could work well in aligning curriculum with the social studies department. I believe that this type of discussion presupposes mature thinkers who are able to self examine and who have a strong degree of trust in and respect for each other.
As a group students could brainstorm the major problems they personally face. Perhaps a more positive outcome might be achieved by posing the question in a positive tone such as, ”If you could do something great - no limits- to make life better for your self…your family…. your community …what might you do?” They could then develop visual representations for each and create a mural depicting their ideas for solutions. Perhaps their discussion might lead to research in topics of personal interest and greater personal knowledge, deeper thought and creativity in proposing solutions. A more personal project might be to develop a personal socio-political poster depicting their idea. Who knows - they could identify a need, develop a solution, apply for a grant, hold a fundraiser - make an impact!
It is interesting that the work of a man who believed in accessing the limitless imagination is said to reject idealism and voluntarism. I’m not sure I understand that… I found his Marxist ideas such a product of the places and events of the first half of his life - of his ZPD. I wonder if his ideas changed through observation of world events and participation in his own process by the end of his life.
I think in this context, the terms idealism and volunteerism refer to a social vision that might equate roughly with contemporary American libertarianism. Freire is less concerned with the rights of the individual than he is with the rights of large groups of people who may or may not mobilize for social change. Movements - say, the American Civil Rights movement - pull idealistic volunteers into their cause, but the focus is less on the individual than on the group itself and its vision of social change.
DeleteThe Freirean educational tool that art teachers might use it to “mobilize the imagination in the service of creating a vision of a new society” is the Culture Circle. Since I work with adults, I might design a project that asks students to imagine and communicate how they WOULD LIKE to feel about their job or career. My students would then create their works using a specific medium to express this emotion. As a group we’d participate in ongoing discussion and critique during the process of development and execution of these pieces. This discussion would inform and likely change each students direction and outcome as they come to understand their thoughts, feelings, and emotions about their current situations. Though out this process my role would be to facilitate and help each student communicate their true hopes for themselves, avoiding the pitfall of portraying how they think others may want them to feel. Since we’d be concentrating on a specific medium, my additional role would be to guide them through successful translation of ideas using the materials, beneficial techniques for execution, and effective design practice.
ReplyDeleteGail, You may have interpreted Freire's ideas in a way that pertains more to achieving personal therapeutic goals. This wouldn't necessarily be a misuse of Freirean techniques - as long as you understand the difference between personal growth and social transformation. One could make the case that a change of perspective on job and career could potentially transform society. Freire's strategy was to start with small groups with the goal of empowering the most oppressed members of a society with the tools (literacy, for example) to challenge the existing order.
DeleteArticle #3 bell hooks
ReplyDeleteAlthough it is a broad generalization to say that schools produce knowledge in ways that undermine American claims to democracy, it would also be painting with a broad brush to say that they do not. Although the number of minorities and women in administration has increased, the very organization of our public schools is still patriarchal in nature. But that is not to say that there are not schools that are doing a marvelous job with providing an emancipated education. It is dependent on the teacher, autonomous in her classroom, to first educate herself and to go beyond the textbook and the walls (both real and social} and develop a global perspective.
That’s why I teach ART! Yes, a study of art can help students develop a global perspective. With the availability of the Internet, students can talk to people their own age in countries around the world, find out what they study, what they are interested in, and what they think of us. They can look at life in other countries and compare it to their own. They can see current art created all over the world.
Project: Develop a relationship with a high school art class in another country and communicate! Do the same project, share images and critique.
Good response, Jennifer. I like that you begin with warning about "broad stroke" approaches to social problems, as nothing is ever that simple. Life, I'm afraid, is so complicated that anyone who claims to know what's going on is bound to be wrong. There are useful ideas, however, that help us through the thicket. You wisely qualify your own ideas with a sort of "this is what works for me" tone. Yes, there are schools and teachers who do marvelous things. I like to watch the PBS Newshour because every few weeks they devote a segment on schools and education, with added material (and sometimes curriculum materials) on their website. The level of innovation is very promising. People are definitely trying new strategies. Your lesson plan idea is right on. Art teachers who have implemented curriculum units based on networking with students in other countries, other states, or other institutions (such as JJ centers, hospitals, or schools on "the other side of the tracks" - whatever side your school is on) within one's own state or city have earned high praise from the Art Ed professional community. Thank you for your contribution to this conversation!
DeleteSorry for the late response...I thought I had typed everything out the other night, but it didn't publish! Probably internet issues at school!!
ReplyDeleteQuestion1:
Vygotsky’s research on the role of artifacts and sign systems in cognitive development is relevant to art education in a number of ways. From my own experience as an art teacher I have come across many times where I have noticed this to be true. For example, last year one of my Art I classes had to analyze an art piece. One of the elements we were discussing was the color red. Most of my students made the link of red to a negative emotion, but one brought up the possibility of it being a symbol of communism. I can remember asking the student to explain to the class how he got to the answer and he mentioned that he had read up on the history himself after learning it from his favorite history teacher. Vygotsky’s research explains that “how we learn is always dependent on the artifacts or tools available”. In this case, the artifacts could be the teacher and his access to facilities (internet, library, etc.) for the research.
Another example of how Vygotsky’s research can be valid in art education could be in the communication in art analysis. In a case where a student has reached “higher mental functions” through the “mediation of language” he/she would be able to successfully communicate their analysis verbally or in writing. Someone who has not achieved a high level of language may have a harder time communicating their analysis (despite the fact that the mind is analyzing the artwork in the same way as the first student).
Question 2:
The Freirean education tool that involves using visual images to promote a vision of a new society is the culture circle. To me, the culture circle is similar to a teaching strategy we use for “at-risk” students called the Socratic Seminar. Normally, a teacher or student would bring up a prompt and the circle of students would begin discussion on the topic. An idea that I thought of while reading this article was using the public art in my school’s neighborhood done by a mural organization. This organization is dedicated to beautifying the westside using themes that are relevant to the culture of that part of San Antonio. Possibly by giving the students a mural tour or a presentation on these images, they will be able to see these problems as situations that others (as well as themselves) are in and analyze ways to change the world they are in.
Question 3:
I feel that one way the school system undermines American claims to democracy is the fact that teachers are required to follow curriculum guides set by the school districts. Despite that fact, I believe that art will always help students develop global perspectives because of the freedom of subject matter
Ana, agreet that one of the greatest aspects of teaching Art is the freedom we are afforded with regards to what and how we teach. Its that flexability that allows us to bring stuff like this into our classroom and easily tie it to our content.
DeleteI think your mural tour as a spring board to discussion is an awesome idea! I take small groups of students to Dallas every year and the discusions we have in museums and galleries are amazing. I think kids open up alot more to expressing their opinion onces outside the classroom structure.
Ana, No worries about the lateness of your response this week. I realize the blog format takes some getting used to and wacky stuff always happens the first week of class. It's to be expected. Your response to question #1 contains an excellent example of Vygotsky's concept of artifacts. Even though we don't usually think of people (like teachers) as "artifacts," in fact they could be said to function that way in the broad sense implied by Vygotsky's theory. The knowledge, learning materials and instructional methods teachers offer their students are meant to be used, like tools, to build upon an existing foundation of knowledge. Each teacher, even the ones we don't like, adds something to our knowledge base. Sometimes our most influential teachers aren't teachers by profession. They are mothers, neighbors, pastors, community leaders, authors, musicians and artists. In a very real sense all of these people are tools that we use to gain knowledge of the world, for better and sometimes for worse. In your response to the Freire reading, I think you caught the spirit of his approach to teaching - his idea of what teaching is really all about. Your idea of involving students in cooperative public art projects like community murals comes very close to the Freirean ideal. The only thing I would add is that neighborhood murals are very often about more than beautification. Many murals tell the story of a people's cultural heritage, including their struggles for justice and popular heroes past and present. An example of this kind of work in the Mexican American tradition can be found on the website, Brownpride - http://www.brownpride.com/murals/murals.asp?a=texas/index - Many fine examples exist in San Antonio, so you have a treasure trove to work with. Your response to Question #3 expressed sentiments and concerns shared by many educators in the U.S. (some of whom are in this class). Wherever teachers are required by law to teach a state-mandated curriculum, whether the state in question is Cuba, Ireland or Texas, there is always an unstated political objective that is not overtly addressed to the student or teacher. What I am calling a political objective could also be called social conditioning. It has to do with the prevailing power structure's* (*consisting of elected officials, unelected officials, selected experts, industry lobbyists, etc.) idea of what constitutes a good citizen - compliant or critical, passive or active, partially or fully informed. In the US, curriculum is also a reflection of what the majority will allow. Those who do not agree with the unstated political objective of the state-mandated curriculum have to either tolerate it or send their kids to a different kind of school. Obviously in the US the latter option isn't a viable alternative for everyone, since public schools are free and provide transportation. Please know that I do not expect you to agree with everything I say. I may be the instructor, but I am not the only experienced educator in this class. Some of my opinions may strike you as extreme. However, I understand and respect that ALL of us have valuable insights to share, and I expect everyone to share their perspectives on various issues. So please don't be afraid to speak up! This means everyone!
ReplyDeleteLev Vygotsky: ZPD’s & Critical Psychology
ReplyDeleteVygotsky’s concepts of an individual’s social upbringing and cultural influences direct relationship on an individual’s cognitive development strikes at the heart of the nature vs. nurture argument in education. While most in the educational and academic fields have accepted Vygotsky’s model of “nurture” over predestined biological and genetic propensity for academic success, one must take a look at the argument for arguments sake in order to fully understand the implications of these concepts, specifically the idea of ZPD.
Since few in western educational circles would argue for the nature side, the question really becomes how to implement practices that utilize Vygotsky’s concepts to better identify with learners of different backgrounds or ZPD. For our purposes how can we take what Vygotsky says about these Zones of Proximal Development and apply them to Art education, focusing on his concepts of artifact as facilitator? More importantly how can we, as Art Educators, use Vygotsky’s concepts to better understand our students as individuals?
Vygotsky argues that individual’s cognitive development and abilities must be examined in the frame and context of their social, cultural, and I would argue to some extent socio-economic background. He goes on to say that artifacts or tools have and equally important role in an individual’s cognitive development, especially the artifacts he classifies as sign systems.
“In cognitive activity, Vygotsky noted, the most important tools tend to be sign systems—for example, language, numbers, writing, images, and so on. When humans learn and internalize such sign systems, cognitive and behavioral change is facilitated. A key aspect of a modern ZPD involves an individual’s access to such sign systems and to individuals who adeptly model their usage.”
So how can we incorporate students past into the present Art work in a classroom environment? I regularly encourage students to reflect on their own personal past as well as present interest and attributes they see in themselves and bring what they find into their art work. This act of self-reflection and self-visualization can help students identify the things they are proud of as well as realizing they are flawed. Identifying ones flaws is a powerful tool for self-improvement and facilitates dialogue between peers and instructors, which is a vital part of mutual understanding and respect.
We can expand on this by focusing on these “Artifacts” for subjects of studio production. Creating work that directly or indirectly references one’s personal history via phrases that were common place in their childhood memories of family, objects that hold personal or cultural significance, or even dates of major events in one’s life can become spring boards for ideas and topics of self-reflection and discovery. In doing so the instructor and all who are exposed to said pieces will gain a greater understanding of the diversity of experience within their own community.
Daniel, I agree with you wholeheartedly that students benefit from focusing on their own personal histories, as this is necessary to gain a clear idea of where they are going or might go. I would add that it's just as important to become cognizant of family history - "family" as defined by the student her/himself. Where did we come from, how did we get here, where can we go from here? What paths were taken by previous generations? What sacrifices were made, what battles were fought so that I might have more choices, more freedoms, and perhaps a better life?
DeleteIn my own teaching, I have found this to be fruitful ground for arts-based inquiry and artistic production. It's especially important because (in my experience) many students of Anglo/European descent are unaware of their own ethnicity. It's a great opportunity to help them see that "white" is a color too. White isn't the absence of ethnicity or color, and it certainly isn't the norm - not on a global scale, not even in the western hemisphere. It is not the center point from which all other ethnicities diverge, but one point among many in a huge pantheon of interconnected ethnicities and colors. I bet students would find this a pretty cool thought.
Once a person has identified a family history - which doesn't necessary have to be a bloodline history - it becomes possible to see the self in relation to time, space and place. Time isn't an eternal present or a chronology that began with the birth of ones own self. It's so exciting to see the transformation - the sense of time and place opening slowing or suddenly onto an expansive space with great depth of field! History can be both personal and collective at the same time! The individual is released from the unidirectional flow of time and becomes a time-traveler! Time itself is spread out, distributed across many, many lives stretching out in all directions to infinity like the stars in the sky!
Whoa, I'm getting pretty excited here. I wish the class could be in the same room so we could see each other's facial expressions and hear the sounds of each other's voices as we talk. Daniel, I must say that I think you are benefiting (or suffering) from the accumulated excitement I have felt all this week while reading the responses from everyone in the class. You will probably notice the pattern - I get more and more talkative with each student's response. I hope I didn't bowl you over with too much excited rhetoric. At the same time, I don't mean to give other students the impression that their ideas aren't equally interesting or exciting. In general, I truly do get worked up over imagining possibilities - alternative or possible selves, as Vygotsky described it in his later writing -because it's so much fun to explore them with students!
No problem Carolyn, I love the feed back! I find it funny often times when students ask me if I am full hispanic or half. When I tell them that my fathers side of the family is from Mexico and my mothers side is from Whales and Italy they are always surprizes I don't just way "white". Then I get to bore them with brief ethnic histories of western civ. :)
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ReplyDeletePaulo Freire: Pedagogy for Re-visioning One’s Reality
ReplyDeleteI think you can easily draw comparisons between Freire’s ideas about the use of visuals to connect meaning to words and literacy with Vygotsky’s concept of artifact and sign systems. The article cited the example of Freire using this model in adult literacy lessons but it is such a broad idea that I think it can be applied to almost and content area.
The idea of viewing your situation and station in life as a problem to be critically solved has absolute relevance with regards to Art Education in my mind. As a teacher with about 80% Art 1 students who are simply getting their Art credit I accept that most of my students will never use Visual Art skills in the real world / professional world. With this in mind I constantly try to impart on them the importance of self-examination as a method of self-improvement. By thinking critically of where they are in life and where they want to go, students are essentially envisioning a potentially alterable future which fits in line with the problem-posing method proposed by Freire.
I have done a project the past two years with my Art 1 students in which we take a simple self-portrait that is posterized, or done in high contrast, then applied personal symbology to. We discuss the various possible outcomes for one’s life, both positive and negative. Students reflect on pitfalls they would aim to avoid and goals they hope to achieve. I talk to the class about my own personal goals and mistakes I hope to avoid, citing my personal history of a troubled relationship with my father and his various addictions to alcohol and gambling. This dialog between students and students, students and teacher, and sometimes even student and parent reflects Freires ideas about what he calls the culture circle. Students then come up with their own symbols; one could even call them personal artifacts, representing positive and negative outcomes and play off these ideas with warm and cool colors. This process of self-reflection can be compaired to the concept of praxis mentioned in the article. A process in which a individual is asked to examine his or her station in life and challenge the social norms that seemingly hold him or her in that station of life. In doing so the individual can begin to break down these barriers of expectation, and chart a new path towards prosperity, liberty, and personal freedom.
Yes, because it takes imagination to envision, consider and weigh the consequences of different paths of action. It takes imagination to envision our possible selves and the possible worlds we can work to create. The arts SPECIALIZE in cultivating the imagination. This means that art or the arts are essential to the cognitive development of the whole self. Otherwise the brain can't conjure a clear picture of the pitfalls we aim to avoid and the goals we hope to achieve.
Deletebell hooks: Don't capitolize my name.
ReplyDeleteWhile I’m sure there are elements of public education in America that undermine the idea of Democracy in the context of globalization in a defacto manner I don’t know if I feel comforitable saying they are instituonal tools with the aim of said outcome. Please forgive me as topics this broad and conceptual then to make me ramble, this may or may not make sence.
I take the question to mean, how does public education cirriculum trains its citizens to think a certain way and instill certain values, indoing so creating unsaid contradictions and inequalitys. This would reflect “banking education” system Paulo Freire puts forth from the last reading, in which the institution deposites its own views and social order into its citizens instead of harbouring critical thinking and critical views of the nations own history and policies both domestically and abroad. Apart from the glossing over of the less desirable moments in American History such as the treatment to the native population of the continent, the Tuskegee syphilis experements, the Japanese-American interment, ect. I don’t know if I can single out a practice that purposfully indoctrinates student citizens into a methodoly of thinking with regards to social and ethinc class. Without doubt there is a greater value place on the WASP American experence, one need only look at Black History Month to see an example, I don’t think it’s blame should on the school system. Rather I feel it is a quality teachers resposibiliy to give students information in Socal Studies and often in the Art classroom about inequalities that exist domestically and abroad and how American Federal and State policy can affect this.
With that being said I have known many teachers who push their students to question historical interpertations and the idea that the victor writes the history text. I try to expose my students to the ideas of Globalization and how their actions can affect people in different communities. I prime examle I use is how many of my students smoke pot on the weekends can affect people in Mexico. I argue that while the legality of smoking pot is not a big concern of mine, it does have an affect on cartel violence in South America. This gets students to start thinking of the world in a greater context than their own families and circle of friends to see they are part of a broader community of humanity.
However not all teachers take this approach or even share the same view. So an argument could be made that the way the system is set up for a generally unequal view of the world in which American lives are more valuable than lives of citizens of the Arab World for example. Dangerous ideas indeed..
I commend your keen interest in world affairs and your sense of the interconnectedness of lives, words and deeds. Even the small things people do - like buy a can of Coke from a vending machine or brew a cup of coffee - reverberate across the world in unexpected ways and impact the lives of people we've never met and probably never will meet. We can't see these people but that doesn't mean they're not real. Their lives are just as real and important and precious as our own.
DeleteVery good response, Daniel. Thank you.