For the Wider Educaitonal Studies task, our cohort was split into eight groups, each exploring a different topic. Each group will today present summaries of what they have discovered and this will signpost the learning of other students. Here I will record my notes from each of the different presentations.
Socially Just Pedagogy
Artwashing Education - Anthony Ruck
Creative Coolness - An economic tool that impacts and effects communities through the process of Gentrification.
As Communities change so do values within schools - leading to the rise of more middleclass families and the original community being forgotten and marginalised.
Neo liberalist Capatilist Policys co-opting art - Cultural Capital as an economic tool to reinforce inequalities.
We may have different Ideas of what class is and how it can be defined within different spaces within the arts.
Only middleclass as being able to participate in art as they have access to materials and processes that other schools do not.
Social Class and Art & Design education, A significant Omission, Adrian Burgess and Lesley Burgess.
It's a study of PGCE IOE A&D student teachers and their expereince and relationship of social class.
Closed Circuit - the arts are built mainitained and reproduced by the middle class. The middle class is seen as aspirational and the cultural capital because of this.
Class is really prevalent, language and vocabulary about class. Class is defined by codes and signifiers.
Panic - Social class, taste and inequalities in the creative industries. Dr Orian Brook, Dr David O'Brien, and Dr Mark Taylor
Ideas of Metoricracy - If you come from the middle class, you view success based on metoricracy.
Free work is viable for middle class - A good opportunity for relevant experience. This is however not viable and exploitative for working class people.
People working within culture making culture, are not representative of the nations demographics.
Artists:
Corbin Shaw - Uses class signifiers and cultural aesthetics
Eddie Peake (a bad use of social art. deconstructed by 'The white Pube'.
Veronica Ryan:
Post-digital Pedagogy
Text one:
Critically Reframing Post Internet Art toward the future of art education curriculum.
Timothy J. Smith
Practical advice and guide on how to teach post-digital art.
Post-Internet Art - A response to cultural and postdigital technological shifts brought about by the widespread use of the internet in the 21st Century.
Encourage collaboration and sharing of ideas through teaching that embraces technology.
Students and teachers learn from each other.
This also decenters the art cannon narrative through content and practice. intersectional perspectives are crucial and reimagine the discusssions around art.
"As Art Educators we must be coscious to avoid positioning art and technology only as a utility or as another artistic medium.
Post-digital, post-internet: propositions for art educationin the context of digital cultures.
Kristin Klein.
Digitisation is explored beyond a constant technological perspective, focussing on societal interdependences.
Text two:
Post-digital, post-internet: propositions for art educationin the context of digital cultures.
Kristin Klein.
Digitisation is explored beyond a constant technological perspective, focussing on societal interdependences.
Concepts like post digital and post internet are considered in art education, addressing both technical competence and socio-cultural dynamics.
Aesthetic dimensions of digital cultures are discussed, emphasizing four areas: Distributed artworks, hybrid subjects, fluid materiality and digital imaginaries.
Initiativives like Post internet arts eduaction, such as the workbook arts education, exemplify new models and methodologies for applying postdigital concepts to education.
Text three:
Responding to Big Data in the Art Education Classroom: Affordances and Problematics, Paul Duncum.
3 main categories:
Use of Big data sites such as Facebook and YouTube in Art educaiton.
Author's use of such websties
Responsible ways of using such sites
Big data sets are characteristically high volume, high velocity, very varied and extremely complex.
Usage for visual reference, motivate as the author calls 'electronically switched on students.'
Artists:
Harun Farock: Eye/Marching around (2003)
Almudena Lobera: Stories (2020)
Anti-Ableist Pedagogy
Text one:
Creativiy, disability, diveristy and inclusion, Kiefer Boyd
Disabilty as a site for creativity.
Reflect on lanugage to appreciate differences and be aware of stereotypes.
Anti-ableist tools:
Sense-ability, a collective effect which considers inclusion and equality to transcend body politics.
Response-ability, the well-being of all, having empathy, a sense of ownership in the classroom.
Translate-ability, ability to communicate across differences learning expereince for all through practices. 'Crip theory'? - Not to be used publically? - what can be added and shifted within the curriculum, 'crip' your pracice to be more inclusive, do not sustain the current norm.
How can we make improvements in the art world?
Text two:
Independence as an Ableitst Fiction in Art Education, Penketh, C.
how interdependance is considered an outcome.
This is outdated, it shouldn't be a qualifier of success.
Be aware of Ofsted bias and reports and multimodal analysis.
How does representations of support contrast with discourses of independence?
Text three:
Towards a vtital pedagogy : Learning from antiableist practice in art education. Penketh, C.
A vital pedagogy can shift towards open minds where senses can be incorporated into the lesson.
Important to allow even students with disabilities to express themselves.
What does it mean to 'crip' art education and what happens when art educators apply this theory to their practice?
Artists:
Henri Matisse - The fall of icarus (1943)
Tom Yedell - Mouth and foot artist
Chuck Close, Self-portrait, 1940
Photorealist artsist who lost his vision. Adapted his studio to faciliate his creative visions.
Embracing uniqueness to
Anti-Racist Pedagogy
Text one: The palgrave handbook of Race and the Arts in Educaion. O'Rourke, F 2018.
The chapter considers how racialized practices and whiteness have been concealed and embedded in educational institutions and the art and design national curriculum.
O'Rourke uses Critical Race Theory to understand the shaping of the national curriculum better.
The essay considers how the national curriculum has changed, yet in its current variation its eurocentric and traditionalist nature has been disguised, not eradicated.
Implications for practice in schools:
Teachers should not blindly accept the whtie agenda of the National Curriculum and examination syllabi reinforces white superiority in the arts by deeming which art is "successful" and worth teaching.
Text two:
Ibid.
CRT as an interdisciplinary academic feild devoted to analysing how social and political laws and media shape coneptions of race and ethnicity.
Whiteness as an ideological construct.
"Great works of art" within the curriculum have essence of greatness and whiteness.
i.e. Picasso as appropriating african cultural epressions.
Where is colour in Art education? - Pamela Harris Lawton.
What strengths of this instructor do you feel greatly affected the quality of this course? A student wrote "Her ethnicity" - This is a course where there were no students of colour.
As a profession, educaiton is majority female and thus a black female may identify with a white art teacher as a role model because she is also female.
The visual arts face a critical need for more minority role models.
Text three:
Being a critical multicultural pedagogue in the art education classroom. Critical studies in education. Acuff, J B.
How art teachers can be critical multicultural pedagogue.
Liberal Multiculturalisms - Superficial addons to theestablsihed curriculum.
Discusses how critical muticulturalism must replace our art curriculums.
Am I offering students different ways to construct knowledge?
Am I honouring students' previous knowledge and their cultural frames or reference?
Text four:
Critical race Theory and its relation to arts education. Theuri S.
Whilst the invisibilit, lack of recognition, discrimination and marginalisation of black and minority ethnic peoplein the arts in the UK ha been acknowledged it has not changed significantly.
You can useCRT as a langauge to question issues need to be responded to within departments rather than ignoring them.
CRT is not the 'one-all' solution, but suggests steps which will help lead to real positive change.
Art schools with different createive approaches affect the way that students' work is assessed. Assessments are social constructs that are not always neutral.
Creating a more diverse art curriculum can sometimes reinforce the otherness position of minority groups. - can be frightening for people?
Artists:
John Edmonds - Whose hands? African sculptures from the brooklyn museum, rebreathing spirituality into the artefacts.
Critical Race Theory - Jonathan Harris
Bette Saar - The Differences Between (1989)
Carrie May Weems - Work on Police Brutality
Climate-Aware Pedagogy
Text one:
Students' empathy for the enviornment through eco art place-based education.
A. Sunassee
https://www.researchgate.net/publication/351752618_Students'_Empathy_for_the_Environment_through_Eco-Art_Place-Based_Education_A_Review Conducted by three professors,.
Place-based pedagogy getting students to go out of the classroom
Bringing natural forms into the classroom.
Having a direct sensory relationship with the local environment, lifts motivations and engagement.
This is good for their creativtiy and enables positive reactions.
This suggests that Art as a subject is in a good place to deal with this, especially with criticial thinking and personal response.
Issues as it wasn't created in the UK. the Urban schools, there is more disengagement with the environment.
Having a positive relationships is important to embed within classroom activiites.
Organising trips to Kew Gardens etc can be difficult to implement.
'Cultivating environmental empathy encourages a sense of connection..
' Developing diret contact with nature and place lead to greater care for the environment.'
Text two:
'Foundation for art Education as Exopedagogy' in art for a sustainable planet.
Joy Bertling
Eco-pedagogy - seeks to transform sturctures to provide a more eco-friendly pedagogy.
The author did this study in the US. - Asking Art educators what they did in the classroom.
e.g.
Art Culture, Interdisciplinary art education were topics that were placed first and nearer the bottom teachers put 'enviornmental art' and social justice.
Ecnourages teachers to think and reflect about enviornmentla issues.
It looks at ecopedagogy's educational foundations as environmental education, arts education and critical pedagogy and encouraging a divergent approach.
It gives some significantly relevant points to encourage us to start reflecting on how to apply ecopedagogical practices to the contemporary art classroom.
Informed by a diverse group of philosophies.
Text three:
Interrogations: Art, Art education, and environemtnal sustainability.
H. Illeris.
More to do with class and social justice.
An abstract idea and not an obvious connection to environmental sustability.
More about social envoironment that ecological environment.
It does encaoruage social awareness - links to empathy and also interconnection, encouraging students to work collaboratively to icrease engagement.
Highlights how the use of visuals is important.
Do artists complicate issues?
Are artists' approaches too abstract to really highlight environmental sustainability within art education.
Artists:
Mel Chin
Ade Adesina
Joseph Beuys
Basira Irland
Multi-lingual Pedagogy
Exploring the interesetcitons of diverse cultures, languages and multicultural society
Text one:
Metrolingual Art: Multilingualism and Heteroglossia.
Adam Jowarski
Metrolingualism - used mostly in contemporary art in which text is presented as a core focus.
The concept of metrolingualism can help foster confidence and a positive learning environment.
How can multilingual art be effectively incorporated into the educational context in England?
The text employs various examples of chinese contemporary artists to illustrate the artistic use of linguistic code and its close connection to the concepts of metrolingualism and heteroglossia.
How might it additionally support english as an additional language? (EAL) students in their artistic creation?
Text two:
Finding a voice: Arts based creativity in the community languages classroom.
The main implications for practice are that creativity in the context of community languages can affirm identity and challenge marginalisation.
The most important things dicsovered in the text are how a holistitcapproach to education focussees on both cognitive and affective aspects.
Text three:
Art integration and Identity, Empowering Bi/Multilingual High school leanrers
Critical Pedagogy Theory - CPT - and art integration formed a positive learning expereine that allowed students to have their own voices, identities, opitions through the medium of art and design.
CPT allows bi/multilingual students in art to cultivate effective teaching practices that apply to a multicultural classroom.
Conclusions:
Translanguaging recongnizes that language is a dynamic and flexible tool that people use to convey their thoughts, feelings and ideas.
This pedagogy challenges the margianlisation of community languages.
Mixing codes and creating new languages, within metrolingualism can help multilingual students to develop their confidence.
Feminist Pedagogy
Queer Pedagogy
Text one:
Helping Kids Turn out Queer: Queer theory in Art Education
Adam J Greteman, 2017.
Greteman's paper examines the importance of teaching a pro-queer stance in Art & Design.
Hetereonormitive perspecitves of raising t children with the assumption of heterosexuality.
Associations with the uncertain.
We were challenged to question, what is queer art?
Does queer art have to be sexualised?
Text two:
Queer in the Art clasroom, Queering matters Tabitha Verity Patience Millett, 2019
Inclusion is focussed on visual difference. It can be so much more than this.
Discussions of homosexuality is reduced to anti-bullying discourses, that ignore the societal and institutional power structures that produce homophobia.
Understanding that we are all fluid. Creates a 'space of becoming', with no defined outcome. Idea of representation as not being figurative or representational.
Millett suggests that presenting artwork as "LGBTQIA+ artwork" can reinforce hierarchical relationships as it excludes identities that exist outside of prescribed examples.
However we feel thte best thing to do is to act; to share LGBTQ+ artists and disseminite knowledge even if it feels tokenistic to start off with.
Text three:
Identitiy politics and the queering of Art Education: INclusion and the confessional Route to Salvation
Nicholas Addinson, 2007
People can assert who they are by asserting who they are not.
Queerness as counter narrative.
Adults combat the risk with avoidance and caution, meaning counter-narratives, like queerness aren't discussed openly.
This article speaks of the late introduction of studies into queerness/ queer identities in adolescents. Schools facilitate the introduction of queerness to students from the age of 0-16.
Prem Sahib The Life cycle of a flea, 2023.
Queercircle, Greenwich.
Artists:
Finding commonalities between these vaired and diverse
Understanding lived experience, encouraging poitivity and hope, inspiring collaboration, shared ways of orienting oneself around practice
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