vaea 2009 presentation

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."

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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

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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.