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2024, Philosophy of Music Education Review
This submission explores the concept of aesthetic justice pedagogy, and advocates on behalf of it. In contrast to aesthetic injustice, which denotes any harm done to a person's aesthetic capacities, aesthetic justice pedagogy aims at facilitating the development of students' imagination, perception, and feelings, wherein narrative and story-making are prime locations to contest coloniality and oppression. We emphasize the practice of this philosophy, refusing to see it as only as metaphor or theory. In our attempt to build a praxis of philosophy, education, and art, we lean upon diverse thinkers such as Augusto Boal, John Dewey, Paulo Freire, and Ursula K. Le Guin. We maintain that aesthetic justice pedagogy requires spaces of liberation whereby initiates can practice, rehearse, and perform new realities and create counter-narratives through various modalities of story-writing.
This paper presents the use of the arts and aesthetic education in a graduate literacy course for in-service and pre-service teachers followed by a description of how one graduate student implemented her learned theory in the high school classroom in which she taught. The core theory of the paper follows the assumption that aesthetic education elicits the imagination, and thus encourages multiple ways of interpreting and learning text. As such, the article invites the readers to view imagination and aesthetic education as active steps in creating awareness toward empathy and promoting socially just classrooms and practices. In addition, this article describes the implementation of one graduate in-service teacher's learned knowledge of aesthetic education into her own high school English classroom in an attempt to raise awareness for social justice.
Studies in Art Education , 2024
This commentary illuminates the intricate relationship between imagination, systemic oppression, and aesthetic injustice within American educational systems, drawing on the insightful arguments presented by Hardman (2024). The discussion extends to the complex interplay between aesthetic capacities and systemic oppression, as explored by scholars like Dalaqua (2020), Benjamin (2024), and Love (2023). These scholars argue that American democracy often necessitates the exclusion, criminalization, and punishment of imaginative capacities, particularly for racially minoritized students. The paper underscores the historical context provided by Monique Morris (2016) and Bettina Love (2023), who contend that policies from Ronald Reagan’s presidency pathologized and penalized Black children, contributing to systemic injustices. Further, it highlights Ruha Benjamin’s (2024) assertion that "deadly eugenic imaginaries" perpetuate narratives of criminality for Black youth, emphasizing the need to confront these harmful ideologies. Hardman calls for a radical imagination to address systemic aesthetic injustices and recognizes the transformative potential of educators in empowering racially minoritized students. The paper concludes by advocating for an expansive view of whose social imaginations are affirmed and valued, recognizing the historical and ongoing efforts of racially minoritized communities to imagine freedom and fugitivity despite systemic barriers. By dismantling oppressive ideologies and fostering environments that support radical imagination, this paper aims to contribute to a more equitable educational landscape where all students can envision and achieve their self-determination and agency.
2013
This study asks 1) What is the relationship between art, creativity, and social justice? 2) How do the theories of John Dewey, Maxine Greene, and Jane Piirto inform our understanding of this relationship? 3) What is the role of the arts in contemporary curriculum? To answer these questions, the study chronicled the various roles of art in Western society, from Classical Greece through the present day, before exploring the aesthetic theories of Dewey, Greene, and Piirto. The findings suggest that the absence of an arts-integrated curriculum in most American public schools does not imply the absence of art programs in society. To the contrary, communities provide numerous opportunities for citizens to participate in the making of art. The existence and number of these non-school experiences demonstrate that the community does place importance on the arts-a direct contrast from the dominant philosophies of aesthetics and education. These communal acts of making art-acts of making democracy, at times-are frequently self-generating. That is, no formal sanctioning of art by the school as an institution is necessary for democratic acts of art to occur. While the philosophies of Dewey and Greene require one to possess conscious intent and engage in reflection to make meaningful, socially just art, these findings imply that art may also be enacted bodily, without the presence of mental reasoning. The author offers the term "intuitive presence" to describe this participation in community for the purpose of artistic creation and human understanding, to complement Greene's theory of "wide-awakeness." The study compels researchers to revisit our current interpretation of an aesthetic experience, to assess what art should be included in curriculum, and to broaden our explanation of how art for social justice is created.
International Journal of Education the Arts, 2013
In an era of expanding global capital, our role as educators remains one in which we must confront the ever growing discrepancy between the North and South, including the South within the North. Through my experiences teaching a course called "Art as Social Justice," I begin to situate my classroom labor within an emancipatory framework that prefigures a more just and equitable world, as well as a classroom that challenges inequality. Employing thick description, this essay investigates "Art as Social Justice" as a case study that employs specific pedagogical tactics to challenge hegemonic social relations, not only in the classroom, but outside it as well. As the essay explores, visual art enables different ways of dealing with issues inaccessible to political science, history, sociology, or even literature.
In an era of expanding global capital, our role as educators remains one in which we must confront the ever growing discrepancy between the North and South, including the South within the North. Through my experiences teaching a course called "Art as Social Justice," I begin to situate my classroom labor within an emancipatory framework that prefigures a more just and equitable world, as well as a classroom that challenges inequality. Employing thick description, this essay investigates "Art as Social Justice" as a case study that employs specific pedagogical tactics to challenge hegemonic social relations, not only in the classroom, but outside it as well. As the essay explores, visual art enables different ways of dealing with issues inaccessible to political science, history, sociology, or even literature.
The Journal of Social Theory in Art Education, 2021
Looking back at art education's past, the authors find too little space for some of us to situate ourselves. The histories and narratives of art education, as well as the curricula, are the histories and narratives of the victor and, according to DeVille (2018), "it's garbage. " While there is much work to be done generally in regard to justice and equity in art education, in this manuscript, we posit a looking back at histories from outside the margin of the white supremacist patriarchy (hooks, 2013), looking to scholarship, teaching, and artistic production resisting the white gaze , and looking forward to a more racially just future of art education. We begin with a framework of Critical Race Theory, then review past multicultural efforts in (art) education through a critical race lens to provide a theoretical analysis of the role that whiteness played in these movements. We provide examples of artists creating art in active resistance to the white gaze and then discuss pedagogical and epistemological possibilities of resisting the white gaze . Finally, we conclude by looking forward, with hopeful prophecies for the future of art education.
Visions of Research in Music Education, 2020
In 1970, Paulo Freire introduced critical pedagogy in Pedagogy of the Oppressed. Since that time, critical pedagogy has been widely applied in general education and has slowly integrated into music, theater, dance, and visual arts education. Rooted in the critical examination of power, critical pedagogy is a way of critically examining how we conceptualize, navigate, and reimagine the relationship between teacher, student, and the established knowledge being taught in the classroom. Critical pedagogues argue that selectively teaching knowledge representing certain viewpoints while omitting other viewpoints fosters hegemony – dominance of one group over another – in the classroom. Such educational inequities and exclusion are tied to disaffection, social fragmentation and conflicts. Arts education is not exempt from curricular hegemony. The longstanding practice of grounding arts education in definitions of ‘artistic value’ as determined by dominant social groups makes the field resistant to critical pedagogy. By applying critical pedagogy, arts educators can break the cycle of hegemony and instead foster the principles of equity, recognition, and inclusion.
This article stems from a story of arts education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. Contemporary visual arts education practices overlap a unique period of change in neighboring social science disciplines, a turn of the tide that involves the embrace of narrative methods to rewrite prevailing working models and paradigms of social science practice. Here at the start of the 21st century, art education continues to be practiced in the thrall of a scientific paradigm that misunderstands the greater potential of the arts in education, often imposing a ceiling ill-fitted for arts praxis, arts-based research, or arts pedagogy. The author argues that art education is also at a turn of the tide and surmises some of the unexpected outcomes when new and ex-centric stories of learning and a “pedagogy of possibility” are more thoroughly explored, allowing practitioners to fully rethink an art education practice without taxonomic ceilings and within the shelter of the unexplored labyrinth.
Northwest Journal of Teacher Education
Of Back Stories, Byways & Entangled Aesthetics of Epistemology: Teaching Art, Poetic Protest and Curricular Alterity in a Time of Ethicide engages autobiographical analysis to illumine and offer examples of what art and poetry may offer as forms of nonviolent resistance and protest for teachers and teacher educators in challenging curricular epistemicide and advancing educational ethics and justice.
Studies in Art Education: A Journal of Issues and Research in Art Education, 2009
This essay argues for a fundamental change in the direction of art, its education and research that draws on Alain Badiou's notion of inaesthetics and negative affirmation as well as Deleuze's reorientation of aesthetics. I draw on the inspiration of Vincent Lanier's critical spirit and Irwin Kaufmann's ideas on art, creativity, and research as they appear in the first issue of Studies in Art Education to argue for such a line of flight. A number of neologisms are introduced that develop this potentiality of the force and truth of art that are 'beyond aesthetics' as it is commonly understood. Vincent Lanier, one of the first generation of post-World War II art educators, had an influence on the field of art education that still remains with us to this day. He was a provocateur who would challenge the field from the margins and hold court in hotel lobbies and foyer armchairs during NAEA conferences. Fact or fiction, that's how the legend goes. Vincent was certainly part of the ground floor that helped to establish NAEA and its journal, Studies in Art Education, in those formative years. He published "Implications of the Concept of Action Research" in the very first fall issue of 1959, where he questioned the division between pure and applied research, defending the necessity of scientific research for the field, a position he was to renege on later in his career. I was fortunate enough to attend several summer school courses Vincent taught at the University of Oregon in the late '70s. He was also my external dissertation examiner in 1980. I have held a long-standing affection toward him that is unlikely to go away. For this 50th anniversary Studies special, I offer this article as a tribute to Vincent's audacity of spirit, especially in the vein of two influential essays that were written around the time I was finishing my Masters and Doctorate degrees: "A Plague on Your Houses: The Tragedy of Art Education" (Lanier, 1974) and especially, "The Misdirected Eye" (Lanier, 1978) that raised the social import of art and questioned the field's moral and social compass. There is approximately a 15-year gap between the thrust of Vincent's first essay in Studies on research and these two key essays that articulate his challenge to the field. The first essay ("Plague") is a historical review of the field that questions its overemphasis on creativity and studio practices, calling for an "aesthetic education" that addresses social transformation and expands art education to include the popular culture of film and television; the second essay ("Misdirected Eye") comes closest to my own project. Lanier admonishes aesthetic and environmental education for failing to address social and moral issues. However, "Some art," he says, "speak[s] to the human condition" (p.14, added emphasis). My orientation is similar but
Choice Reviews Online, 2015
Australian Journal of Indigenous Education , 2019
The following paper argues for a critical creative paedagogy as a means of meaningfully engaging with Indigenous and decolonial philosophies. We showcase our critical frameworks and pathways for teaching a decolonial and Indigenous university course where philosophy and arts meet to engage with complex colonial, racial and epistemological questions. We first frame our theoretical and philosophical stance within critical postcolonial, Indigenous and decolonial studies. We then describe an epistemological critique within western philosophical discourse that will gesture towards a decolonial pathway to arts and discuss our creative teaching approach grounded in decolonial and Indigenous theories. Lastly, we reach to a critical and decolonial space where 'southern' philosophies can be 'heard' in their fullest complexity. We contend that creative writing and visual arts grounded in critical decolonial and Indigenous theories provide a space in which a decolonised knowledge seems possible.
Studies in Art Education, 2015
Education Review, 2013
If theory is understood as a set of material and contextual practices instead of a ready-made cognitive tool that embellishes arts lessons, a range of new possibilities for critical arts pedagogy and social justice education opens up; teaching becomes a contextual activity that shifts the focus of learning from creative self-expression to selfawareness, from artifact and skilled knowledge to cultural context and action. Viewing arts making as an act of theory moves the focus away from describing the content to describing the context. Art and Social Justice
Critical Questions in Education, 2018
Maxine Greene centered the arts as important sites for cultivating a more relational and ethical means of educating students. Advocating for an aesthetic pedagogy, Greene conceived of aesthetics as a philosophy that studies artistic making, perception, and affect as a means of understanding experiences, and the meaning of those experiences as connecting (and awakening) individuals to/with the world. In this philosophical work, I posit Greene's concept of the social imagination as both a call for action in education and as an artful and aesthetic movement—a doing. Grounded in Greene's aesthetic pedagogy and the social imagination, this article explores how encounters with and through the arts can nurture more relational, critical, and socially responsible education. Within and inspired by questions of relationality, criticality, and responsibility, examples from the visual arts are discussed. I argue that the arts create openings for encountering contemporary socio-political complexities that oppress and persist. The arts also provoke us to move—a type of aesthetic activism is borne.
Critical Arts, 2024
Analysing art that emerges from remediation can be a form of critical pedagogy in and of itself. This article focuses on art forms that involve remediation as a strategy of the critical pedagogy of "unlearning imperialism" (Azoulay 2019). The aim is to examine the role of the adaptive process of artistic remediation (by which new media technologies incorporate, reinterpret, and reference older media forms) in conceptualising and developing a critical and engaged approach in the classroom to the inequities in knowledge production, mediation, and sharing. The strategic approach to unlearning imperialism is combined with Ariella Azoulay's idea of "potential history". This frames the analysis of three artworks that are, in different ways, linked to photography, either as photography-to-painting or painting-to-photography remediations. The first artwork discussed is Roxana Manouchehri's Power (2014), a neo-Victorian photography-to-painting remediation depicting Queen Victoria and Princess Tadj es-Saltaneh; the second and third artworks are Jan Banning's Immigrant (Jamaican) Olympia with Dutch Servant (2011) and Raeda Saadeh's Who Will Make Me Real? (2003), both painting-to-photography remediations of Édouard Manet's 1863 oil painting Olympia.
Journal of Education for Teaching, 2014
Education Review/ Reseñas Educativas , 2013
If theory is understood as a set of material and contextual practices instead of a ready-made cognitive tool that embellishes arts lessons, a range of new possibilities for critical arts pedagogy and social justice education opens up; teaching becomes a contextual activity that shifts the focus of learning from creative self-expression to selfawareness, from artifact and skilled knowledge to cultural context and action. Viewing arts making as an act of theory moves the focus away from describing the content to describing the context. Art and Social Justice
2016
Global social justice education (GSJE) for young people is regularly conducted through the arts, from using artworks as stimuli for discussion to art-making as an approach to consolidate young people’s understanding of social justice issues. Although there is widespread use of the arts in GSJE, educational research in GSJE rarely engages with art-making approaches. This research analyses the pedagogy of GSJE through the arts through a qualitative study of media, art and design educators working with young people in social justice education (SJE). The empirical research, which was influenced by ethnography, consists of data generated mainly by interviews and observations with participants working in both formal and informal education settings. Analysis is informed by concepts of conscientization, art as experience and the radical potential of the arts. Considering pedagogy in arts GSJE through the themes of context, concepts, practice and achievement, highlights the challenges betwee...
2011
Many people have helped and contributed to the production of this book in a variety of ways. Particular thanks must go however to Tony Brown, Paul Dash, Rosalyn George, Alex Moore, Michaela Ross and Ian Cole for reading and commenting upon various draft chapters. I want to thank a number of teachers and educators for their help and support; Henry Ward and his students at Welling School for contributions to Chapter 3; Annie Derbyshire, Tessa Hodson, Danny Murphy and Jude Thomas for their contributions to the chapter on the artist-teacher; Esther Sayers from Tate, John Johnston from Goldsmiths Department of Educational Studies and Sophie Leach from NSEAD. Thanks to all my colleagues and students at Goldsmiths for their lively debate and discussion of ideas and to Myrna Felix for administrative support. Thanks also to Yinka Shonibare MBE and the Stephen Friedman Gallery, London, Ingrid Pollard, KOS and the Lehmann Maupin Gallery, New York, Casagrande and the Juan Munoz Trust for allowing me to use reproductions of their work in the text. Earlier versions of Chapter 1 appeared in the International Journal of Art and Design Education, and Access: Critical Perspectives on Communication, Cultural and Policy Studies. An earlier version of Chapter 5 was published in Educational Philosophy and Theory. These chapters have been substantially reworked for this book. I am very grateful for the support, patience and encouragement of Michel Lokhorst at Sense Publications. And finally thanks, as always, to Karen...if not for you... xi INTRODUCTION ...an event, in affecting a world, always has a local rearrangement of the transcendental of this world as its effect. (Badiou 2009, p. 222) ...for me, the event is the immanent principle of exceptions to becoming, or (in other words) Truths. (Badiou 2009, p. 385, my bracket) Everyone has a capacity to think and to learn, to make and to act, to sense and to feel; these processes constitute something enduring about being and becoming. However, generally speaking, either consciously or unconsciously, we are encouraged or sometimes enforced to think, learn, act, feel and make in particular ways. We become subjected to particular ideologies and practices within which such processes are conceived, performed and regulated. But this is not a completely deterministic process, a closed circle; rather, it is always open to disruption so that possibilities for new modes of becoming come into appearance. This is the crux of Badiou's notion of being and event which denotes an ongoing process of existence and change through which human subjects emerge. The notion of being and event signals a tensional dimension of becoming which is a fundamental theme of this book There are a number of tensions running through the book. These are: tensions between tradition and the new; tensions between art in education and contemporary art; tensions between ontologies of practice and epistemologies of assessment; tensions between the socio-cultural notion of difference and an egalitarian notion of the Same, tensions between an ethics of reality, of established values, principles and practices and an ethics of the real; tensions between the different ontological domains of the artist and the teacher which are brought together in the idea of the artist-teacher, tensions between knowledge and not-knowing, tensions between knowledge and truth. Though the book has a particular focus upon learning in art and education the discussion of pedagogies against the state, or pedagogies of the event, has a much wider application to other (perhaps all) fields of learning and its initiation. Most chapters of the book deal with each of these tensional relations in turn but not in the sense of attempting to resolve them; their resolution is always incomplete, but rather in the sense of an imperative to decide what kind of future we want for pedagogical spaces of teaching and learning. The imperative outlined below is not for consensus, which in Ranciere's use of the term would, 'reduce politics to the police', (Ranciere 2004, p. 83), but for a space of politics and dissensus in educational sites, where issues of equality confront established policing frameworks, a space of agonistic encounter in which a struggle for truth in Badiou's sense of this term is engaged in the pursuit of learning. Within a space of dissensus there is a potential for new subjectivations and new pathways for learning, for new distributions of practice, of speaking about and viewing learning. A space of dissensus includes an excess, an exception that holds such potential. It is not simply a space of opinion but a political process within which established frameworks and orders, for example, of representation, practice, values and thought are confronted with the overlooked, the marginalised and the not-known. The latter does not relate to particular individual interests, but 1
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