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Practicing Social Justice Art Education: Reclaiming Our Agency Through Collective Curriculum
This article explores collaborative social justice art education, community building, and activism through teacher workshops that utilized contemporary art to generate curriculum and dialogue. It models one possibility for professional development that casts teachers as learners in a supportive yet critical environment. It draws on critical analysis, linked with creative opportunity, as central to social justice art education and social change. The workshops utilize a platform comprised of three key considerations that are crucial for extending big ideas in curriculum toward social justice art education. This foundation provides teachers with specific issues to consider for developing both social justice art education curriculum and professional development as activism. Each of the following three concepts is most legible when considered as a separate plank that is also part of a larger platform: (1) Personal--how is the project grounded in the lived experience of participants?; (2) Critical--how has the power of political, socioeconomic, and cultural influences shaped the situation and why?; and (3) Activist--what creative opportunities for resistance are possible that could result in both personal and social change? Collective groups, focused on examining curriculum development through a contemporary social justice lens, can support agency and empower teachers to engage with issues in critically considered and newly productive ways.
Journal Article
Art and Social Justice Education
Art and Social Justice Education offers inspiration and tools for educators to craft critical, meaningful, and transformative arts education curriculum and arts integration projects. The images, descriptive texts, essays, and resources are grounded within a clear social justice framework and linked to ideas about culture as commons. Essays and a section written by and for teachers who have already incorporated contemporary artists and ideas into their curriculums help readers to imagine ways to use the content in their own settings. This book is enhanced by a Companion Website (www.routledge.com/cw/quinn) featuring artists and artworks, project examples, and dialogue threads for educators.
Proposing that art can contribute in a wide range of ways to the work of envisioning and making a more just world, this imaginative, practical, and engaging sourcebook of contemporary artists' works and education resources advances the field of arts education, locally, nationally, and internationally, by moving beyond models of discipline-based or expressive art education. It will be welcomed by all educators seeking to include the arts and social justice in their curricula.
eBook
The Condition of Art Education: Critical Visual Art Education CVAE Club, Winter 2010
Artist Ad Reinhardt's 1991 prediction of the \"Future of Art\" can be interpreted as the condition of art education in 2010. He writes, \"The next revolution will see the emancipation of the university academy of art from its market-place fantasies and its emergence as a center of consciousness and conscience.\" The focus in the fields of art and art education has increasingly turned toward the social as well as aesthetic aspects of experience. Creating and responding to art in the context of people's everyday lives has become a dominant center of art practices. Art educators should recognize these shifts and work collectively to realize one's strengths and responsibilities as everyone grapples with the complexities of art in society. In an effort to move beyond previously defined disciplinary boundaries, this document strives to confront art education's moment of crisis; a crisis that stems from instability in public education, economic uncertainty, the impact of No Child Left Behind, standardized testing, and technocratic forms of education. The Critical Visual Art Education (CVAE) Club argues for a collective, transdisciplinary process moving forward into a new era of art education. In this document, CVAE identifies declarative statements that approach the field with inclusive examination of its past, present, and future. (Contains 1 figure and 2 endnotes.)
Journal Article
Introduction
We were kids without fathers ... so we found our fathers on wax and on the streets and in history, and in a way, that was a gift. We got to pick and choose the ancestors who would inspire the world we were going to make for ourselves ... Our fathers were gone, usually because they just bounced, but we took their old records and used them to build something fresh.
Book Chapter
Editors' Introduction
The poet Gwendolyn Brooks (1968/2005) reminds us that art is \"not an old shoe,\" soft and comfortable. Often, she claims, \"Art hurts. Art urges voyages-and it is easier to stay at home.\" But the alternative is devastating, a loss for individuals and for societies. In her poem Boy Breaking Glass, Brooks (1987) describes a child \"Whose broken window is a cry of art\" and imagines his cry:
I shall create! If not a note, a hole.
If not an overture, a desecration.
Book Chapter
Hair growth rate estimation in North American ursids
Abstract
The feeding ecology of wildlife populations has important implications for individual health, population productivity and distribution patterns. For ursids (bears), food resources and feeding behaviour primarily affect population dynamics via effects on cub production and survival. Much of what is known about the feeding ecology of bears is based on analyses of tissues collected from capture-based research efforts, harvested animals or non-invasive approaches. However, inference about diet from hair has been limited by a lack of quantitative data on the timing of the moult and hair growth rates. We conducted a study to develop and test two methods of quantifying hair growth rates of three species in the family Ursidae (n = 1 polar bear, Ursus maritimus; n = 3 black bears, Ursus americanus; n = 3 grizzly bears, Ursus arctos horribilis). We implemented visual and biochemical approaches, proven safe for humans and other mammals, in a zoo setting. These methods relied on voluntary bear behaviours trained using positive reinforcement. The two methods were: (i) applying a small patch of hair dye (or bleach) on the rump or foreleg, and (ii) feeding an isotopically labelled amino acid (glycine) capsule that ‘marks’ time at a particular location as it is incorporated within the hair. We collected hair at regular intervals (every 1–2 weeks) for five months from body locations on the bear consistent with commonly sampled collection points in wild-caught bears. We found that both methods effectively identified periods of hair growth and detected individual and seasonal variation in hair growth rates. Average guard hair growth rates ranged between 0.10 and 1.05 mm day−1 across the three species. This study provides the first step for developing a foundation for incorporating seasonality in wild-collected bear hair samples by assessing growth over an annual cycle.
Lay Summary
This paper evaluates two methods for quantifying the rate and timing of hair growth in bears and provides hair growth rate estimates for three species. We developed a method to measure seasonal hair growth rates and can accurately incorporate seasonality in the interpretation of ecological data from wild-collected bear hair samples.
Journal Article