Conference Proceedings 2010 [pdf] - Art & Design Symposium ...

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artists, engineers, community workers, and educators dedicated to working with residents in Texas and elsewhere who are in need of access to clean water (Carpenter, 2009). In 2005, Richard Wukich curated a traveling exhibit of ceramic water filter receptacles. These receptacles, created by contemporary ceramic artists such as Val Cushing, David MacDonald, Sharif Bey and others, function as works of art as well as "vehicle[s] for promoting social awareness about the global water crisis" (Carpenter, 2009, p. 339). In February 2009, Wukich initiated a second exhibition that originated in Braddock, Pennsylvania. Placed within the museum environment, these works allow access to a broader audience who are then offered the opportunity to view and experience how art can make a change beyond the walls of a gallery, just as our curriculum reaches beyond the walls of a classroom into society at large. In addition, the project has developed a one-week summer "Water Camp" designed specifically for children and youth residing in the Colonias communities. This camp centers around an interdisciplinary curriculum that addresses issues of inadequate access to water through the incorporation of the arts, science, language arts, math, ecology and community through student centered, experiential learning. As instructors of pre-service teachers and graduate students, we move our pedagogy beyond issues of water. For example, our graduate level curriculum development students create final projects informed by a placebased education methodology (Sobel, 2005). Many of the interdisciplinary curriculum projects designed by these students became the foundation for an interdisciplinary curriculum that accompanied the traveling exhibition of ceramic water filter receptacles. Similarly, our pre-service education students have developed interdisciplinary curricula focused on health, nutrition, and diet. In one example, they integrated nutrition and diet into a variety of subjects, such as art, science, social studies, physical education, language arts, and math. In this one-semester curriculum, students become familiar with healthy eating habits, physical fitness, nutritional data, and dietary issues that commonly face American youth. The semester culminates with a 5K "fun run" that students would plan, promote, and participate within. This student-designed curriculum reflects a social justice perspective because it responds to the issue of poverty. Generally accompanied by limited and poor-quality food, members of economically disadvantaged households consistently find it difficult to afford an adequate amount of high-quality food and therefore typically maintain nutritionally risky diets (Kennedy, 1995). In direct response to such social realities, proceeds from the 5K "fun run" outlined in the preservice student curriculum could be used to purchase healthy food and exercise equipment to donate to economically disadvantaged families in the community. Furthermore, the produce grown during this curriculum could also be given to local food banks. Situating Social Justice: Pedagogical Extensions Above, we have offered a brief representation of our collective thinking about and engagement with social justice. As part of our work as educators and curriculum scholars, we are constantly situated within a context of translating theoretical musings into engaged responses and embodied means of knowing into philosophical interpretations. Such engagement is a challenging project when taken up as a form and means of education. Keeping this work to ourselves and among ourselves does little to mobilize such work in/as social justice. As Slattery (2006) points out, "It is thus significant that curriculum scholars promote analysis that explores the external and internal chaos in order to create healing and compassionate environments in classrooms, which in turn will move outward to local communities and ultimately effect global ecological transformations" (p. 223). We envision our past, current, and future work to "move outward" initially in local communities and effect global educational, social, cultural, and economic transformations. Such transformations echo Freire's sense of liberation and is itself the embodiment of "the action and reflection of men and women upon their world in order to transform it” (Freire, 1998 p. 73). We believe that the curriculum of social justice enables such liberation, transformation, and action. Conclusion and Extensions Inequities and disparities abound in society and affect public health and the quality of life for all concerned day in and day out. One of the challenges of advocating for social justice is learning how to take steps to make explicit injustices that are unseen or obscured from the view of mainstream society. We believe that when artists, communities and curriculum coincide, unseen injustices become more clearly visible to the population at large and positive change and action can take place. 78
In referencing the global and local examples of the artists and educators above, we call upon concerned communities to engage in social justice through and with works of art and creative actions. In so doing, communities might connect teaching to the realities of their sociocultural surroundings; embody critical and active work toward organic solutions, and; challenge the dominant social order by modeling for students how change is both possible and vital to the collective health of prosperous, liberated, and educated communities (Freire, 1998; hooks, 2003; Slattery, 2006). Teaching for social justice should aim to cultivate a sense of community, express the needs of the community as a whole, and engage learners as active participants in their own education and society. When teaching for social justice teachers and students need to move the inquiry outside the “traditional” classroom and school building and act “within the larger community” (hooks, 2003; Stuhr, 2001). It is only through this extension of the classroom and collaboration with community that we can truly be effective and affective agents of social change. Figure 1. Water Filter In-Use Triptych Non-potable water is poured into the opening of the ceramic water filter (left). The cone-shaped ceramic water filter being held up to demonstrate dripping water (center). Clean water from the spigot of a plastic 5-gallon filter receptacle. (Stills from Deep Breath video; Greg Kwedar writer and director; Jake Hamilton, cinematographer: http://www.youtube.com/watch?v=igYhFWwUGgE). Figure 2. Ceramic Water Filter Receptacles Exhibition Gallery view from the traveling ceramic water filter receptacle exhibition in 2007 at the J. Wayne Stark Galleries, Texas A&M University. (Photography by B. Stephen Carpenter, II) 79
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2010 ART&DESIGN for Social Justice
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5:30-6:00 Buffet Dinner 6:00-6:45 O
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Symposium Activities, January 18 Su
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(2 sessions combined- 1 hour 10 min
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Art, Education and the Internet: A
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There are basically four steps to j
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noisy doors, and dark classroom env
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highlighting slavery’s historic r
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Identity and Voice: Constructivist
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esources and venues we hope to secu
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Keller, G. D., Erickson, M., & Vill
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Our class partnered with a high sch
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Background: Eastern Woodland Indian
Page 28 and 29: design very much throughout the pro
Page 30 and 31: Work in Progress- Kids’ Guernica
Page 32 and 33: Examples of the Gap Between Art and
Page 34 and 35: Varbanova, L. (2009). Social entrep
Page 36 and 37: field for community building. This
Page 38 and 39: Gurin, Dey, Hurtado, and Gurin (200
Page 40 and 41: times from presenters that discrimi
Page 42 and 43: Levin, S., Van Laar, C., and Sidani
Page 44 and 45: of building and sustaining peace. L
Page 46 and 47: There is therefore clearly an inter
Page 48 and 49: Service Learning as a Strategy in t
Page 50 and 51: Enos, S.L., & Troppe, M. L. (1996).
Page 52 and 53: the artist was brought for a week o
Page 54 and 55: Fazey, I., Fazey, J. A., & Fazey, D
Page 56 and 57: The Affordable House: Making Design
Page 58 and 59: No doubt, it was not a miracle that
Page 60 and 61: Figure 2. Second Kids’ Guernica p
Page 62 and 63: Figure 6. Hamza, a visually impair
Page 64 and 65: health and safety issues for occupa
Page 66 and 67: Exemplary Teaching in Urban Schools
Page 68 and 69: Anderson, R. (1990). Calliope’s s
Page 70 and 71: initiatives are not specific to ado
Page 72 and 73: Growing Home: Creating Living, Sust
Page 74 and 75: housing method for refugees. The pr
Page 76 and 77: Filtering Access through Social Eng
Page 80 and 81: References Art 21 (2007a). Mel Chin
Page 82 and 83: and possibilities of job. Therefore
Page 84 and 85: Poster Images Poster Image # 1 84
Page 86 and 87: Artmaking as a Process for Explorin
Page 88 and 89: disposition is nurtured not only by
Page 90 and 91: constructs. Just as written respons
Page 92 and 93: Art and Life With Children Boris Ti
Page 94 and 95: Children with Guernica, Children wi
Page 96 and 97: lacked anywhere else to put these i
Page 98 and 99: References Baldassare, M. (1979). R
Page 100 and 101: Table 1. Environmental features add
Page 102 and 103: Figure 7. A view of the room’s en
Page 104 and 105: Radstone, S. (Ed.), (2000). Memory
Page 106 and 107: For centuries we have drawn on the
Page 108 and 109: Figure 2. Spiral Shell with Transpa
Page 110: Photographs Ansley Simmons Allys Pa
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