1 Exploring Social Justice Issues in Our Schools through the Arts ...

Exploring Social Justice Issues in Our Schools through the Arts: Developing a Professional
Development Model for Educational Leaders, K-12
Laura Shapiro
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Exploring Social Justice Issues in Our Schools through the Arts:
Developing a Professional Development Model for Educational Leaders, K-12
1. Introduction:
Laura Shapiro
The grant provided partial support for the summer retreat, July 16- 18, for women
administrators, "Exploring Social Justice Issues in Our Schools Through the Arts". The retreat
was one of three retreats that I am conducting as part of my doctoral research. The first retreat
was April 20 and 21, 2002 and the last retreat will be November 16 and 17, 2002. My doctoral
work, a qualitative study based on the retreats, is designed to investigate the following primary
question.
What is unique and interesting about the artmaking process as a significant component of a
professional development experience and as a way for women public school administrators to
explore social injustice issues in our schools? As a way for us to explore our different cultural
and power perspectives as women administrators?
Related questions are :
What does the group's art work tell us? Can the artwork stand alone?
How might we improve the quality of our artwork for greatest effectiveness as works of art?
If we make art, does that make us artists? Do we have a right to show our work? Does the art
work and experience suffer if some of us are formally trained as artists and others are not?
What difference has the artmaking process made in how we act as women administrators
concerned about social justice issues? Does participation in this artmaking professional
development process give us courage and the tools to make change in practice?
What happens if we share our artwork with other women administrators? Do we experience
resistance do we have to sharing our work in public? If so, what does this resistance tell us?
What does this resistance tell us? If so, how and what? How do our audiences respond to our art
works?
How might we transfer this way of learning to other administrators? To teachers? To
parents? If so, how?
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2. Overview of Accomplishments:
a. The summer retreat was held July 16, 17 and 18 in West Park, New York.
b. All twelve women administrators participants in the project attended, although 2 of the
women came for only one day. The two women did not stay overnight with the rest of the group.
c. Kwardua Vanderpuye and Lucy Barbera, co-facilitated the sessions with me. During the first
two days of the retreat we focused on Theatre of the Oppressed as our primary strategy. During
the third day we used visual journaling and mask making as the primary strategies. During the
evenings several of the participants participated in informal discussions concerning social justice
issues in our schools.
d. I documented the retreats with video, audio tape and digital photos. I wrote field notes
during and following the retreat. I collected the visual journals and sent color copies of the work
to each participant following the retreat. Participants took their masks with them. I photographed
the masks and collected any writing that was produced.
3. Description of the professional development strategies used during the summer retreat.
a. Retreat Setting:
The retreat was held at the Holy Cross Monastery, Port Ewen, New York, in the Mid- Hudson
Valley, near where I live, and within a two to three hour drive for the participants. The
monastery is set overlooking the Hudson River and the Catskill mountains.. The monastery is
filled with comfortable antique furnishings and has a light filled dining room that overlooks the
river. There are walking paths and porches for contemplation. I asked each participant for her
approval before I committed to the monastery. Although our work would not involved religion,
the religious setting could potentially have an impact on our work. All gave their approval and
we took time during the retreat to discuss the impact of being at a monastery. I carefully selected
this setting for our retreat. Women administrators are under a tremendous anount of stress and
little time for reflection, specifically time to reflect with a supportive group. This was expressed
by each administrator during my initial intake interviews. In response to their need for some
time to rejuvenate, I selected a setting that would nurture them. I purposely titled my the project,
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"retreat"; my hypothesis was that that another "workshop" would be depleting and not attractive
to very busy educational leaders. The gorgeous, quiet setting helped participants to relax, focus,
and to heighten their awareness of their senses. These elements, according to the participants,
were important factors in enhancing the process of engaging with artmaking, each other and the
issues at hand.
Each of the participants agreed to stay overnight at the monastery for two nights. All but two
women stayed. The time together allowed participants informal time to be alone, together in
small groups and time to work in the studio. Making time to be away from school was important;
the two women who did not stay over or participate in significant parts of the retreat, were local
and had access to their schools. They were unable to pull themselves away. I will be addressing
this issue in my dissertation.
Lucy Barbera , my co-facilitator and I, carefully set up an art studio space in the monastery.
The room was air-conditioned and light. We set out materials on tables so that they were
available and attractive. Materials were set out on tables covered with white butcher paper to
enhance the texture and color of the materials. We used the studio during structured activities
and it was open 24 hrs. a day for the participants' use. Some of the women chose to work in the
studio during the evenings or early morning. Lucy brought a variety of CD's and music was
played at various times in the studio. In addition to the studio room, there was a lovely living
room available to us for group discussions and our Theatre of the Oppressed work. At times, we
worked outside on the lawn, overlooking the river. The participants were enchanted by the
setting and thanked me for bringing them there. The cost to participants to stay at the monastery
was relatively inexpensive.
During the retreat, we discussed the school environments in which we worked and how they
might be transformed into more welcoming, aesthetic places to establish creative, just learning
environments. Several participants shared that they had, over central office objections, painted
their halls and offices in a way that was more welcoming. School environments are often
oppressive and the focus of considerable power struggles. Having had this experience at the
monastery, one of the retreat participants decided to take her staff on a retreat to a country setting
this fall.
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. My Role:
During the summer retreat, I functioned as an administrator, co-facilitator, researcher and
occasional participant. I administered the arrangements with the monastery, made sure
participants had transportation connections, and paid the bills. Much of my co-facililating was
during the planning phases and during times when a decision needed to be made concerning the
changes in our plan. I also refocused the group and provided overviews of each day. I allowed
Kwardua to take the lead on the Theatre of the Oppressed, her expertise, and Lucy on the mask
making and movement sections. I took the lead on the visual journaling and writing
components, areas of my strength. I decided to let my co-facilitators take the lead during most of
the retreat so that I could focus more on my role as researcher. I took notes and observed . At
times, during several of the Theatre of the Oppressed, the movement activities, I participated
with the group; I found that without participating in the art experience, I was not as in touch with
the pulse of the group as I would have liked. By participating at times, I felt more in touch and
could make more informed decisions about what needed to happen next. As a former school
administrator, I also contributed my experiences with the group as a way to raise questions and
empathize with their experiences. This blend of roles worked well. Prior to the retreat I invited
the participants to suggest and/or facilitate activities for evening sessions and as "light and lively
" activities. I suggested that perhaps small groups might want to discuss in more depth, some of
the topics that were raised by the group, including homophobia in schools, nepotism or share a
video concerning social justice in schools. One woman volunteered to lead a drumming circle,
which we incorporated into the program. During the evening times, I was more of a participant
and researcher than facilitator.
c Schedule: Our schedule for each day of the retreat was as follows:
8:30 - 9 Welcome, coffee and muffins
9- 12:30 Workshop
12:30 - 1:15 - lunch
1:30 - 4:00 : workshop
4- 6 - break/ studio/ rest
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6- 7 : dinner
7- 9 : optional discussion/ studio
Our schedule varied slightly each day, depending on the needs of our group. The facilitators
negotiated any changes in the schedule with the group. Each day built upon the issues and
feelings raised during the previous day. Prior to the summer retreat , I conducted several
planning sessions with each of my co-facilitators. Our plans were used as a framework and were
modified as the group needed. It was important for me to maintain the group's focus on our
purpose and the purpose of my research. The group bonded considerably during the spring
retreat and at times, I needed to refocus the group; some participants wanted to engage in side
conversations and unfocused discussions. There was little resistance from the group to my
attempts to refocus. They seemed amenable since there was ample time for such discussions in
the evening and during breaks.
d. Specific Professional Development Strategies Implemented:
Day 1, July 16
Morning:
• Name tags, working on prompts on the flip charts
• Introduction
• Breathing
• Free write: Something significant that happened since last retreat in your role as an
educational leader working on social justice issues in your school.
• Round robin sharing of points from the writing
Lunch
• Theatre of the Oppressed
o Name game with sound and gesture
o Machines
o Machine of school, reflection
o Blind series
o Play with the object, pass the object
o Group knot
Afternoon:
• Mirror line
• Mask of the Oppressor, make the eyes of the oppressor, the mouth, gesture, one work
he/she would say, etc
• Image of Oppression/ tableau demonstration
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• Debriefing
• Movement with scarves to music
• Reflection
• Orientation to visual journals
4-6 free time
Dinner
Evening:
• Sharing of photos that we brought from school and discussion
DAY 2: July 17
Morning:
• Theatre of the Oppressed , continued
• Check in: How are we feeling now about yesterday? ( in pairs and then whole group)
• Human Race (on the hill) with discussion
• Visual journaling
• Wheel Exercise:
o Fear and It’s Opposite / creating body masks/internal , then external
monologues, then dialogs, viewing each
• Revelations: In pairs, create a scene. In your role as a educational leader play a current
situation in which you each have a secret that is revealed in the dialog
Lunch
Afternoon:
• Choosing a story to tell that resonates with the group. People volunteer to tell about a
conflict in which they are experiencing in school that is unresolved, you are the
protagonist and there is a specific antagonist.
• Voting on which scene to play before the group
• Playing out one situation “Censorship/closed communication”
• Lightening Forum: People take protagonist's place to show possible alternative ways to
get what she wants.
• Reflection
Evening session options:
• Open studio
• Resting
• Discussion
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DAY 3: July 18
Morning:
• Check in
• Drumming
• Options for the morning: Can move to other forms. Creative connection.
o Write about an oppressive situation you are in as an educational leader. (Similar
to the skit pairs). Use creative non-fiction techniques. You are the protagonist and
there is a specific antagonist.
o The rehearsal
o Then, write about the dialog you imagine with the antagonist. What do you say?
What do you do? What do you imagine will happen / what the antagonist will say
or do? Then what? What will you then say or do to get what you want?
• 2-D Visual Journaling:
o Same thing but visualize or combine the writing and the images
o Or take a theme that came up for you yesterday.. Silencing/ exclusion/
Marginalizing/speaking out / Fear and It’s Opposite
o And how do you visualize the “bridge” getting to a resolution that meets
your needs
o Visualize the resolution in which you get what you want
• If 3-D mask...
• Or mask: Transparency, revealing more than it conceals, reveals the part of the being
that is ready to be put into action, shaman done to evoke a higher power...
o Opportunity one with dividing line/opposite...
o Heroes mask/ warrior’s mask/
o What theme emerged for you that you want to explore? (ie, The dimensions of
silence)
Lunch
Afternoon:
• Logistics: Money/ receipts/work owed/ make sure work is dated with your name /with
any description on the back.
• Evaluation forms.
• Sharing our work:
• Guidelines for processing
• First the writing and the masks, visual journals
• Next steps: What would you like to see happen in November?
Closing Circle
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4. Gathering Feedback:
The retreat was video and audio taped. Several times during the retreat, we paused to reflect on
that strategy. At the close of the retreat, I distributed a feedback form to all participants. The
forms were due back to me in early August. Thus far, I have received six out of twelve of the
feedback forms. I anticipate receiving all twelve responses before the next retreat in November.
As I received each participant's response, I asked follow up questions, via email in capital letters,
to which each responded. I have attached the feedback too that I used.
5. Preliminary summary of participants' responses:
The following are excerpts from the participants' feedback questionnaires. All names have
been changed. .
1. What specific social justice issues that exist in your school did you examine this
weekend? Try to name the specific oppressions that you and perhaps others experience in
your school.
BETH: "...silencing by a group (i.e. group of males on our Personnel Committee who wanted to
hire a black male; the women argued against the candidate but the forcefulness of the men
overrode them)..silencing around an issue (race, homophobia) or people who silence themselves.
NANCY: "....students doing community service work at my school. ..The concept of helping
others and doing that with humility and with open communication and with a listening ear to
recipients that would like assistance is important. I would have liked to had more conversations
about caring about others in third world countries and how we teach our children and ourselves
how to do that well. I have been involved in projects in the Dominican Republic building a
school, work in West Africa and have visited schools in Mexico. I believe it is important to
teach children respect, empathy, effective communication and cultural understanding for
commitment to folks outside our immediate community....GLBT issues that I addressed in my
former school....GLBT issues in my new district. ...I am aware of a gay teacher that I
recommended being considered for a position that ultimately did not get hired partially because
there was a fear that another gay teacher in a room near her would have a relationship with her.
They have 25 yr,. difference in age and I find this concern stupid. I want to address this with my
Superintendent.
MARY: " Those of power and control, the unethical use of power to coerce and as a means to an
end. These were very powerful themes this week which exit in a most apparent way.
CAN YOU TELL ME MORE ABOUT HOW THESE ISSUES EXIST IN YOUR SCHOOL?
CAN YOU GIVE ME A FEW EXAMPLES THAT YOU ADDRESSED ( OR THOUGHT
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ABOUT) DURING THE RETREAT?
" Our past and present superintendent both use power and control to get what they want or to
harass and demean those who work directly with them. The irony is that the past superintendent,
( a man) was dismissed and one of us( another women principal) was promoted to that post.
Since we, as principals had all experiences his wrath, control and unethical behavior, I felt that
she would use those experiences to improve the relationships on the administrative team.
However, it appears that she is following his example and has begun using some of the very
same tactics. Though the year is still very new, we still have hope...I thought of this situation
often during the retreat and other issues of power and control were brought about through
others' experiences.
SUSAN: "The sense of privilege that my 31 yr. old, male, Jewish, Principal owns and the way
that sense of privilege is oppressive to the staff, parents and students."
LEE: "Social Justice issues 1 : oppression: being silenced when the ideas are empowering."
LORRAINE : "Issues around" equity of expectations" for all children."
CAN YOU EXPLAIN? WHO HAS WHAT EXCEPTIONS FOR WHOM?
LORRAINE: "From all the staff and adults about the students., as a magnet schools which has a
populations of many different kinds of kids from a wide range of backgrounds, even in my
wonderful school, I believe there is institutional racism when there are not equal expectations for
all of the children...how to build trust in a diverse community and become culturally responsive
institutional racism as the great oppressor."
2. How did the art-making activities during this retreat HELP you to examine these social
justice issues from your perspective as an educational leader? In what ways? How did each
specific activity help you? Please refer separately to each activity that is listed on the flip
chart. For example, how did the Theatre of the Oppressed help you and in what ways?
SONIA: "The artmaking helped because I was able to channel my thoughts and emotions to put
down creatively what I was felling at the moment. I look at the mask I put together and it
represents a strong yet balanced woman. At the same time the Hill exercise make me ask an
important question, "Why am I standing here at the bottom?" I didn't feel I should be there given
everything I've accomplished and given where I stand today."... the Theatre of the Oppressed
helped me to confirm that my strategy in handling a peer who blamed me for taking a job she
wanted was the right one because she finally realties that I had nothing to do with the
selections..."
LORRAINE: "Theatre of the Oppressed helped me put a face not only on the oppression but the
day to day occurrences of 'power playing itself out. It helped me to look at my own leadership to
see if I am an oppressor."
CAN YOU TELL ME A BIT MORE ABOUT THE ISSUES OF POWER THAT YOU ARE
DEALING WITH IN YOUR OWN LEADERSHIP? ANY EXAMPLES?
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LORRAINE: "...you know who I am and what I am about, or a good approximation of that .
People are still 'scared' of me and often are silent because of my position. I would very hard to
eradicate hierarchy, but everyone has been raised in that kind of paradigm and it is hard to make
that shift."... power struggle with my own 'boss' I like her a lot but suddenly there's a dress code
for me, she is insisting that I write the' pledge' policy for our district, when she knows how
opposed I am...."
visual journaling- spectacular at helping me to define issues facing my school including the
institution of government and the state ed. dept...."
SUSAN: "The Human Race activity had a powerful impact on me as an African American
women who is an educational leader. I saw my position in the race and realized my own sense of
privilege and the ways I participate in the oppression of staff, students and parents."
... Fear and It's Opposite ( which was anger for me) helped to revel my own feelings of rage at
the injustices of my own life and how I use this anger in a negative way.. This approach spill
over into my professional life at times and I shift into the role of oppressor"
BETH: "...Theatre of the Oppressed exercise on the hill opened the discussion of race and class
in a new way. I have been aware of my white privilege, but the exercise was a dramatic
demonstration of how far ahead I am in relation to many of my fellow women, I felt we were
able to take the discussion of race and class to a new, more intimate level after the exercise...
....I realized, like Lee I am in my need to assume that people are just and fair. ... I had been
thinking I would just ignore ( the evaluation rating) and sign it but now feel the need not to be
silenced."
MARY: ".... the hill, where we were asked questions and then asked to move either up or down
the hill accordingly. I became aware that we all have had major oppressions in our lives in one
way or another and have had to overcome these. The oppressions have made us stronger, more
intuitive, more compassionate women....Oppression doesn't just follow racial , socio- economic
and gender lines. It is a combination of these plus our environment, our drive , our committemnt
etc. .... oppression in lessor forms with my faculty in terms of popularity, favoritism etc.... This
exercise has helped me to find these forms of oppression among my faculty and be proactive to
combat and alleviate then. It makes me a better leader."
"... visual journal helped me explore these feelings deeper It served as a release for me and
helped me realize tat I must be true to myself until I move on ( translation: assume another
position in another community).."
NANCY: "... Theatre of the Oppressed were very stimulating and different as I have had limited
experience in the expressive creative arts modes... I got a book from the gift shop for mediating
on the state of cups. I wish to apply the same principles to the bow applies to feeding/ nurturing
the homeless. ... I enjoyed making the mask and writing for the journal....Artmaking is a lot of
fun...Insights I got was to stand clear, strong and true on oppressive acts and address them. I felt
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folks focused on people oppressing them. I found that curious to the extreme since we also are
in position of authority and ...potential oppressors. "
"I loved the visual journaling, writing a free form kind of poem, taking black and white photos
and making the mask. Originally I was going to make a very different kind of masks with
different colors. Given the materials I went for blue/ purple to represent the place any of us can
be when we mourn personal or social injustice.... the value of this work is having time to reflect
and express creatively our thoughts is therapeutic, education and an ongoing process as we
evolve. Multiple versions of an art form is to mediate on something important and create
multiple pieces on that concept. ...for myself I see I want to do a series of bowls as vessels of
giving and receiving."
MARY: The Theatre of the Oppressed helped me to examine the perspectives of those in a
world that I do not live in.... the visual journalizing help me introspectively. It helped me to
understand my own personal oppression and served as a release of those oppressions so that I
may move forward."
3. Were there any activities that were hard for you to connect to in helping better define
your work as an educational leader working on social justice issues in your school
community? Please refer separately to each activity that applies. For example, what about
the visual journal making made it hard for you to connect to defining your work as an
educational leader working on social justice issues in your school community? Please refer
to the list of activities on the flip chart.
LORRAINE: "The mask making didn't do anything for me."
LEE: "In the visual journal, I was more interested in understanding my own blocks and finding
resolution."
SUSAN: "No."
BETH: :"No. I connected to all the activities though doing a mirror image of a group of people
was difficult. Spatial relations, direction finding is hard for me."
MARY: " The most difficult activity, which I chose not to participate in and didn't have time for
was the mask-making/ I couldn't really get into the art form and could not connect with my
work as well as the others."... masks really are not my thinking; perhaps we wear so many that
the connotation was negative for me. ..."
NANCY: "There was not enough time to switch from Theatre of the Oppressed activities to
visual activities..... I would have enjoyed having time to reflect and express visually what I got
through Theatre of the Oppressed expressive arts."
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4. To what extent has your thinking about the relationship of art-making to your work as a
social justice activist/ educational leader shifted during this retreat? Please explain.
LORRAINE: "I have begun to consider ways for my faculty to connect by collectively doing art
together.... there are lots of walls and art is a way of redefining the power balance. Even the
drumming provides opportunities for power shifts to take place."...at the faculty level there are
walls between ethnicity and rungs of the hierarchy. ...( at a faculty meeting) ... we wrote " I am
From Poem' and share them in small groups. It certainly was amazing and broke down or
attempted to bring down the walls some. We are putting them together, along with each staff
members' hopes and dreams , as a collective document to share... Thanks so much for this
activity. It was miraculous. "
LEE:." I am sure faculty group work can enhance healing within the work place and teach the
students about issues, by noticing the power gained by faculty. If the faculty works to create
together they emerge healed and empowered."
SUSAN: "I see it as a powerful way to express ideas and feelings related to social justice
activism. I also see ways to use it in the classroom with students."
BETH:" My thinking has broadened. I usually have a more narrow view of art as painting - not
visual journaling, drumming, movement, body sculpting. I am a word person, but in the visual
journaling I really enjoyed the challenge of finding a right image to fit my ideas and/or letting a
new image I found change/broaden/deepen my concept. (P.S. I missed having some of Lucy's
movement.)
MARY:" ... Theatre of the Oppressed and the visual journal were very powerful. They
demonstrate other representational forms.... I would say that the non- written forms of
communication are more powerful, because the visual forms allow for greater interpretation and
expression. It is more holistic."
NANCY: " ... I found the Theatre of the Oppressed to be extraordinary in creating addressing
social injustice as an art form. I find myself wanted to participate in more activities and that is a
shift for me. I want to create art from reflective reading I obtained from the monastery."
5. In what ways, if any, did you expand your art-making (creating visual work,
performing/ moving/ writing) skills during this retreat?
LEE: "acting, drumming."
SUSAN: "I don't create time to create visual art in my life. Having the opportunity to integrate
writing and visual art was amazing."
BETH: "Mimicking the body structure of another group was a challenge. It was so
hard/confusing that I got frustrated and didn't enjoy it."
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MARY: " I don't feel I expanded them but I did begin to think more deeply and reflectively., I
was much more inspired by these art forms than those of the last retreat.,... Since I write so much
anyway, I didn't feel like using my brain in that way. ..."
NANCY: " I took a risk in making a bowl from malleable materials. I took black and white
pictures of the monastery. I was drawing again after 25 years."
SONIA: "I was able top respond creatively vs. react suddenly to a crisis or a situation in school.
I have to say that the women in the retreat taught me more about strength and power than any
seminar or workshop I 've attended this far in my career at IBM or in school setting..... Jane's
situation was a eye opener and it served to accept the realization that the system is flawed ... but
we do not have to give in and accept defeat."
6. Did you experience any shifts in your attitudes toward art-making (creating visual
work/performing/moving/writing) since the last retreat? If so, please explain.
BETH:" My attitude on how artmaking can be incorporated into staff development and
curriculum has again broadened. ...I would like to try some role plays and, if we can find the
time, some visual journaling around a theme."
LORRAINE: " Not really. I would have liked more opportunities to write."
LEE: "I feel an understanding of where my goals as an artist have evolved ritual , prayers,
politics and displaying social statements with art are my priorities as I move forward."
SUSAN. " Not really. I love artmaking and wish I had more time to express myself..."
MARY: "The biggest shift I experiences was a reawakening of a person that I had lost ( or
covered) 17 years ago. So my attitude toward artmaking didn't change, just a revelation, an
epiphany- it felt cleansing... The person I list 17 years ago was an exciting, creative , free, avant
garde spirit. Becoming a mother and a teacher in a conservative communicate has suppressed
much of that. .... it felt so good to be free, accepted and allow the walls to come tumbling down.
The group is so open, free and accepting. It is extremely validating."
7. How did you feel about sharing your work and performing/moving in front of this
group? Why?
SONIA: "I am more open and less concerned about speaking out of acting out my emotions as
everyone in the retreat is in the same situation. All of us a re at different levels, but I found my
self giving advice to an administrator on how to deal with a superior in order to get what she
wants....I enjoyed the thoughtful, supportive, interesting comments of the group and learned from
them. Of course, there is always a worry - not large - that this part of me will not be appreciated
and will be rejected."
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8. How is using art making as a strategy for exploring social justice issues in your school
different from other professional development strategies which you have experienced?
Please explain.
LORRAINE: "All we do is talk, talk, talk! It is time to use alternative methods to build
community with adults. A trust building and power shifting ,... would be focused of the
artmaking at my schools. How to work with 60 people through would be a real puzzle...."
LEE: "It is a skill I could lead with my faculty with some allies from our group, therefore putting
my in an activist role."
SUSAN: " It is completely different. Most professional development in this area is based on
reading, discussion/ writing and reflection. The use of art is uncommon.
BETH: "It (artmaking)_ is more intimate and more open to exploration".
... Artmaking allows me to get in touch with more personal /intimate parts of myself and also
share them with others through the sharing with others is dependent on a certain level of trust
and intimacy with the other participants. ... other professional development strategies are more
formal and there form feel more bounded./ guided/ result focused. The artmaking is more opened
and therefore, I am more ready to follow all paths rather than selecting one that will reach a
particular goal."
MARY: "First of all, social justice issues are note even discussed in my school other than by
me. Secondly, professional development for our education leaders does not exist.
It is more intimate and more open to exploration."
NANCY: " It is more personal to me... A person needs to freely choose to do this. In schools I
have worked with, I have been able to be myself and create art."
SONIA: "I have not been to a seminar ore workshop where strategies to explore social justice
has been address or covered. I think that artmaking is a good vehicles because it involve the
senses and is visual. It also awakens us to the need for engaging other intelligences...... Writing
activities such as ' I am From' ... will break down barriers when people tell who they are and
where they come from... I think I probably surprised more people than not when I read my poem
which revealed who I was and where I came from. It kind of puts on the same page or on a level
playing ground....."
9. How might you take back and use some of what you learned during this retreat? (i.e.
how to "rehearse" before a meeting with your "antagonist", using visual journaling
personally or with others , how the Human Race activity might shape your awareness of
yourself in relationship to people " down the hill or up hill" from you. )You may want to
refer to the list of activities that I handed out and to other experiences that you had during
the retreat.
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LORRAINE: .. the human race ... in my school. I don't know and can't guess what the responses
would be. Visual journaling is something I would definitely use with staff.
MARY: "... though I may do so with some trepidation, I could ultimately take back and use all of
what I have learned... My trepidations simply means that bringing back any of these activities
back to school with me would be very" out there" way to approach things. Again, I reiterate
how conservative this community is."
SUSAN: The Human Race and Fear and It's Opposite .... have definately brought an awareness
to ways that I may contribute to the oppressive environment hope to use that awareness to be
mindful and make a conscious effort to change those behaviors."
BETH: "I would like to try some diversity training using some of the insights I gained at this
retreat - i.e. silence/silenced which also plays off our setting in the monastery. "
"I would like to explore what people get out of being silent, what they lose, looking at staff and
students who are quiet (what part does gender, race, ethnicity, personality play); which
kids/adults find their voice, which don't, and how does it happen."
LEE:" The human race activity is a constant reminder to look back while moving forward,
It is unfortunate that I am usually too busy to have time to do the visual journaling. That is why a
group that meets periodically could support that work."
SONIA: "I teach English, so I would definitely use the " I am From" poem I hope to break down
the barriers of social and class distinctions that exist. I would also use the non- fiction piece
regarding ' the other'.
6. Preliminary Analysis:
This work that I have shared is in the preliminary stages and therefore a complete analysis
will come later, after the last retreat in November 2002. Based on the feedback excerpted above,
I would say that this preliminary data suggests several points.
Artmaking has the potential for being a powerful, engaging and enjoyable strategy for
educational leaders working on social justice issues in their schools.
These participants found that Theatre of the Oppressed activities and the visual journaling to
be quite effective in helping them access their experiences and develop insights and alternative
strategies for challenging oppression in their schools.
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Artmaking strategies seems to be intimate, holistic, personal, therapeutic, community
building, allows for multiple perspectives, non- standard, without predetermined outcomes.
Participants may use some of the strategies in their schools with faculty and/ or students.
Some participants will take back their feelings and insights concerning the issues that they
explored. Some participants feel they and their schools are ready to begin this work, others may
invite members of the group to co-faciliate and support them. Others will try to make time at
home for artmaking.
It is important to create a safe, aesthetically pleasing space in which women administrators
can have time to reflect and to create. Community support for examining these issues and for
artmaking is quite valuable.
Artmaking has the potential for leveling the playing filed and reducing hierarchies in schools.
Being silenced emerged as a significant theme for this group. They selected this theme to
explore through Theatre of the Oppressed techniques.
Some participants have reclaimed their artistic creative selves, lost or covered through the
years.
During the November retreat, we will continue some of the Theatre of the Oppressed work, do
creative non-fiction writing and poetry, continuing on the theme of being silenced and silencing.
We will reflect on the retreats as a whole and implications for their work as educational leaders
working on social justice issues.
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REFERENCES
Boal, A.(1992). Games for Actors and Non-Actors, London: Routledge.
Boal, A. (1995). The Rainbow of Desire. The Boal Method of Theatre and Therapy. Translated
by Adrian Jackson. London: Routledge Press.
De Ciantis, C. (1996) “What does drawing my hand have to do with leadership? A look at the
process of leaders becoming artists.” Journal of Aesthetic Education, 30(4).
Diamond, P., & Mullen, C. (1999). The postmodern educator: Arts-based inquiries and teacher
development. New York: Peter Lang.
Rogers, N. (1993). The creative connection, expressive arts as healing. Palo Alto: Science and
Behavior Books.
Regan, H., & and Brooks, G. (1995) Out of women’s experience: Creating relational leadership.
Thousand Oaks, CA: Corwin Press.
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