Blog Post #3 Annotated Bibliography

1. Morris, C. B. & Carpenter, S. (2014). On being invisible and passing through walls: Toward a pedagogy of seeing and being seen. In (S. Goncalves & M.A. Carpenter, Eds.) Diversity, Intercultural Encounters, and Education. NY: Routledge.

This autobiographic and autoethnographic study is presented by two educators and scholars that tell their stories as “invisible others.” Their intended audience is fellow educators and scholars. While aware that autoethnography has been questioned as a research methodology because of its tendency to be narcissistic and self-indulgent (Holt, 2003), their research is supported by autobiographical theory, critical race theory, and critical pedagogy. the goal for their study is to describe and deconstruct their own specific, personal examples of invisibility, so that we as the reader might move toward a reconfiguration of how these subjectivities survey and are themselves surveyed (Berger & Luckmann, 1966) as both invisible and passing bodies. They encourage readers to go beyond the self of the authors and to engage with their own identities and power as they seek means by which to impact the curricula and methodologies available in various educational environments. When they were writing their stories that were shared they asked, why are we telling these stories? They agreed that stories not only convey information but they also have the power to instigate change. The telling and sharing of stories help overcome ethnocentrism and viewing the world in only one lens. The study serves the interests of those who identify as “invisible others” but then also those individuals who do not. The sharing of stories promote the thought process of all individuals to question their own cultural identities and how that affects their life, thoughts and actions. “Various aspects of personal and cultural identities are in transition and are dynamic. Recognizing our own individual sociocultural identities and biases makes it easier to understand the multifaceted cultural identities of others. It may also help us to understand why and how individuals respond as they do (Ballengee-Morris & Stuhr, 2000).” They state, “Educators who guide their students to make meaning out of this complex and ambiguous world of personal and external identity construction help them to make sense of their own places and spaces. Learning how to make connections and not see subjects or people in isolated, unrelated ways is a lifelong skill that is vitally important for students to learn.” And conclude with “a curriculum of personal and external identity construction, with the goal of social responsibility, helps students to view images in a thoughtful manner so they develop democratic ways of thinking and becoming informed consumers.” As an art educator I wish to accomplish this in my classroom. The world is a large and frightening place and if I can make my art room a safe place where we can talk about these issues and discuss how the students feel then they know they don’t have to struggle alone. They have a class full of others trying to learn and express themselves along with them. The art room is also where the discussion of the effects of damaging visual stereotypes can take place. If art educators can try this in each of their classes there is the potential to have a large population of the next generation to be socially aware and make a positive change.

 

2. Cliatt-Wayman, Linda. Linda Cliatt-Wayman: How to fix a broken school? Lead fearlessly, love hard | TED Talk | TED.com. N.p., May 2015. Web. 28 June 2017.

Educator and Administrator, Linda Cliatt-Wayman, gives a inspirational TED talk to an

audience at the TED Women 2015 event. She speaks about how her experiences at

the principal of Strawberry Mansion H.S. in North Philadelphia, PA. How in a year she

and team of educators got the “low preforming and persistently dangerous” to make

improvements in such a short amount of time.  Within a year the high school was taken

off the list of persistently dangerous after being on the list for five years. The ELA and

Algebra test scores had notable growth after 1 year. On her first day as principal she

had a student yell out “this is not a school!” and she knew she had to be a leader and

make change. She felt a connection to that outburst because she to, was a student of

this low preforming, persistently dangerous environment and with her mother’s love

knew she had to make a difference. Cliatt-Wayman has three slogans that she uses at

Strawberry Mansion. 1. “If you are going to lead, LEAD” She accomplished this by

starting small (ex: locker locks, no chains on the doors, cleaning classrooms) and then

moving to larger issues like budget, new schedule, and new discipline programs

2. “So what, now what?” using professional development, facing excuses head on, and

using a new lesson delivery model. 3. “If nobody told you I loved you today, remember I

do.” To reach all her students that come from a multitude of social, emotional, economic

problems. She talks about how she manages the lunch room everyday to get to know

her students personally. She sings them happy birthday and holds monthly town hall

meetings. This relates to my world of being an educator by incorporating Cliatt

Wayman’s slogans into my daily classroom life. Use her words as an inspiration and

share the same thoughts with my own students.

 

3. Rodriguez, Giovanni. “Why Arts Education Matters In The Age of Tech and Diversity.” Forbes. Forbes Magazine, 09 June 2015. Web. 28 June 2017.

Written by Forbes contributor, Giovanni Rodriguez, expands on his definition of

diversity to include a more comprehensive view: diversity in thinking. His background is

commenting on diversity in the tech world. He began researching a pitch from a Silicon

Valley org called the El Camino Project. The project is looking to implement a pre

college curricula with culturally relevant musical content for hispanics. This project is

very important and necessary because of three reasons according to Rodriguez. First,

as noted by a recent report commissioned by the White House Initiative on Educational

Excellence for Hispanics, students with an education that is “arts rich” tend to achieve

better outcomes in school and the job market, including tech. But with the poorest

schools cutting arts education, Hispanics are among those receiving the most “arts

poor” education because more than 33% of Hispanic students live below the poverty

line. Another reason is that the project is addressing challenges of bringing art

education into these schools. They are keeping the cost low buy being mostly digital

and they are using an app which based on research is most accessible to hispanic

communities. Lastly, the project is using their own hispanic culture in the education. The

mission of bringing back hispanic’s culture is continued by seeking to augment art

education to have a more profound effect. This article is relevant to my life as an art

educator because where I teach has a very high hispanic population and I am interested

in researching the El Camino Project more and incorporating its values and ideas into

my own art curriculum.

 

4. Elementary Teachers Share Arts-Integrated Lessons at the Getty Center

Elementary teachers present their unique ideas for how to connect Impressionism, a still-life painting, and poetry to their classroom curricula. This video was excerpted from the 2012 Culminating Event of the Getty Museum’s Art & Language Arts program. These teachers spent a year long training of professional development and share what they learned. I LOVED the game the teachers introduced from the still life. I will be including that in my curriculum this year and trying them with my class. I noticed that their ideas and training followed along with Bloom’s taxonomy and I was able to recognize the connection from the last few modules previously.

 

5. Chang, E. (2012). Art trek: Looking at art with young children. International Journal of Education through Art, 8(2), 151-167

Eunjung Chang, professor from Francis Marion University, writes about the process of looking at art with young children. Art Trek is the name of the program being spotlighted in this paper. The Art Trek is a leaning program for families with children between the ages of 5 and 12 at Metropolitan Museum ofArt (Met). It interactively exposes children to different artworks across cultures and styles in multiple artistic experiences, by questioning, listening, discussing, playing and drawing in a group setting. With access to museums at an early age, children can experience impressive images, explore cultures and develop skills ta interpret visual language. Early childhood educators often limit art experiences for young children to include only artmaking with little or no time devoted to looking at or talking about art (Shaffer and Danko-McGhee 2004). Art criticism allows children to question, acquire new vocabulary, increase perpetual awareness, and strengthen their descriptive power. Throughout Art Trek, children are introduced to artworks housed at the Met and are encouraged to engage in art-related experiences. Children are art explorers, and by doing this children learn to be listeners and have options and preferences. Also, the paper  states what we, as art educators, always knew, that children are artists.

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