Barrett, T. (2009). Stories. The International Journal of Arts Education, 41-54.
Barrett’s article “Stories” speaks to a broad audience through a series of narratives that enhance deeper understanding and perspectives through the experience of sharing. Barrett argues that “...if people were more open and transparent about their lives [;] we would have a more compassionate world” (Barrett, 2009, p.44). Thus, prompted to gather varied points of views from colleagues in the field of education, students, including the authors own experiences; sharing commonalities how they see the world, experience hardship, and influenced by art. Narratives help broaden peoples’ perspective, and in the process of sharing, they can “heal” (p.46) as the narrations come to reveal (Barrett, 2009). Essential questions such as “how does [one] find language for the deepest of all issues?” (p.50) highlights, the particular healing property art has (Barrett, 2009). Initiated by personal interests to explore the significance of dialogue exchange, analyzing artwork interpretation, the author supports how emotionally, connections with art allows us to find a greater meaning to our human experience (Barrett, 2009, p.51). Theoretically, one can examine how many of our questions may be answered through art; in its interpretation, and how our peers’ experience, though contrast to our own, may enhance a new outlook. I connect to how significant dialogue exchange is. When I share artworks for example with my students and ask to interpret a choreography, I am in awe how my point of view will shift. I also come to understand my students in a more profound way how they perceive the world and how they interact with it. Unbeknownst to them, my stories, pain, love, and past inspires my choreography. They may see beauty or peacefulness I had not felt initially but, become aware of when seeing dance through their eyes. Most important, is the ignited creativity from my students that comes forth when establishing dialogue to describe how they see the movement represented.
Garber, E. & Garber-Pearson, E. (2012). Tramps and bruisers: Images of roller derby and contemporary feminism. In M. Bae & O. Ivaskevich (Eds.). Girls, Cultural Productions, and Resistance (pp. 92-106). NY: Peter Lang.
This paper discusses the influence of imagery, vital for educators in particular to understand. For example, roller derby images influence onlooker perceptions about the sport that often oppose the sentiments the athletes may actually have about themselves. Case in point, there is a particular image associated with the “tough girl” (p.95) that is either violent or eroticized as Garber and Garber-Pearson (2012) shines light on when one thinks of roller derby. Thus, providing fuel for the exploration of generational influences, agency, and media perception of female empowerment (Garber & Garber-Pearson, 2012, p.97). Imagery is incredibly influential and when evaluating media’s “girl power” (p.98) branding deeper, it is apparent there is a correlation between influences and idealized notions that threaten a female’s body and self-image (Garber, 2012). Contrast to, the images athletes (the roller derby girls) have set for themselves as a reflection of creativity and expression (Gerber, 2012, p.98). Through “email interviews… observations of performances [and analysis of] poster[’s] advertising” the authors frame how “ roller derby [is] an expression of girls’ empowerment … that embodies athleticism, creativity, play, community, …and resistance to traditions of both felinity and 1970-style feminism” (Garber & Garber-Pearson, 2012, p.97). In my experience, images play a significant role in whether a student particularly young males, want to engage in Ballet. Typically, a ballerina, is the prominent image one envisions when describing the art form and her male counterpart, is rarely at the forefront in popular culture posters, or other forms of advertising. To break the stigma that Ballet is a female-only art form, I often showcase renowned male dancers, choreographers, and pieces where males are highlighted in order to create an inclusive environment where my male students feel encouraged and supported to engage in the Dance Arts.
Lee, N. (2012). Culturally responsive teaching for 21st-Century art education: Examining race in a studio art experience. Art Education: Journal of the National Art Education Association, 65 (5), p. 48-53
Lee speaks to educators in this article; specifically, how to correctly approach race dialogue in art education. There is a clear argument of the “importance that teachers [must] understand that racial experiences are real and impact how ... [one] views and understands the world” (Lee, 2012, p.48). Thus, by examining the “role of culture and race in students, live’s” (p.48) educators may become better equipped to address certain viewpoints and help nurture that outlet of expression through art for greater understanding (Lee, 2012). Dialogues about race and ethnicity tremendously aid students to understand the “lens” (p.49) in which they see the world and become enlighten in regards to understand oppressive thoughts and behaviors (Lee, 2012). Light is shown, questioning if teachers are equipped to enter the field as the cultural dynamics of students has grown so diverse. More poignantly, what is the impact of “lack of [multicultural] teachers” (p. 50). The interest of students is primary for the author and states, by stemming away from “…color-blind socialization … in the lives of … diverse students” (p.49); engaging in racial issue, educators become aware and “begin to develop the skills necessary for cultural proficiency” (Lee, 2012, p.50). Ultimately, the most significant impact is in the classroom itself “…[because] art-making provides [an]…overlooked avenue of understanding and an underused avenue for exploring.” (Lee, 2012, p. 50) Referencing scholarly articles, theorizing how “many teacher’s cultural expectations [may] not [be] aligned with students’ cultural needs,” (p.50) provides fuel to seek the significance of addressing racial issues in art education and made apparent in group activity dialogue using “a constructive epistemological stance” (p.51). Dancers, in particular, communicate through movement to convey an emotion or an outlet of expression. When I introduce choreographers from various ethnicities into my curriculum and allow the students to physically also perform the repertoire, the contributions of these artists become much more memorable than If I were to mention their impact unto the Dance World in a lesson by solely, a verbal reference. I concur with Lee (2012) that retention of the lesson is my primary objective and that through “hands on” (p.51) learning, children have a life long memorial experience.
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.
Morris and Carpenters’ article addresses educators who may greatly benefit from the authors' research on the impact of feeling invisible amongst our society. Specifically, signing light on curriculum that may not, if ever, address or know how to address these issues. The exchange of narration is vital for, “exploration of invisible identity and is educationally significant because research in the areas of racial identity and multicultural identity development is ... relatively young” (p.199) and as educators, one strives to maintain, a positive and inclusive learning environment (Morris, C. B.& Carpenter, 2014). Through the “ tell [ing] of ...stories as invisible others ...[educators and students benefit] reconsidering and reconceptualizing ... disempowered positions” (Morris, & Carpenter, 2014, p.195). By questioning the systematic way, things in our society are one can begin that dialogue how people are represented. Quintessentially, this research provides evidence “stories are not only informativ[e], but they also have the power to convey change” (Morris & Carpenter, 2014, p.207). Stories, as presented, clearly expose how people have experienced feeling marginalized. Thus, having a curriculum being able to address these issues or a “methodology available in ... various educational environment[s]” (p.207) is the most significant interest this research targets (Morris & Carpenter, 2014). Through gathered autobiographic stories spanning fifteen years, issues such as “race, representation, internalization, and implications ...[help]... explore how [people] ... have been affected by history, social structure and culture...[ultimately, to help address the affected, deal with our own experiences and]... “deal with/in institutions for social justices” (Morris & Carpenter, 2014, p.195). Theatrically, as referenced by Ladson-Billigns and Tate (1995) “one’s social reality is constructed by the formulation and exchange of stories (Morris & Carpenter, 2014, p.195) and “the exploration of invisible identity is educationally significant because ... negative attitudes and pre-judicial treatment... threaten the self-concept of minority youth” (p.199) something one must be conscious of as an educator (Morris & Carpenter, 2014). This reading made me heavily evaluate how often I incorporate dialogue with my students in regards to their differences so I may represent them better in dance as part of our lessons beyond the integration of successful choreographers and dancers of different races when choosing choreography. I want every one of my students to feel prideful who they are in class and it is important to showcase an array of successful multicultural artists who mirror the ethnic/cultural backgrounds of my young students in order to see how inclusive Ballet (a historically European dominant art form) world is.
Staikidis, K. (2007). Maya paintings as teachers of justice: Art making the impossible possible. JSTATE, 27, 79-118.
As a student and fellow painting artist, Staikidis (2007) discusses the significance of Maya paintings in this article as part of an arts curriculum. The author, speaks to educators and students alike to see the message within the images; paintings become a teaching tool, reflective of rich culture and historical documentation of the past. The author argues art, is a “need [for] creative expression [; ]” ( p.126) a means to document and hold on to traditions (Staikidis, 2007). As a result, “paintings [become] the vehicle to present and commemorate the identities, as well as the atrocities, experienced on a daily basis (Staikidis, 2007,p.126). There is concern for “particulars rather than generalizations” (p.127) both for indigenous and non-indigos how one should observe; questioning a painting’s subject matter as a “reflect[tion of ] the loss or maintain of Mayan cultures” (Staikidis, 2007). For “Mayan artists[,]… there is a felt need to visually represent community values” and, there is a ‘transmission [of] the tradition of the Maya cultures…separate from that of the dominant one” (Staikidis, 2007, p.28). For onlookers, “paintings … capture and crystallize the essence of Maya culture” (Staikidis, 2007, p.131). Various interviews by Mayan painters, sharing similar stories of cultural identification and need to preserve traditions through their art provides evidence of the theory paintings are a tangible narration, “both visual and vocal” (p.129) of a people’s rich history and voice for political and social injustices to a community (Staikidis, 2007). In terms of my world as a Dance educator, I reflect on how choreography/dance, similar to paintings, can encapsulate or record historical accounts. For example, folk dances that have influenced classical repertoire or found through character work illustrating particualr eras in a Ballet. As well as, how Traditional Dances, tell of creation, war, or harmonious periods. Dance, in this instances, vocalize stories or hermitage, essential to be seen, appreciated, passed on to generations and for students to have exposure to them in art classes, such as the one I teach.
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