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Multicultural Issues in Art Education

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Ann Scarbrough

on 11 February 2013

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Transcript of Multicultural Issues in Art Education

Origins of Multicultural Issues in Education -Multicultural education as a school reform movement originated in the 1960s as part of the Civil Rights Movement

-Prior to 1965, most U.S. immigrants came from Europe

-Since then, the U.S. has become increasingly more ethnically, culturally, and racially diverse

-Today, Asian-Americans and Hispanic-Americans are the fasted growing ethnic groups in the U.S.

-Due to these changing demographics, it is crucial for educators to learn about, understand, appreciate, and teach culturally diverse groups. To Provide a better understanding of multicultural education in the art classroom, lessons should include: 1. Geographical location of the area studied
2. Use of 'local' vocabulary to authenticate concepts
3. Important role of art makers, men or women, in the production process
4. History of the art, the country, and the people whose work is being studied
5. Symbols pertaining to the artwork
6. Socio-economic conditions prevailing at the time the artworks were made
7. Relationship between the past when artworks were made and what changes, if any, have occurred since and how the artwork is viewed at the present time
8. Influence of commercialism on traditional cultures(Hochtritt, 2005) Multicultural Education relating to Art Education Majors Defining Multiculturalism As educators, we need to understand a broader definition of "multiculturalism" that goes beyond race and culture to include religion, language, ethnicity, gender, sexuality, socio-economic status, geographical area, and exceptionalities. Examples of ways to engage Student Teachers in addressing Multicultural concerns Multicultural Narratives, vignettes or short case studies featuring one or more multicultural themes or issues to be addressed
Essays and Dialogue, journals served to approach topics and experiences related to culturally relevant teaching and related political issues
Reflection on the journals to voice dissent and extend the discussion
Build a community of Learners by having the students pick one sentence out of their journals to share with the class per week
Autobiographical Essays help to understand how a student's own culture might influence his or her teaching
Culminating Responses towards the end of the semester
Mind Maps, a way of helping students clarify and organize information Examples of the Needs of Multicultural Education in the Art Classroom ESL, English as a second language learners, students
Comprehending and integrating the many variables that constitute a full education in the visual arts
knowledge and skills about education, art, and sociocultural influences on and within these fields
schools have traditionally presented only a Western art canon and have applied formalism as a universal aesthetic, by implication the entire "West" has written Africa and Asia out of its history
Peripheral positions often are spaces from which one can acquire more complete knowledge
"one major challenge, though, is the mismatch between the increased diversity in student populations, including students of color, English language learners, and children living in poverty and a teaching force consisting largely of white, middle-class females"(Sleeter, 2001) Set of Strategies and Materials for teachers to adhere to that help guide him or her for effective teaching amongst all cultures
Means to ensure the highest level of academic achievements for all students
students will develop a positive perception of themselves by demonstrating knowledge about the culture, history, and contributions of diverse groups
Examples of incorporating Multicultural Education into Art Education Variables can be seen in Art Teacher's certification in the state of Texas released in 2007 Multicultural Issues Caruso, H. Y. (2005). Critical Cultural Inquiry and Multicultural Art Education. Electronic Magazine of Multicultural Education, vol. 7, no. 2, 18 paragraphs. Retrieved from http://www.eastern.edu/publications/emme/2005fall/caruso.html.
Hochtritt, L. (2005). Prepackaged Multiculturalism: A Cause for Concern in the Art Classroom. Electronic Magazine of Multicultural Education, vol. 7, no. 2, 31 paragraphs. Retrieved from http://www.eastern.edu/publications/emme/2005fall/hochtritt.html.
Hutzel, K. (2011). Art Education Online: Possibilities for Multicultural Art Education through International Collaboration. The International Journal of Art Education, vol. 9, no. 1, p20-40.
Kang, Rui; Hyatt, Charles W.. SRATE Journal, v19 n1 p44-51 Win 2009-2010.
Kraehe, Amelia. Studies in Art Education: A Journal of Issues and Research in Art Education, v51 n2 p162-175 Win 2010.
Millman, Joyce. Art Education, v63 n3 p20-24 May 2010. In Art Education In 1990, Wasson, Stuhr, and Petrovich-Mwaniki offered these six approaches to help art educators include a wider diversity of multicultural ideas: 1. We advocate a socio-anthropological basis for studying the aesthetic production and experience of cultures, which means focusing on knowledge of the makers of art, as well as the sociocultural context in which art is produced.
2. We acknowledge teaching as a cultural and social intervention and therefore, in any teaching endeavor, it is imperative that teachers not only confront, but also be consistently aware of, their own cultural and social biases.
3. We support a student/community-centered educational process in which the teacher must access and utilize the students' sociocultural values and beliefs and those of the cultures of the community when planning art curricula.
4. We support anthropologically based methods for identifying these sociocultural groups and their accompanying values and practices which influence aesthetic production.
5. We advocate the identification and discriminating use of culturally responsive pedagogy that more democratically represents the sociocultural and ethnic diversity existing in the classroom, the community, and the nation.
6. We want to focus on the dynamic complexity of the factors that affect all human interaction: physical and mental ability, class, gender, age, politics, religion, and ethnicity. We seek a more democratic approach whereby the disenfranchised are also given a voice in the art education process, and the taken-for-granted assumptions implicit in the dominant ideology (Hochtritt, 2005). References auroritasblogger.blogspot.com
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