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I've done a similar project to this, but not with as much research provided to students. I would be curious to try this again but allow student access to more resources such as the ones listed.

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I love this idea. I think it would even work great for my younger students. Instead of having them write out dialogue from the perspective of the artist or subject, they could use iPads to record their voices.

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Students feel connected to artwork by choosing segments of various readings that stand out to them. This is much more exciting and interesting to the student than just reading an art history text.

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Creating meaning for students by allowing them to make personal connections with art content on the internet. I could see using this concept for my older students, especially as a useful time filler if they finish early on an assignment.

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"Students who are able to CREATE and READ artworks through personal and foreign viewpoints develop greater critical thinking skills and are more adept to understand and interact with the world around them." (pg. 15)

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Through art history, we are better able to understand our present and future. Knowing art history helps us make connections and relate to our current lives and culture. (pg. 14)

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How can we make art history more meaningful in student's lives?

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Belleville

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The author had many examples of ways to create a queer classroom, however, I felt most of them were aimed toward older students. Although I could envision revamping some of her methods, I'd like to see more examples for younger classrooms.

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I love the idea the article presented on how hanging/displaying a queer friendly poster can send the subtle message that all are welcome in the classroom. (pg. 3) I already have some ideas in my head for posters to be made and displayed in my room!

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A good place to start when introducing LGBT content into your classroom is making it known students are in a safe an respectful environment. (pg. 3)

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There's Something Queer About This Class  

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There's Something Queer About This Class  

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Gude

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To teach for change in my own classroom, I need to be open to correcting mistakes and also be open to changing my own stereotypes I could have. This made me question a lesson I currently implement every year with 4th graders that focuses on Oaxacan wood carvings.

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As previously mentioned a way I try to get students connected to their art is by encouraging students to express themselves. Using a students cultural background as a building block to their art can serve as a means to keep them engaged.

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Although this seems a little deep for the elementary art room, to teach in a culturally responsive manner, we need to go beyond appreciation and awareness for other cultures. By going beyond, this article suggests we teach for change. (pg. 13)

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Cultur(ally) Jammed: Culture Jams as a Form of Culturally Responsive Teaching

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Cultur(ally) Jammed: Culture Jams as a Form of Culturally Responsive Teaching

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Martinez

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This article really made me want to "check myself" and my culturally based lessons that I teach. For the future, I will certainly take into account many pieces of information from this article to ensure I am being culturally sensitive.

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I would be curious to see how younger students, such as the elementary ones I teach, would reflect on race if they were faced with the same challenge as the students in the article - to create a piece of art that conveys their current view on race. I don't know how parents and school administration would feel about myself implementing a lesson like that, however.

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This article brought to light how there is a difference between race, ethnicity and culture that we, as teachers, should be sensitive to. What stood out to me most was the difference between race and ethnicity. Race is defined as a group sharing the same genetics, whereas ethnicity is a group with a common belief system. (pg. 49)

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I do fit into the category in which this article explained that 83.5% of all school teachers are white - so I feel that is it my job to examine racial issues, instead of ignoring them, to develop cultural proficiency. (pg. 50)

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One way I try to do this in my classroom is by allowing students the freedom to make as many choices as possible when creating artwork - my hope is that they are able to add in some of their identity and create a connectedness with their art.

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Racial experiences are real and impact how each of us views and understands the world. (pg. 48)

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Culturally Responsive Teaching for 21st-Century Art Education: Examining Race in a Studio Art Experience 

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Culturally Responsive Teaching for 21st-Century Art Education: Examining Race in a Studio Art Experience 

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Lee

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I would have appreciated an example of how we can sway more towards the later example, instead of focusing on the folkloric displays. The article went on to discuss how use of direct experiences, observations and reflections, deliberation and dialogue, and collaborative actions can contribute to truthful representation of art and culture. (pg. 20) Does this mean that if I include things like discussions amongst students and observations that my folk-like art projects will be more valid?

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There can be a tendency to put an emphasis on folkloric displays and activities that focus on arts, crafts, food, dress, etc. INSTEAD we should focus on allowing for room to explore these cultures, by taking into consideration time, beauty, the past and the future. (pg. 20)

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As teachers, we should be facilitating student learning by allowing student exploration of their own personal issues that are happening within their homes and communities. (pg. 18)

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"using the cultural knowledge, prior experiences, frames of reference, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them." (pg. 18)

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Culturally Responsive Art Education in a Global Era 

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Culturally Responsive Art Education in a Global Era 

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Lai