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Antiracist White Feminist Identity Development

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Antiracist White Feminist Identity Development

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Navigating guilt, shame, and fear of appearing racist: A conceptual model of antiracist White feminist identity development.

This article discusses a topic I wanted to become more knowledge about which is how white women can empower other women in an antiracist way. I will be beginning a new endeavor next month where I will be teaching at a private school with a predominately black student body.

This resource helped connect me with new strategies to engage in antiracist activism.

"By considering the ways in which dominant and subordinated identities intersect to influence a person’s understanding of her privilege, student affairs educators can develop strategies to engage in compassionate challenge and support."

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"...useful tools for self reflection and for building empathy and understanding of people who are situated
differently from ourselves."

This website compiles a number of frameworks for describing the stages of racial and ethnic identity formation.

I explored the shared FSU padlet to find this resource and I am so glad I stumbled across it. While it is a short and concise read, it did allow me the time to explore the other resources within that shared padlet that I never had the chance to do before.

This resource summarizes the stages of racial identity development and categorizes people into the following three categories: people of color, biracial people, and white people.

Reading through the processes enveloped within the integration model helped me understand the crucial point of when to integrate awareness.

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I have just completed the Field Guide 1 assignment and I am feeling pretty good regarding my curriculum project! The topic of self discovery through art has always interested me. I also have witnessed with my students firsthand how art can become a form of therapy and a coping mechanism to address important issues in someone's life. I am looking forward to the additionally resources I can uncover to aid my research process. Any leads are appreciated.

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How do we identify ourselves? How does an educator assist in the self-discovery process in an age appropriate and effective manner?

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A Critical Race Perspective By Theodorea Regina Berry & Matthew Reese Candis

The counter stories offered in this article emphasize race and multidimensionality of identity. I explored in great lengths the detailed journeys of Theodorea and Matthew and their unique perspectives regarding race and identity.

I identified with Theodorea and her concerns about multi-dimensionality, as well as her wish to avoid discussing race and culture at school.

This material helped me understand how others may see this issue and why it is critical to approach it with caution and knowledge.

"Why is cultural identity and cultural experience important in the teaching practice of African American teacher/educators who will serve diverse student populations (primarily African American students) in school settings?"

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I have narrowed down my interest to focus on the discovery of ones self-identity. I have struggled with this topic myself and through the past week's reading assignment I was able to see how much art has helped those come to terms with their identity. I want to specifically research how art can be used as a form of therapy to aid self-discovery. I also want to find ways to make public my findings to help others who may be combatting similar issues.

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"Education is a process of identity formation because we change as we learn; our learning changes our subjective selves" (2003, p.2) -Freedman

"Teaching Visual Culture" by Kerry Freedman discusses curriculum, aesthetics, and the social life of art.

I found this resource through Britney Thomas's blog post when I was researching material regarding social reconstructionism in art education.

According to Freedman, our educational process and the individuals who educate us are critical to the world's destiny. She also emphasizes the value of visual culture and viewing the world in a student's education. Education is strong, and it has the potential to alter the world if students are properly educated.

In the final chapter of the book, Freedman emphasizes the need for peer assessment, portfolio development, and direct observation. As an educator, I will make sure to head her advice in my practices.

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We Need to Teach the Truth About Systemic Racism

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We Need to Teach the Truth About Systemic Racism

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“It’s called good teaching, to tell truths and have students look at a variety of perspectives and experiences—and a rich landscape of experiences. Otherwise, it’s just propaganda” -Crompton

The National Education Association who's aim is to believe in the ability of public education to transform lives and build a more equitable and inclusive society for all children. I actually did not seek out this article, it was emailed to me and I thought it would be a great resource to include for this week's deep dive.

The main takeaways from this article are that some politicians in at least 15 states around the country are lobbying for outmoded and erroneous teaching, redlining historical truths to excuse current damages. Also, many educators confront individuals who wish to overlook the oppressive structures that have affected people of color in our country. This attack on public education is not being taken lightly by educators.

I want my students to think about what they see in the world more deeply. Educators need to utilize critical race theory, prevent disguised censorships, independently research racial injustices, and act accordingly in order to be an effective teacher with a lasting impact on students.

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For more than 20 years, Misty Crompton has taught middle school social studies in Derry, N.H., and she prides herself on using a variety of well researched, scholarly documents, primary sources, and other tools to help students learn the history and experiences-whether Black or White, Latino or Asian, Native or newcomer-of those living within the United States.

"imparts honesty about who we are, integrity in how we treat others, and courage to do what's right," says Becky Pringle, president of the NEA.

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We Need to Teach the Truth About Systemic Racism, Say Educators | NEA

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For more than 20 years, Misty Crompton has taught middle school social studies in Derry, N.H., and she prides herself on using a variety of well researched, scholarly documents, primary sources, and other tools to help students learn the history and experiences-whether Black or White, Latino or Asian, Native or newcomer-of those living within the United States.

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"Ignorance allied with power is the most ferocious enemy justice can have." -Baldwin

This collection of essays is intended to help educators humanize Black people in curriculum, teaching, and policy while also relating learning to the lives of young people.

This book is full with materials that show instructors how to relate curriculum to students' lives and how to ground their concerns and everyday experiences in what is taught and how classrooms are set up. It also emphasizes the beauty and optimism of student activism and group action.

This collection of writings provided me a lot of ideas on how to improve my teaching skills, not just for black kids, but for all kids. The essays covered a wide range of topics, including classroom tactics and lesson plans, how to better understand racial dynamics in schools, and the national background of race relations and racism.

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Our campaign supports teachers with free lessons and resources for teaching about racism and anti-racist struggles.

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How can students alter the world through their art? How can self-identity be explored through art?

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How can large corporations use their platforms to bring awareness to different cultures? How can we incorporate multicultural awareness into our portrait lessons?

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National Museum of Anthropology, Mexico City

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National Museum of Anthropology, Mexico City

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"This icon of 20th century urban architecture was designed to be, more than a repository, a space for reflection on the rich indigenous heritage of our multicultural nation."

This week I chose to take a virtual tour of the National Museum of Anthropology in Mexico City. This museum, which opened in 1964, is dedicated to the archaeology and history of Mexico's pre-Hispanic culture. There are 23 display rooms featuring ancient relics, some of which date back to the Mayan civilization.

I really was not that familiar with Mexican art history, specifically anthropology, so I thought the best way to expand my knowledge of this would be to take a tour of the museum. This museum has the world's biggest collection of ancient Mexican art, as well as ethnographic exhibitions regarding today's indigenous populations in Mexico.

During the tour I was able to see a variety of items, including the Aztec Calendar, a reconstruction of Pakal's tomb, and a Zapotec Bat God Jade mask. The civilizations that arose in Central Mexico are shown in the rooms on the right, and as you travel through the museum, the civilizations reveal how they have evolved through time, culminating in the Mexica (Aztec) display, which is rich of massive stone sculptures. I really liked how the museum was set up in chronological order to make it easy for the viewer to comprehend the real timeline of events.

I learned about the culture of Mexico through the art in this museum and can't wait to share this resource with my students!

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La sede actual del Museo Nacional de Antropología fue inaugurada el 17 de septiembre de 1964 y, por más de cinco décadas, ha cumplido la misión de investigar, conservar, exhibir y difundir las colecciones arqueológicas y etnográficas más importantes del país.

Este ícono de la arquitectura urbana del siglo XX fue ideado para ser, más que un repositorio, un espacio de reflexión sobre la rica herencia indígena de nuestra nación multicultural. Las 22 salas y sus más de 45 mil metros cuadrados de construcción lo convierten en el museo más grande de México y en uno de los más visitados del mundo.

En este importante recinto se albergan los testimonios arqueológicos y antropológicos forjados por múltiples grupos culturales durante cientos de años de historia; a su vez, rinde un homenaje a los pueblos indígenas del México de hoy a través de un nutrido acervo que rescata los usos, representaciones, expresiones, conocimientos y tradiciones que son patrimonio intangible de la nación y un legado que pertenece a toda la humanidad.

http://www.canon.com.mx/registrofotografico-mna-canon/

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Museo Nacional de Antropología, México, Mexico,D.F., Mexico - Google Arts & Culture

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La sede actual del Museo Nacional de Antropología fue inaugurada el 17 de septiembre de 1964 y, por más de cinco décadas, ha cumplido la misión de investig...

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7 Black Contemporary Artists To Follow On Instagram

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7 Black Contemporary Artists To Follow On Instagram

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"Follow, like, buy their work." -Maya Richard-Craven

In my classroom, I highlight a different contemporary artist weekly. I have seen the positive affects that this has had on my students by not only seeing the art of today in action but by also seeing contemporary artists from various backgrounds being successful.

I was pleasantly surprised to stumble across this article by Elle magazine regarding Black, contemporary artists. I think that it is a great thing for such a large media outlet to use their enormous platform to support and bring awareness to this topic. I especially like how they are encouraging their audience to not only learn about them, but to encourage their journey and support them by liking their social medias and buying their work.

The 7 Black artists featured in this article are Hank Willis Thomas, Kehinde Wiley, Kara Walker, Theaster Gates, Carrie Mae Weems, Lorna Simpson,  Derrick Adams. Their Instagram accounts are linked in the article and a photo of one of their artwork is accompanied by a brief biography.

It would mean a great deal to the world of more publications saw the benefit in highlighting social issues such as this.

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There are over 671 million posts on Instagram that are hashtagged #art. But how many of those posts come from Black artists? In response to the death of George Floyd, many Black artists have emerged to the forefront with powerful work. One of Beyoncé's favorite artist's, Hank Willis Thomas, responded with a powerful image of hands of every shade lifted into the air. But Thomas is just one of many Black contemporary artists using Instagram to share their work. Below, a list of seven of our favorites.

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7 Black Contemporary Artists to Follow on Instagram

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There are over 671 million posts on Instagram that are hashtagged #art. But how many of those posts come from Black artists? In response to the death of George Floyd, many Black artists have emerged to the forefront with powerful work.

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"... we can make our classrooms more inclusive and more representational, from the artists we show, to the books we read, to the resources we share, all the way down to how we talk about drawing hair. It all matters." -Tim Bogatz

I have been utilizing The Art of Education's website as a resource for my classroom for years but I have never set aside the time to listen to their podcast. I found one episode (How We Address Race in the Art Room, Ep. 225) and thought that this would be the perfect addition to my deep dive.

Tim Bogartz, Lena Rodriguez, Jen Russell, and Dr. Wynita Harmon address cultural appropriation, inclusion, and representation in the art room in this episode. They covered a number of useful tips for instructors, including doing more study on cultures, appropriation, unconscious prejudice, and just examining oneself first to have a better understanding. Also, when it comes to your pupils, you must understand that relationships are quite vital.

They also talked about how essential it is to teach children about artists from the past, as well as current artists, varied artists, different genders, and representations, and how to include it into the classroom.

I really enjoyed the format of their podcast and can see myself tuning in for another episode in the near future.

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What does it look like to have difficult conversations in our art rooms? How do we work with our students as they take on the topic of race in their artwork? Today's episode is the second part of a conversation about how we address race in the art room with guests Lena Rodriguez, Jenn Russell, and Dr. Wynita Harmon. Full Episode Transcript Below.

Resources and Links

Transcript

Tim: Welcome to Art Ed Radio, the podcast for art teachers. This show is produced by the art of education university. And I'm your host, Tim Bogatz. This week, we are diving into part two of our conversation with Lena Rodriguez, Jen Russell, and Dr. Wynita Harmon. We talked last week about how we address race and how we address difficult topics in the art room. If you missed that episode, please go check it out. It should be in your podcast feed, and we will link to it in the show notes as well.

This week, we are going to continue talking about inclusivity, representation, and cultural appropriation. And just like last week, I'm going to do my best to stay out of the way and listen. We're getting into it mid-conversation, but let's go ahead and dive right in. Here is the second part of our discussion with Lena, Jen, and Wynita.

Wynita, I want to come back to you for our next question too, because I think you have some good ideas here. I want to ask, what are some things that we can do as teachers to create an art room or create an environment that's more inclusive and more representative, like resources, curriculum, even specific lessons? What are some of the areas where teachers can take steps right now to make sure that they're including everyone?

Wynita: Right. Well, I think first off, looking at yourself and just researching more about cultures, appropriation, implicit bias, and just checking yourself first, just getting that deeper understanding. Also, looking at your students, you need to know those relationships are really important. Getting to know them, asking questions, see what they do on the weekend. What did they eat for dinner? You'll gain lots of information and context about your students from that, like they don't always all have both parents at the home. Maybe their parents are working late.

So, just understanding that. And then, I was always mindful about when we came back from the holidays, what did you do this summer? Some students are just sitting around the house. They don't have that money to go and travel and different things. So being aware of your curriculum also, with students.

When you're looking at your curriculum, I also think that it's important to teach students about artists from, not just the past, but current artists, diverse artists, various genders and representations, bringing that into your classroom. I've seen a few contemporary artists like Jerrell Gibbs and how he highlights important memories. So, that's a way for students to bring in their own experiences with art, but also learn about different diverse artists. Kenturah Davis.

Do you teach about specific movements? I always brought up the Harlem Renaissance and it didn't just have to be black history month, but it was definitely a big movement for African Americans to have the arts and the culture and we talk about it. With the way I brought in choice, students could create poetry. They could create art and different things like that. So, just giving them that platform.

Look at your classroom library, bring in books about diverse groups of artists, characters. Students want to see themselves in their school. If you don't have maybe the staff that represents them all, at least bringing that curriculum that helps them connect even more. What else? Looking at your materials. I'm a big supporter of multicultural crayons and construction paper and paint and things like that. I would have, my students put a crayon next to their arm and they're like, 'What shade am I?"

Those are really important things I know growing up, I just had one choice, so it's nice to have those different variances in your materials. When it comes to portraits and drawing your family, you want to be able to express them correctly. Let's see, bringing in topics like identity, portraits, current issues in the world, I think are ways to bring in those diverse experiences that people have. Not necessarily bring it up directly for elementary, but it's a way to have a soundboard for students to like, oh, this is what I'm going through. Or oh, hey, I think this is very important.

I always like to follow Melissa Purtee, and one of her themes that I really love is "Take a Stand". So students will take a stand against some social issue, and I would do this usually with third, fourth, and fifth. They could create posters, they can choose their medium. So just giving them those choices in just that area to create and express themselves, overall, and think about diverse ways to enhance their knowledge.

Tim: Yeah. That is a lot of good advice. All right. So Jen, do you have anything that you want to add, like what you do to create an inclusive curriculum?

Jenn: Yeah, we do ... There's just a lot. I'm trying to organize my thought process here. But we talk a lot about hair in my class. When we break down a portrait ... because I start portraiture in like drawing two, so with my sophomore babies ... I'm pretty sure they're going to hate me for calling them babies, but it's totally fine.

We go through studies and so they do eye studies, then nose studies, then mouth studies. And then as they progress, I'm like, okay, so now we're going to do hair. They're like, "It's just hair. Why?" I'm like, well, how do you draw curly hair? And then they do a spiral motion with their hand, and I'm like, uh-huh (affirmative), if that's what your hand is doing, what do you think the pencil in your hand is going to do?

Because let me tell you, my hair's curly and it doesn't do that. So, it forces them to really think about it. On the list of things when they start doing their hair study, it's like, how to draw braids, how to draw textured male hair or short hair, how to draw wavy hair, how to draw a ringlet curls and where is the highlight? I teach drawing predominantly, so I'm like, "What is a pencil stroke going to look like for it? What do you have to focus on?" And all of these things.

Because it's not only my black kids that have curly hair, we just have so many cultures in our school. And then, on top of that, a lot of my boys get perms and that's a thing that I haven't seen in the last three years. I'm like, okay ... and I'll go sit at a table and I'm like, "Okay, your hair looks different today. Explain it to me. What did you do and how did you do it?" Because a perm to me is different than a perm to one of my kids. The perm to me is to straighten my hair, but a perm to them is curling it, and that's a whole different cultural thing that I had to learn.

So, we do talk a lot about hair. And then we have my kids do an artist that you relate to. So they have to find an artist, and I allow it to be an artist. They just need to find one, because they're like, "Well, can it be from Instagram or someone that I saw on tik tok?" I'm like, "You know what? Yes, because that's someone that you're identifying with that either looks like you are busy making art that calls to you."

So, I said this before, but my classroom is the catch all and I house everybody. So I have trans kids, I have nonbinary kids, I have gay kids, I have straight kids. I have kids from all sorts of financial backgrounds, and I have kids that look all sorts of different ways. So, it's cool to see who they pick, but that allows just the choice to relate to somebody, and they have to tell the class, like why do they relate, how that person relates to them, whether it's because they look like me or they're making art that looks like me, or it's relating to me in, since they're also gay and their art speaks to social issues that we just went through.

It's really cool to see who they pick and why. It just all goes into a cloud database that they can access later, like a sketchbook library. So that's one big thing that we definitely talk about. And then, my hair studies, which my kids aren't a fan of, but then they can actually draw hair normally and it looks great and not little spiral ramen looking things.

Wynita: Can I jump back in on that real quick, Tim?

Tim: Yeah. Yeah.

Wynita: Okay. So with the hair thing, even in elementary, portraits and everything, I think a big thing that I had in my classroom was anchor charts. They focused on all styles of hair, not just Caucasian hair but like you said, the curly, how to do braids. So, I think students seeing that representation, even just in posters in your classroom, is a great way to let them see that they're represented too.

Tim: Yeah. That's a really good point. Lena, do you have anything you want to add to this or you want to talk a little bit about what representation looks like in your art room?

Lena: Yeah. We do a little bit of what these other awesome teachers are doing, just exposing the different artists and things like that and talking to them about different features and things like hair. But one of the things, we're really fortunate to be able to live in an area where there are so many museums and galleries in different neighborhoods. So we've been able to take our kids out to look at Asian art and to look at black art and look at special exhibitions at the Latino cultural center and things like that.

So, they're able to see and witness firsthand some of these works that are being done by contemporary artists. My suggestion, when you don't live in one of these areas that's not just jam packed with cultural outlets or maybe you are and you don't have the budget, one of the things that I've been noticing a lot, especially with everything being shut down, because of quarantine, a lot of online museums are accessible, but not just that, that you can create your own experience and create something where it looks like an actual gallery, and there's different walls, and different ways that you can venture out.

I could definitely see myself or seeing even the students create some of these virtual galleries of artworks that are reflective of different types of artists from different backgrounds, in different styles. So, I think just showing them what's being created by people today ... I'm with you, Jen, when they say, "Well, can it be an Instagram artist?" A lot of times, I like to look at it first just to make sure this isn't somebody that's just stealing somebody else's idea or oh, boo, this is actually so-and-so's work, and they just tweaked this or that.

And then I advise them to look up the original artists or whatever. But for the most part, there's some really amazing artwork that's being created, and social media has made it possible for people that didn't have those connections and have the availability to be able to show their work, they have accessibility to it now. Really, social media artists, Instagram artists, have a bigger following than a lot of artists today that are being represented by top galleries, and it's from a completely different demographic of people. Before, art was something that ... it wasn't a right, it was kind of like a privilege, and you had to be in certain circles or you have to have access to certain money, or you had to feel comfortable stepping inside a museum and not feel out of place.

So, shout out to all the Instagram artists that are making it possible for our students to be able to see what's being done in real time and getting to be a part of that. So yeah, it's just taking them to different places and having that ... I love the idea of the anchor charts, just having that stuff visible for them, because some kids aren't going to be as vocal and step up and ask those questions. But if they see those things or you're guiding them through a gallery and they are connecting with them, sometimes they'll never have that conversation with you, but they'll remember those experiences and how they felt validated in who they are and what they look like, or feel comfortable with their neighbors and their classmates that are different from them, because now they have a deeper understanding.

Tim: Yeah. That's an excellent point. Now, just to close things up, I want to talk about kind of the flip side of that and just what kinds of things we maybe need to avoid in our classrooms. So Jen, I'll start with how do you think we can be a little more conscientious about issues of race? And how do you think we can avoid cultural appropriation in our teaching?

Jenn: Well, like I said, I always start the year just ... I don't want to say giving a warning, because warning is kind of a strong word, but just an asterisk label or something on my class, just letting them know that like, hey, you signed up for an art class, just a reminder, and it's called drawing. If you didn't know, we were going to draw a lot in here, because that's a constant complaint that I get and I'm confused on.

But we're also going to be looking at a lot of stuff. I always try to make it as silly sounding as possible when I say, I'm like, "You guys, we're going to be looking at like nudie pants people." And they're like, "Why do you have to say it like that?" Because I have high schoolers. I'm like, "Well, because you act like that."

So, we talk about that. We look at sculptures and all of these lines, and just mark-making, and we talk about cultures, and we look at different people, and we look at different art, and within the classroom, there's 25, 30, 32 which is the cap, different people with different experiences, with different backgrounds.

I'm like, you're going to have to open the mind a little bit if you've never experienced somebody else. But at the same time, that experience is going to be so valuable to you as you move forward, and as you go out into the world, and as you go to college, if you choose to go to college. Especially if it's a school that you have in a place that you've never been to. A lot of my kids go out of state, and a lot of my kids go to art school, and when they go visit, they're like, "Whoa." I'm like, Uh-huh (affirmative). I told you. Remember? We talked about that."

Just that preface, that just little ... The first two to three weeks, we just talk about, remember, we're going to look at this. Remember, we're going to see this. Remember that art comes from a place of vulnerability. We are going to look at a lot of personal artwork. When we critique, there are people that are going to have a hard time explaining, but they're going to tell you something very, very important about themselves. You need to listen, and you need to be open about it. It's easier for some kids than others, but I always just start with that label on my class, just having them know and understand.

But I think the one thing that I do avoid is, when talking about cultures and race, is just a political opinion. I avoid political opinions period in my classroom, as far as me handing them out. The kids could talk about it all day if they want to. They don't. Sometimes they do, but for the most part, they're just like, "Okay, cool, dude. That's your choice and that's okay. Just make sure you research all the things and all the candidates or whatever."

But as far as when talking about race and culture, I just turn off the political. But as far as talking about it, we just have an open policy, just an open mind. The platinum rule for us is just to be open and be aware and be polite. So, for the most part, my kids are really great about it. If they have questions, they will ask a person. That's one of the things that I'm most proud of in my classroom is that they're so willing to just go ask each other. "Okay, so you said the other day that you're Korean. Okay, let me ask you this." They broach it in that way and they have a conversation about it.

Or they come and ask me. This year, I decided to stop straightening my hair, which was a huge thing, and I told my kids that it was a new year's resolution. They were like, "Okay, why?" I was like, "Let me tell you about it." We had this whole conversation about it, because I was like, "Why is this not a big deal to y'all?" Validate me, please.

Your hair is cute when it's curly, why is that a such a huge deal? And I was like, "Let me explain it to you." That was in January. And then we had black history month and I did a panel on hair. They're just like, "Okay, we see now why it's a huge deal for you." One of my girls was like, "Can I join you on that?" I was like, "Yes, girl, you can hop on the natural hair train."

But those open conversations happen a lot in my classroom, but none of it has to do with ... That's one thing that I can't preach to my kids about, or that I just don't, that I won't go into with my kids, is just my personal political opinion. So, that's where I squash it. But we could talk about race and culture all day. But yeah, I just won't go into candidates or anything.

Tim: Yeah, fair enough. All right, Wynita, can I get your thoughts? How do you talk about race and culture? How do you do that in a way that we can avoid cultural appropriation in our rooms?

Wynita: Well, my stance, pretty much, is it's okay to be inspired by the cultures and all the beauty that they bring, but people should be aware of ways not to exploit it and just not copying it. It's not a Halloween costume, different things like that. I feel like, with my students, I want for them to see the work, take in those techniques, take in the topic, see the personal feeling behind what artists are creating, and use that to create their own story. So, just having them view those things, not copy it, learn techniques from it, and then create their own work from it. That's how we usually deal with that at my level.

Tim: That sounds really good. And then Lena, if we can just finish up with you. I know this is something that you're passionate about, how we deal with culture in the art room, how we avoid appropriation. What else would you want to add there?

Lena: Because again, we're capturing kids at our school, we start off the year with social contracts in each class. So basically, that entails a conversation, and it can take one or two days, one or two periods. What do you expect from your classmates throughout this year? What do you expect from me? How will we treat each other and what does that look like? So, everyone gets to add words to it, and sometimes social contracts will have a ton of words. Some of them it'll have five or six that they feel like encompasses a lot of those other smaller things.

So, trustworthiness, respect. Okay, well, what does respect look like in the classroom? It's like, you're not going to talk to me this way, Mrs. Rodriguez, and I'm not going to treat you this way. Okay, well, what does respect look like in your artwork? Okay, well, respect might look like you're not engaging in stereotypes or you're not creating something just for the shock factor that doesn't really have a substantial heart or meaning behind it. Respect looks like you're not just swiping somebody else's paint after they've already mixed it. Things like that.

So, we have those conversations about what we expect from one another. And then, also there was something that Juanita was saying that I wanted to jump on, but I forgot. But yeah, just having those conversations and helping them to understand that there are certain symbols and certain patterns of things that are significant. That's what it was, about appropriation. It's so much deeper than this, but I tell them, think about that one thing that you have that you love that is your prized possession. Maybe it's a ring from your grandmother, or maybe it's a special stuffed animal that like helped you through. Imagine if somebody were to take that and just do whatever they want to and use it in a completely different way than it was intended.

It's taking something that's part of your heart, something that's part of your history, something that makes you who you are, and don't ... How does that make you feel? It's almost like a violation. And then, that's one of the things that I really like to drive home to my is just that, again, like Juanita was saying, my culture is not your costume, so be very mindful of those things. When we're creating artwork during black history month or African American artwork or Hispanic heritage, or just whatever, even if it's not during one of those months ... because honestly, they're creating things year round that are reflective of different cultures ... be really mindful about how you're portraying certain things.

Be really mindful, even when you're purchasing outfits and clothing and stuff like that, that are just cute and contemporary right now, like the serape prints and the Aztec prints and all of that stuff is just super trendy. And all of these people are suddenly into cactuses and succulents and things like that and don't understand that that was a form of nourishment for so many people, indigenous peoples, and these fabrics and these materials, how they're important and how they're significant.

And certain even fashions and trends and how people are styling your hair, bring those up occasionally in conversation, like hey ... I had a student once that really just wanted to do henna. All day, every day, this girl just wanted to henna everybody. So, we had to have that conversation. I said, "Okay, what do you know about henna? Tell me. What is it that you know?"

She could tell you a little bit. But so then I said, "Okay, you know what? Before I'm going to allow you to do henna in class, before I'm going to allow you to practice that art, I'm going to need you to go home and I'm going to need you to research the ins and outs of it. I'm going to need you to tell me when it's appropriate, when it's being used, and how significant it is, and what these lines mean, and what these shapes mean?" And what ended up happening, and this was totally awesome, we had a student who her family, generations of henna artists was able to come in and talk to that student.

So now, it's one of those things. If you're wanting to do this, you're going to have to research this. You're going to have to have an understanding with it, and you're going to need to phone a friend. You're going to need to reach out to somebody from that culture. It's not so much asking permission, but asking, "How can I do this that's going to show respect and appreciation, and not appropriation?"

Some kids are like, "No, nevermind. I'm just not going to do it." And that's a good thing. But more often than not, kids are going to say, "Okay, I'm going to commit to that." And then, they end up not only becoming well rounded in their understanding of it, but a lot of times they end up becoming advocates for that culture, and they're able to correct other misbehaviors that they might see when it comes to symbols and patterns and issues of cultural appropriation.

Tim: That's awesome. All right, this has been a very long conversation, but I think we have, yeah, covered it a lot, but I think it's been really good. I hope it'll be helpful for everybody who's listening. So Lena and Jen and Wynita, thank you all so much for joining me and taking some time to talk about all these issues.

Wynita: Thank you.

Lena: Thanks so much.

Jenn: Thank you. Thank you.

Wynita: We're always available, art teachers. If you just have a question, like, is this appropriate? Is this okay? We can be your phone a friend.

Jenn: That's right.

Tim: That's awesome. Appreciate that offer. So, all right, thank you all, and we'll talk to you soon.

Wynita: Thank you.

Tim: That will do it for us. I want to give a huge thank you to all three of our guests for sharing their opinions and giving us some time. I think we covered a lot of valuable and important topics throughout that entire conversation, throughout both weeks of podcasts here.

I think my biggest takeaway from part two, from this part of the conversation, is how we can put some thought into how we can make our classrooms more inclusive and more representational, from the artists we show, to the books we read, to the resources we share, all the way down to how we talk about drawing hair. It all matters.

I hope that listening and reflecting on those ideas helps you to think about how, and even better, helps you take action to make your own art room into a space where students feel comfortable, where students feel represented, and students feel like they can express themselves and express their ideas.

Art Ed Radio is produced by The Art of Education University with audio engineering from Michael Crocker. Thank you, as always, for listening, and we will talk to you next week.

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How We Address Race in the Art Room, Part 2 (Ep. 225) - The Art of Education University

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What does it look like to have difficult conversations in our art rooms? How do we work with our students as they take on the topic of race in their artwork? Today's episode is the second part of a conversation about how we address race in the art room with guests Lena Rodriguez, Jenn Russell, [...]

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I feel as if my "deep dive" is still very broad. The topic of social reconstruction and multiculturalism is very broad and I may have difficulty reigning it in and becoming hyper focused on a subcategory. I have explored literature, film, television, Ted Talks, webpages, and poems regarding topics from Asian American art to transgender representation to racism. I love how this assignment has given me the opportunity to explore all of these topics but could use some guidance on what area to focus most of my time on to help in developing future curriculum.

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“There will be no free rides, no excuses. You already have two strikes against you: your name and your complexion. Because of these two strikes, there are some people in this world who will assume that you know less than you do. Math is the great equalizer... When you go for a job, the person giving you that job will not want to hear your problems; ergo, neither do I. You're going to work harder here than you've ever worked anywhere else. And the only thing I ask from you is ganas. Desire.” -Ramon Menendez

I knew I wanted to watch a film for one of my resources this week and I called my mom and asked her for some advice. I told her I wanted to watch a film that discussed racism. She immediately recommended the film "Stand and Deliver".

Jamie Escalante, a math teacher, came to Garfield with the goal of changing the system and pushing his pupils to greater levels of learning. Escalante found it difficult to encourage uninspired teens, yet he was able to achieve his objectives through perseverance and determination.

This film actually brought me to tears. This year has been really difficult teaching unmotivated students and there have been times that I just wanted to give up and stop putting as much effort into my lesson plans because only a few amount of students seemed interested. The film helped to show me the greatness that can come out of hard work and making your students feel heard.

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What factors make up an individual's identity? What actions can one take to change the trajectory of their future? How can educators recognize when students are going down a dangerous path and what can we do to redirect them?

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“The chilling truth is that his story could have been mine. The tragedy is that my story could have been his.”

I am an avid bookworm and love the excuse to put down my electronics and get lost in a story. I normally read fiction but this course has given me the opportunity to expand my library into new genres. This week I chose to finally read The Other Wes Moore. This novel has been sitting on my bookshelf since my undergraduate orientation at the University of Central Florida. The book was given to all students as a gift and we were encouraged to read it independently. Like most freshman, I brushed it off and left it on my shelf to collect dust. When thinking about another resource to deep dive into regarding a new cultural perspective, I immediately thought of this story.

The Other Wes Moore: One Name, Two Fates by Wes Moore was published on April 15, 2010. The book follows along the story of the author as well as an individual named Wes Moore. Both have the same name, were raised in Baltimore, had difficult childhoods, and are African American. However, their upbringing and family dynamics are completely different, resulting in two completely different outcomes. One Wes Moore overcame his disadvantages to life a successful life as a decorated combat veteran whereas the other Wes Moore ended up in prison for his involvement in a murder. This novel delves into Wes Moore, the scholar’s, journey and discovery of friendship and perspective.

This novel contains themes such as racism, systemic racism, absent fathers, factors that hinder or help African American boys’ upbringings, fat, and breaking the cycle.

I found from this book that diversity is not just about race or culture; it is everywhere around us. We are all complex, which means that we are all distinct. Communication, I believe, is the answer to this dilemma. People often speak in hushed tones about topics with which they are uncomfortable. Familiarity is another approach to the racial dilemma. Most people are afraid of or mistrust what they are unfamiliar with. Bringing awareness to these solutions to our students is the first step to fix the problems discussed in this novel.

10/10. Due to this book, I may need to begin reading more memoirs so recommendations are appreciated!

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"They'll never know that feeling what it's like to love without worrying that you're gonna die, or worse yet, that you're gonna kill somebody. I don't know what's shittier having that freedom taken away or never having had it to begin with." -Pray Tell

Trans women of color are often found on the sidewalks or in low-income housing on the periphery of society. Some are sex workers, a career that is already threatened with abuse.

This week I chose to binge watch season 1 of the show "Pose" on Netflix. I chose to watch this show partly because I was in need of a new series to watch, but also because I wanted to become more educated on the subject matters discussed in this show. I have seen the film "Paris is Burning" in film school but I wanted to view a modern take on this topic and how it has changed over time.

Pose is a TV show set in the 1980s and 1990s that deals with the danger of crime and HIV/AIDS. It's also a TV show in which almost every episode revolves around the time period's ballroom culture, which revolved around over-the-top appearances by trans and gay people dressed up in extravagant costumes and doing dance routines set to famous songs.

Trans women of all races are vulnerable to abuse, but trans women of color are especially affected. It is important for educators to familiarize themselves on important topics, such as the themes explored in "Pose", so that we may relate to our trans student population and understand the unjust actions trans individuals has faced in the past as well as in today's society.

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"Discover the creative practices of Asian Pacific Americans"

This year, I joined a Facebook group called "Art Teachers for Antiracist Curriculum". The group is filled with an abundant amount of resources that I have not had the time until now to deep dive into. One post specifically caught my attention of a peer asking for assistance rewriting curriculum for their district that included artists of color. Another art teacher commented with the link to the website below. I explored the artists on the page and learned about new artists who I can relate to a lot because of my Asian/Hawaiian heritage.

Art21 has some great resources on contemporary artists of color. Each artist has a biography and a video interview. It's great to hear the artist discuss their work in their own words.

I specifically pulled this page from their website because it highlights Asian American and Pacific Islander Voices. I love referencing contemporary artist in my classroom and holding discussions regarding the art of today and the negative social constructs artist attempt to dismantle.

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Look for the plus icon next to videos throughout the site to add them here.

Save videos to watch later, or make a selection to play back-to-back using the autoplay feature.

Celebrating Asian American and Pacific Islander Voices

Discover the creative practices of Asian Pacific Americans

Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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Look for the plus icon next to videos throughout the site to add them here. Save videos to watch later, or make a selection to play back-to-back using the autoplay feature. Discover the creative practices of Asian Pacific Americans Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.

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"...We will rebuild, reconcile and recover
and every known nook of our nation and
every corner called our country,
our people diverse and beautiful will emerge,..."

After Joe Biden and Kamala Harris were sworn in as president and vice president, Amanda Gorman, 22, became the youngest female to deliver a poem at a US presidential inauguration, reciting her poem "The Hill We Climb."

The poem captures the country's wider past, including the fight for and against civil justice for all citizens, as well as more modern history. The poem contains references to the assassination of George Floyd, as well as other police killings in recent years and decades, as well as the insurgency at the United States Capitol. The poem has been published and is available for purchase. This source is a great example of how someone can use their art to bring attention to social issues.

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How can educators incorporate outside resources to create a multicultural art curriculum that benefits all students? How can art teachers include different art forms, such as literature and film, into their curriculum to promote student self reflection regarding social justice.

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How Our Identities Are Socially Constructed

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How Our Identities Are Socially Constructed

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"I’ve never met myself like I’ve met you, or anyone else for that matter. “

This week I wanted to explore social constructionism in more depth. I also wanted to view more Ted Talks because I am a fan of this resource. This discussion focuses on the conception of what identities are and how they are constructed.
I never really given much thought regarding my identity. My boyfriend jokes that I am "racially ambiguous" because it is hard to pinpoint my ethnicity solely based on my appearance. I view myself as a mutt most of the time, which really affects my mentality. I remember my college professor assigned a self-portrait sculpture assignment and I had so much emotional conflict with the assignment. Most students were able to draw on their family's culture and practices whereas I did not have much to look towards for inspiration. I am not Hispanic enough, I am not Hawaiian enough, I am not Asian/Pacific Islander enough, I am not White enough...
Seeing young people begin this dialogue early can help others facing this conflict.
Identity is important but it should not define a person.

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How Our Identities Are Socially Constructed | Florencia Escobedo Munoz | TEDxColegioAngloColombiano