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The implications of teaching Eurocentric art history to a student population that is predominately Asian are that it shows us that European history is more valued in global history, erases the contributions of Asian cultures, history, and scholars to the global work, and promotes assimilation to the Western world/culture.

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The implications of teaching Eurocentric art history to a student population that is predominately Asian are that it shows us that European history is more valued in global history, erases the contributions of Asian cultures, history, and scholars to the global work, and promotes assimilation to the Western world/culture.

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The dominant history that was presented to us was focused on Euro-centric (Western) art. However towards the end, we began to learn more about art from other cultures, like Orientalism. Typically, decolonizing art history isn't learned until third-year courses. FAH101 covered the basics of Western art history and the main historical periods, such as Renaissance, Baroque, Impressionism, Early Modern Art, and Contemporary Art.

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We can adopt more diverse approaches to learning about art and when we talk about different cultures, don't talk about it in a western perspective/context (white male settler) and do more research to learn more

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Cultural imperialism can manifest through what types of artwork styles are taught and valued in the classroom and the promotion of Westernized ideals. Ex. realism and perspective vs. anime-like drawings.

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Cultural imperialism can manifest through what types of artwork styles are taught and valued in the classroom and the promotion of Westernized ideals. Ex. realism and perspective vs. anime-like drawings.

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The teacher engages in dialogue and methodologies in other religions. This is taken in the form of guest lectures, or recommending different readings, or inviting guest speakers from a different cultural and/or religious backgrounds/regions to speak about their experiences.

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pt 1. When we were in high school, we were taught about perspective and rule of thirds, amongst other things. These ways of learning about photography and art are extremely important to the western world and do not promote decolonized learning environments for students from different walks of life. Like Jeannie today mentioned in her guest lecture on traditional Korean art replication and imitation, she has adapted her artwork to somewhat fit western values of perspective and incorporating additional context within art.

Elements of diverse art history can also be taught in secondary school art classes. For example, even though we learn that photography was developed in France/England, secondary school students can learn about how other cultures (e.g. India) approached photography and how it impacted their culture.

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The article mentioned the history of photography - how it derived from France so the people never really knew the development of photography from other countries/regions. The main point of the case study (2nd half section) - it introduces the history of photography to other parts of the world, not including Europe (e.g. England and France) to educate other people. It strategizes to move away from Western societies and strives to bring these Western "inventions" to all countries around the world. This creates common knowledge, so developed and developing countries are equal in terms of learning and receiving technical abilities or information. The flexibility for assignments should not be restricted to topics focusing on a specific region or time period for students' research projects, so as to resist any compartmentalisation of historical narrative.

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This article focuses on a photography course designed by second-year undergraduate students
It introduces a photographic medium of diversity and historicization. Acknowledging important academic achievements in visual cultural studies,
Broaden the content that constitutes an important art history. Art history is integrated into the cultures of various countries. The art curriculum in middle school is the most basic. For me, it is more accurate to show the simplest knowledge of art history. Combining Western art and other colonial art is a very important.——Shujie

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An excellent example of the movement that UTM is pushing forward is the learning of indigenous lands, artworks, and its cultural beliefs. A couple of FAH courses hosted by Professor Maria Hupfield (also from an indigenous background) at UTM (FAH275 & FAH375) speak a lot about the importance of the sacred land that UTM is built upon, the different groups across North America, historical and contemporary landmark treaties and complications, and indigenous artifacts that are still treasured to this day. Recently, there was a grave site that was found in Canada, and it was filled with indigenous children who were residential students in colonized schools -presumably killed. History often focuses on WWII's sensitive topic of concentration camps, genocide, and Hitler's desire for the "perfect" Aryan race - but we do not realize the major impact of colonialism across the world that has been happening for centuries. Especially, indigenous people were stripped of their rights and now, we are only starting to slowly offer compensation for the years of mistreat they have been through. UTM offers some solutions by declaring the honor and respect for the land that originally belonged to the indigenous before class lectures and officially naming the North Building to "Maanjiwe nendamowinan", mental health helplines, and specifically asking for cultural backgrounds in their scholarship and grant applications ( - to my assumption, they receive more compensation). In addition, there are contemporary exhibitions and art galleries dedicated to indigenous people, along with free bus rides across the GTA, and not having to pay taxes.

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1) Amplify the voices and stories of our students and their ancestors.
1) Create art student ancestors have been making for a generation. While creating this art teach the student the history and technique behind the art form; while also learning about that children's culture and tradition.
3) Students don't all need to make the same artwork they can make the artwork from this culture/ country and then present it to the class. There can also be a show and tell.