1. Curriculum Connected to Visual Culture Contemporary Art and Social Change in Multicultural Art Education Patty Bode patty.bode@tufts.edu
2. Multiple Identities, Multiple Contexts: Redefining/Reconceptualizing Multicultural Art Education Patty Bode Tufts University with The School of the Museum of Fine Arts, Boston [email_address] Hurricane Katrina and The Influence of Mass Media
5. Dolby, N. (2000). Changing selves: Multicultural education and the challenge of new identities. Teachers College Record 102 (5), 898–912. McLaren, P., & Torres, R. (1999). Racism and multicultural education: Rethinking “race” and “whiteness” in late capitalism. In S. May (Ed.), Critical multiculturalism: Rethinking multicultural and antiracist education (pp. 42–76). London: Falmer Press. Nieto, S., Bode, P., Kang, E. & Raible, J. (2008). Identity, Community and Diversity: Retheorizing multicultural curriculum for the postmodern era. In F. M. Connelly, M. F. He & J. Phillion (Eds.), The Sage Handbook of curriculum and instruction . Thousand Oaks, CA: Sage.
6. Who COUNTS? What does it mean to be American ? What does it mean to participate in a democratic society?
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10. Contributions Approach Additive Approach Transformation Approach Social Action Approach James Banks 4 Levels of Integration of Multicultural Content Banks asserts the theory of 5 Dimensions of multicultural education with curriculum content as one of those 5 dimensions. Banks, J. (2008). Teaching Strategies for Ethnic Studies, 8th Ed . Boston: Allyn & Bacon.
14. Teaching Visual Culture: Curriculum, Aesthetics and the Social Life of Art By Kerry Freedman (Teachers College Press: 2003). Much contemporary culture has become visual. Global culture is rapidly Shifting from text-based communication to image saturation. Visual culture is seen on television, in museums, in magazines, in movie theaters, on billboards, on computers, in shopping malls and so on (Freedman, 2003). (Ballengee-Morris & Stuhr, 2001; Barrett, 2003; CarpenterII & Manifold, 2003; Chalmers, 2002; Chapman, 2003; Duncum, 2001, 2002, 2003; Efland et al., 1996b; Freedman, 2003a, 2003b; jagodzinski, 1997a, 1997b; Keifer-Boyd et al., 2003; Krug, 2003; Sullivan, 2003; Tavin, 2000a, 2000b, 2003; Villeneuve, 2003; Walling, 2001; Wilson, 2003)
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16. Visual Culture Critical Theory, Critical Literacy Multicultural Education Critical Art History Detractors of Multicultural Education Art Historical Canon Formalism IMPLICATIONS FOR ART TEACHER PREPARATION and CLASSROOM PRACTICE Postmodern Theory My voices: Artist, Teacher Researcher Qual Method ABER Collages Voices of Art Teachers Voices of art students
17. Intersection of Multicultural Education and Postmodernism as a site of strength in visual culture praxis
22. Mass media presents us with images that shape our world view and the world’s view of us. Enduring Understanding Beyond Hurricane Katrina for 7th graders
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28. Mass Media Images of Hurricane Katrina and the aftermath What do you see?__________________________ What do you NOT see? _____________________ What does it mean? ________________________ What can you do? _________________________
32. Creating and co-constructing community discourse Sharing, reproducing, recycling and appropriating images Raven “post-iting” her choices
33. “ Do I have to hang up this picture?” Negotiating community text: Postcolonialism, the gaze, voyeurism, studying “the other”… Empathy as a path to social justice
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36. “ Ms. Bode, I’d like you to meet Zachary. He just moved here from New Orleans…”
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38. Raven Casey Sasha What are we going to do with all these pictures, Miz?
61. I see the Louisiana flag in a storm, a really bad hurricane, but there is a glimmer of hope around the bird on flag. I don’t see what will happen next. More hurricanes? More suffering? Or more help.
90. The Vestiges Project www.thevestigesproject.org Founded in 1984 Participants Andrei Codrescu, Jan Gilbert, Debra Howell, Richard Katrovas, Carolyn Maisel, Kristen Struebing-Beazley
92. Wendell Pierce, left, and J. Kyle Manzay rehearsing Paul Chan’s production of “Waiting for Godot,” set in the Gentilly neighborhood of New Orleans .
93. Kara Walker After the Deluge NY:Rizzoli. 2007 http://www.pbs.org/art21
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95. I nsurrection! (Our Tools Were Rudimentary, Yet We Pressed On) 2002. Installation view at the Solomon R. Guggenheim Museum, New York Projection, cut paper and adhesive on wall, 12 x 74 1/2 feet
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