Bridgewater Review

Volume 32 | Issue 2 Article 11

Nov-2013 Teaching Note: One in a Million: From Bridgewater State to the National Mall Jodie Drapal Koretski Bridgewater State University, [email protected]

Recommended Citation Koretski, Jodie Drapal (2013). Teaching Note: One in a Million: From Bridgewater State to the National Mall. Bridgewater Review, 32(2), 34-35. Available at: http://vc.bridgew.edu/br_rev/vol32/iss2/11

This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Laying Bones on the National Mall, Washington, D.C., June 8, 2013 (Photograph by the author)

installations as a means to inform the TEACHING NOTE public of the atrocities of war and genocide and to engage citizens in the One in a Million: From Bridgewater process of change. State to the National Mall As one of the event volunteers and project administrators, I witnessed Jodie Drapal Koretski the magnitude of “voice” expressed through installation art; how lay- n June 8, 2013 a powerful and breathtaking ing each bone on the grass from the art installation of more than one million Capitol to the final mass bone display sprawled across the Mall articulated Ohand-made bones transformed the National sorrow, outrage and a call for action. Mall in Washington, DC into a representation of a The One Million Bones project was art- fully designed to engage the audience mass grave. The grave signified the millions of people on a personal level. Participating in who lost their lives through acts of genocide. The the ceremony—by making or laying a installation, One Million Bones, was the product of a bone, or walking through the massive display—prompted all of us to pause three-year-long international social arts awareness and reflect on its significance. This project focused on raising public consciousness form of civic engagement resonated and pressing for U.S. policy change with respect to deeply and connected its participants with the human condition. ongoing genocides around the world. The art-based My involvement with the One Million effort, orchestrated by Naomi Natale, a social practice Bones project started in 2010 when I artist, and co-founder of Art of Revolution, used was a committee member with the education, hands-on art making, and large-scale public National Service Learning Conference

34 Bridgewater Review (NSLC), an annual gathering of the project went beyond the borders of a text-based, standard method. A National Youth Leadership Council BSU. Students created engagement structuralist by nature, I delight in that brings together teachers, research- materials and replicated bone-making explaining the machinery of govern- ers, policy-makers, youth leaders and activities at Showcase Exhibits and ment and how we interface with it. But others committed to promoting service workshops at two NSLC conferences, by adding the layer of service learning, learning as a way of teaching. The inspiring others to participate in the my students and I engage creatively in fledgling One Million Bones effort was movement as well. interplay with community organiza- proposed to the committee as a pos- tions, experts in the field, and course The spring 2013 semester was the last sible lead project among on-site service concepts. We begin to engage with class to engage with the project before learning activities for the 2011 NSLC the material on higher level of critical the installation in Washington, DC. meeting Atlanta, Georgia. Shortly thinking. My students and I explore the During their final presentation at after researching the organization and issues together, gather information and the BSU Sustainability Conference, talking with its founder (Natale), it research on the topic, and discover how students informed participants about dawned on me that the project would we as citizens can make a difference. In current genocides, shared basic citizen- not only be a great opportunity for the many ways this dynamic learning envi- participation methods, and encouraged many students and teachers attend- ronment replicates life in communities attendees to “Be one in a million!” ing the conference, but would also be beyond campus where citizens engage by making a bone for the installation. a fascinating service learning activity issues that affect them and then seek Alongside the conference attendees, in my “Citizenship and Community answers and means to enact real social the students created the final boxes of Leadership” course at Bridgewater change. As an instructor, the incorpo- bones from BSU that would eventually State. One Million Bones became the ration of the service learning method join the million others from around centerpiece of my course and for the keeps me current, engaged, involved, the world to be included in the national next three years I utilized the project as and inspires me to continue my lifelong art display. the central case demonstrating course learning. “Tell me and I will forget,” content and the integration between During the summer of 2013, I was a Chinese proverb instructs us. “Show political participation concepts, com- deeply honored to be an active member me and I may remember. Involve me and munity leadership, and engagement of the One Million Bones art installation I will understand.” One Million Bones practices with a real-world example. team in Washington, DC and privi- has demonstrated that truth clearly to leged to lay the bones created by our me and to my students. The One Million Bones service learning students and others as part of the visual project required students to demon- statement and collective voice against strate their knowledge through a series genocide. In the past three years, the of assignments (reflection papers, jour- project has deepened my commitment nal article reviews, exams, and group to citizen participation and to educat- projects) and to apply newly acquired ing others about civic engagement. skills by creating methods of engage- As a result of my interaction with the ment for others in the campus commu- One Million Bones project, I value the nity. Some student groups introduced partnership of installation arts in com- their colleagues to One Million Bones by municating political voice and respect hosting clay bone-making events and its stunning power. In addition, the mini-fundraisers where BSU students project has underscored for me the ben- could sponsor bones for the national efits of service learning in the classroom display. Other student groups informed as both an illustration of course con- and engaged fellow citizens through cepts in action and as a mechanism for community education efforts via social inspiring student engagement. media, distributing brochures, and poster board displays. Still other student Service learning transforms the groups encouraged fellow students to learning experience not only for the voice their concerns regarding genocide students, but for instructors as well. and to share their commitment through It would be straight forward for me Jodie Drapal Koretski is an Instructor in the text-based polling, white-board decla- to teach the content of my courses in Department of Political Science. rations, Facebook communications, and American Government and Public signing petitions. The service learning and Nonprofit Administration in

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