TRENDS

The Journal of the Texas Art Education Association 2017 PRESIDENT’S MESSAGE Trends, The Journal of the ADVOCACY Texas Art Education Association This is a huge word which all art teachers need to be 2018 Call for Submissions aware of and learn. It is defined as “public support for or “Disrupting the Everyday: Encountering Awareness and New Curiosities” recommendation of a particular cause or policy.” That cause is your job. he Editors of Trends invite essays, articles and artworks that

Did you know that TAEA has programs workshops, and do what they can to make provoke and explore creative disruption. As Maxine Greene to help you? Tim Lowke, our Advocacy your program stronger. TABLE OF CONTENTS wrote, “We are interested in breakthroughs and new beginnings, Chair, has a lot of information to help you Are you aware we have a very strong President's Message 2 advocate for yourself, your students, and Museum Division that is always willing to T most importantly, your art program. We are reach out to school districts to help educate 2017 Call for Manuscripts 3 in the kind of wide-awakeness that allows for wonder and unease working on improving our website to help students in the appreciation of art. They Review Board 4 you connect with others art educators who offer so many programs many teachers do and questioning and the pursuit of what is not yet.” That is to say, share your struggles. not know about. Google your local museum Artifacts of Advocacy 4 Do you connect to the other art teachers and see what they offer. Many have after Letter from the Editors 6 creative disruption amplifies curiosity for the new because it interrupts in your region? Your area representative school programs or evenings for educators. Big Art Day 8 is there to assist you. These Regional Go to one. the daily humdrum with wonder and awareness—in classrooms, Representatives have many exciting I recommend you engage in dialog with Keith Carter Interview 14 workshops you can attend over the summer one of these representatives in your field. by Bill Nieberding museums, and community spaces, as well as in everyday public and or the beginning of school. Please take Reach out to your executive board, we are Paul Ramirez Jonas Interview 21 advantage of these opportunities. Many of always there for any and all art educators. by Zachary Gresham domestic encounters. them are free. This will make you a stronger teacher in Are you a private school or community whatever field you are teaching. Tommy Joseph Interview 28 Trends 2018 will explore the aesthetic wonder and awareness? How does wide- Education Association, is a refereed based art educator? You both have a We all are a band of teachers from the by Heidi Powell wonder that fuels our work. Whether awakeness feed your teaching practice, professional journal, published annually representative who is eager to assist you pre-k through college and adult education Lewis & Steinecker Dialogue 33 we’re teaching in classrooms, engaging whether inside or outside the classroom? by the Texas Art Education Association. The with your program and represent your field with common goals – to insure the success in research, pursuing cultural change, Where do such moments surface in young journal accepts articles written by authors on TAEA Council at Large. of art education for everyone throughout Jeff Paulin Interview 36 or helping to develop art and education people’s lives? How might we create policies residing both inside and outside of the state Are you higher education or retired? You the state. Texas Art Education Association – by Joana Hyatt policy, curiosity and a desire for inquiry that encourage creative disruptions? What of Texas. too have representatives on the council TAEA—is for all art educators. Advocating in your Community 40 are essential. In many cases, social disruptions drive your research? How might who are willing to give you advice, present by Jennifer Hartman practice and acts of “serious play” activate your submission to Trends provoke readers Deadline: the ordinary and unnoticed beauty of to think and act anew? Original manuscripts must be received Advocating for Peace 46 our daily lives. Guidelines depend on the type of by January 15, 2018 as MS Word document by Maria Leake Suzanne Greene taught middle school art in Spring Branch ISD for 40 years and helped We welcome arts-based and text-based submission: for example, arts-based attachments. Please submit electronically the school board realize the need for art teachers in all of the elementary schools. She Lessons Learned from a submissions that explore image-making, submissions with minimal text should via e-mail to: [email protected] holds a BFA Art Education from Southern Methodist University, and worked in the SMU Southern Mother 52 collage, mixed media, photography, be accompanied by a 200-500 word Experimental Art School from 1967-1971. She helped establish the Shoal Creek Art School by Amanda Allison creative writing, performance, walking, contextual description (which might not in 1972. She has held many positions in the Activist Art Education 56 listening, collecting, cartography, graphic be published but will be used to review TAEA leadership including Vice-President Teresa Torres de Eca interventions, and other unanticipated the submission). We also welcome creative YAM, Vice-President of Membership, explorations. We also welcome research written submissions of between 1000-2000 Middle School Division Chair, and TAEA Hurricane Relief 62 manuscripts that analyze the potential of words, as well as traditional research Region IV Representative. She currently TAEA Executive Board 66 these practices. manuscripts (which should follow the holds the office of President and State Questions to consider: How do we Trends Author Guidelines). Director of Jr. VASE. She was recognized encourage exploration that sparks Trends, The Journal of the Texas Art as Middle School Art Educator of the Year TAEA Headquarters in 2003, and Art Educator of the Year in 14070 Proton Road Suite 100 2010. She co-authored the Art and Digital Dallas, TX 75244 Communication Curriculum and Flower Phone 972.233.9107 x212 Fax For more information, please contact Cala Teachers-One Generation Speaks to 972.490.4219 Email: [email protected] Coats and Sean Justice at Another NAEA publication. Though retired from teaching, she is still very active in art Trends 2017 Design: Daniel Anguiano taeatrends@gmailcom education in Texas. Stephen F. Austin University

2017 TRENDS 3 REVIEW BOARD TRENDS 2017

Amanda Alexander Christina Bain Diane Gregory Claire Williamson Maria de la Luz Leake Sarah Travis Sean Justice Kate Wurtzel Dr. Amanda Alexander is Dr. Christina Bain is an Asso- Dr. Diane Gregory is Director Claire Williamson is pursu- Dr. Maria de la Luz Leake Sarah Travis is a PhD candi- Dr. Sean Justice is Assistant Kate Wurtzel is an art edu- an Associate Professor in ciate Professor of Art Educa- of Undergraduate and Grad- ing an MA in Art Education: is Assistant Professor of Art date in Art Education at the Professor, Art Education at cator with experience as a the Department of Art + Art tion at The University of Texas uate Art Education Programs Community Focus at the Uni- Education with the University University of North Texas. Her Texas State University. Sean’s museum educator and public History at the University of at Austin. She earned a BFA at Texas Woman’s University. versity of Texas at Austin. She of Nebraska at Kearney as scholarship focuses on issues work addresses teacher edu- school teacher. She received Texas Arlington, and she is and MS from Syracuse Uni- Since I was 7 years old I have earned a BA in International an online instructor and a of equity within art education cation in the age of comput- her BA in Art History from the Program Coordinator versity and a PhD in Art Edu- had a passion for art. That Communication at Saint Louis high school teacher at James contexts as well as racial- ing and digital networks. Prior Texas State and her MA in Art for the department’s Art cation from the University of passion led me to teach art in University, Madrid Campus. Madison High School in ized, classed, and gendered to arriving in Texas he taught Education from the University Education program. Alexan- Georgia. Her research centers K-12 schools and Art Educa- Her research centers on ma- the North East Independent experiences of art students digital fabrication, creative of North Texas. As a museum der’s research explores (inter) on the scholarship of teaching tion in five different universi- terial culture examinations of School District in San Antonio, and art educators. She has coding, and photography to educator she worked at the national and local communi- and learning, focusing on ties including Texas Woman’s folk art education. Committed Texas. She served as co-ed- published research in Studies pre- and in-service teachers Kimbell Art Museum, the Crow ty-based arts research and issues related to preservice University where I have to advocacy in art education, itor for Trends, The Journal of in Art Education, International at Teachers College, Colum- Collection of Asian Art, and learning, sustainable social preparation and teacher served as the Undergradu- she currently works at the The Texas Art Education from Journal of Education & the bia University. He has exhib- the Contemporary in Austin and culture development, and identity. She has published ate/Graduate Coordinator of Blanton Museum of Art with a 2011-2013. Her writing has Arts, and The Urban Review. ited photographs, videos and Texas. She also taught K-5 social justice. Living, working, widely and has conducted Art Education. I am honored fellowship in Family and Com- been included in Art Edu- Her current research exam- computer animations both art in Austin for several years and conducting research in more than fifty presenta- to serve as a reviewer for this munity Programs, and as the cation, the Journal of Social ines practices, contexts, and nationally and internationally. before moving to Denton and Peru with native artists, she tions at state, national, and Trends issue on Advocacy Education Programs Intern at Theory in Art Education, Visual consequences of artist identity His book Learning to Teach in accepting a teaching position has presented and published international conferences. since this theme has been like the Texas Cultural Trust. Culture and Gender, and formation through an arts the Digital Age: New Materi- at an elementary school work in journals such as: Bain has received numerous a river that has run through Trends, The Journal of the Tex- internship program in New alities and Maker Paradigms there. Kate has a strong Journal of Social Theory in teaching awards, including my entire professional life. as Art Education Association. Orleans. in Schools was published by interest in curriculum and Art Education, Art Education, the prestigious University of Peter Lang, in 2016. instruction and social justice and International Journal of Texas Regents Outstanding in the classroom. Education through Art. Teaching Award (2015), the COFA Teaching Award (2013), the Texas Art Educator of the Year Award (2011), the TAEA Higher Educator of the Year Award (2005), and the NAEA Student Chapter Sponsor Award (2009).

Maggie Leysath Jennifer Hartman Artifacts of Advocacy Dr. Maggie Leysath has been Jennifer Hartman received her teaching art for grades 7-12 BFA in Painting and Digital for ten years and served as Media from the University of Fine Arts Department Chair Colorado and her MA in Art In addition to traditional research advocacy. Recognizing the ubiquity of Do you have images or artifacts from for her campus for 8 years. Education from the Univer- articles, in this issue, we also wanted visual culture in our society and where an event, art show, performance, or The focus of Maggie's work sity of North Texas. She has to include examples of ways that social media has become a primary intervention that advocated for the arts and research has been in taught seven years in public arts advocacy takes visual form on communications source, we were in your community? Throughout the issue, the areas of advocacy, arts schools and has worked with a local, national, and global level as curious how arts advocacy looks in the submissions from the call for “Artifacts integration, and reaching the students at both the elemen- a way of unifying our voices, sharing world. To elicit images for the issue, of Advocacy” appear with a logo and reluctant student. An educa- tary and secondary level. She our experiences, and recognizing we asked: Have you promoted your art a short blurb describing the images tional philosophy of inclusion is currently a PhD candidate our collective effort to advocate for program through flyers, posters, or pictured. Readers sent in photographs, rather than exclusion, creativ- in Art Education at the Uni- art education. To explore this idea, social media? Have you written a letter screen shots of webpages, letters to ity and originality rather than versity of North Texas and an we added an addendum to the call to your principal, district art coordinator, the legislature, and first-hand written conformity and standardiza- elementary art teacher. for papers that asked educators, state representative, or anyone else reflections. We hope these artifacts act tion informs her pedagogical administrators, students, and artists to in support of your art program or the as inspiration, letting us see the work of practice and research. send images of their efforts towards arts significance of art education in general? arts advocates in a variety of settings.

4 TRENDS 2017 2017 TRENDS 5 LETTER FROM THE EDITORS

nvited to help with recovery efforts in New Orleans following Hurricane peace internationally on a study tour up to large non-profit arts organizations. References to Japan. Inspired by these individuals, Teresa Torres de Eca, President of Shindler, K. (2008). Mel Chin “Paydirt.” Katrina, artist Mel Chin said, “I remember standing in the ruins of the the art she saw, and young people International Society for Education Art 21 Magazine (website). Retrieved from Ninth Ward and realizing as a creative individual that I felt hopeless and advocating for peace that she met, through Art (InSEA), shares an http://magazine.art21.org/2008/06/19/ she decided to take action when she international perspective on art mel-chin-paydirt/#.WbWb8K3MyRs I returned to her classroom in San Antonio. advocacy. Eca states, “Art creations are inadequate.” In remarks he gave to members of the National Art Education She writes about the challenges and our referent,” and contemporary artists Association at the annual conference in New Orleans in 2008, he furthermore successes of exploring social realities are showing us strategies for questioning and advocating for change through art and creating hybrid spaces as we work said, “And I was flooded by this terrible insecurity that being an artist was not projects created by her Madison High with the prima materia of the future— School art students. next generations. She highlights the enough to deal with the tragedy that was before me.” (Shindler, 2008, para. 2) What other forms might advocacy agentive nature of advocacy through take? Is advocacy research? Not concepts of praxis, as she proposes three Many of us, I am sure, feel similarly Often, efforts to educate others about If teaching may be seen as a grass- long ago, a good friend and mentor key competencies that promote social overwhelmed by the disaster wreaked by advocacy are misunderstood. Educators roots form of advocacy as Carter expressed to Joana Hyatt that advocacy reform through art education. Teresa Hurricane Harvey all along the gulf coast may view it as a complicated concept suggests, might we also see artmaking was not research. We would argue that illustrates how she applies these tools of Texas. As an artist, Chin persevered intertwined with politics, policies, as advocacy? For the Alaskan Tlingit it should implicitly be understood as a and strategies and outlines a survival kit though, and after gathering himself, statistics, and data. But advocacy is also woodcarver Tommy Joseph, interviewed part of all research. To value the action for art education activists. found meaningful ways to contribute aligned with the agentive processes of by Heidi C. Powell, artmaking, teaching and process of advocacy, one must see to the recovery of that city through art praxis, collaboration, and momentum, and advocacy are closely intertwined it as the foundation that creates broad- making—the thing he knows best. and building sustainable structural at times. While carving in museums or based support, from the individual artist In the Hurrican Harvey Relief feature of changes. TAEA has resources to help get historic parks, Joseph has the opportunity this issue, we see similar responses from started. Our organization’s president to educate as he creates, dispelling teachers in the Houston region, teachers Suzy Greene strongly believes that misconceptions about the artwork and who found ways to overcome the advocacy is a responsibility each and the thriving culture to which he belongs hopelessness and use their knowledge of every one of us share, and she discusses which tourists often see as locked in the art and teaching to help—to make things numerous resources our organization is past. better. invested in to help teachers. All of our organization’s members find ways to get Speaking up, Giving Voice Understanding Advocacy started or extend their advocacy efforts. Sometimes, as arts educators we The focus of this year’s issue, Advocacy, identify a need in our school or university, Dr. Joana Hyatt Dr. Bill Dr. Cala Coats can sometimes seem nearly as daunting Art & Advocacy and set out to make programmatic is Assistant Nieberding is Assistant as facing a natural disaster. What can Paul Ramírez Jonas who recently changes to see that need met. This too Professor of is Assistant Professor of we as individual artists, teachers, or exhibited a twenty-five-year survey is a form of advocacy. Texas Christian Art Education Professor of Art Education administrators do to change the course of his work at The Contemporary Arts University professor Amanda Allison at Lamar Art Education at Stephen F. of national policies that threaten to Museum Houston is interviewed by describes her efforts developing University, at Stephen F. Austin State sweep away the National Endowment Zachary Gresham in this issue. Advocacy connections between her students and where she Austin State University. She for the Arts and otherwise undercut the is intrinsically tied to imagining a different people in her community who practice teaches University. has taught vitality of arts on a national scale? world for Ramirez Jonas. The possibility and benefit from the therapeutic arts. She Joana Hyatt Co-Editor preservice Bill Nieberding Co-Editor His research Cala Coats Incoming art in K-12, Jeff Poulin, a member of the arts of transformation is tied not only to draws parallels between her mother’s educators and interests Co-Editor museum, and education team at Americans for the Arts imagining change, but also to interacting practice of lovingly preparing healthy art educators. include community notes in his interview with Joana Hyatt with the world differently. Artists, he and delicious meals for their family, She earned her PhD in Art Education from integrated curriculum and incorporating settings. She also teaches art education, that as individuals, we are not alone asserts, are not necessarily bound to and the ways in which she nourishes the University of North Texas, where she technology in the art making classroom. design and art history at the university in this. Americans for the Arts includes advocate for change, but as citizens of the hungry minds of her students—who was awarded the Priddy Fellowship. Dr. Photography, phenomenology and level. Dr. Coats is the Director of the many people in Washington, D.C. the world we have a responsibility “to then carry this enrichment out into to the Hyatt has been a K-16 art educator for the discourse of vision also inform his Summer Art Academy at Stephen F. Austin advocating for the arts. Our individual advocate for the kind of society we want community. over twenty years, teaching in Nevada, research. Dr. Nieberding has published State University. Her research focuses on voices are all important in supporting to live in.” Jennifer Hartman teaches at Pecan Oklahoma, and Texas. Her research in Photographies and Art Education, and the intersection of ethics and aesthetics the arts. Equally important is connecting Ramírez Jonas discusses the Creek Elementary in Denton, and interests and teaching emphasize has presented his research at conferences with an emphasis on public pedagogy, our voices to organizations and networks importance of context—his place of similarly notes that advocacy often arts-based research, narrative inquiry, of the National Art Education Association, nomadic inquiry, and socially engaged art. focused on promoting the arts. Lillian origin—as very influential in his life means speaking up when needs are not performative critical pedagogy, critical Texas Art Education Association, and the Dr. Coats has published in Art Education, Lewis and Dawn Steinecker also note in and artmaking. Internationally known being met: advocating for more time theory, inquiry-based curriculum, and Society for Photographic Education. His The Journal of Cultural Research in Art their conversation that many people feel photographer Keith Carter, interviewed with students, reasonable class size, art evaluation approaches. Dr. Hyatt has art making practice includes traditional Education, The International Journal overwhelmed with the “slash-and-burn” by Bill Nieberding, also finds the concept supplies, or even for the existence of the published in Art Education, The Journal of silver-based black and white portrait of Education & The Arts, Visual Arts approach to arts funding we are seeing, of place very influential in his art. For art program itself. Is it possible, she asks, Social Theory in Art Education, and Trends, and landscapes and digital documentary Research, Trends: The Journal of the Texas and though we may have an authentic Carter though, the idea of belonging to to advocate for growth in our own well- The Journal of the Texas Art Education projects. His work has been exhibited both Art Education Association, and recently desire to advocate for the arts, knowing a place came to him during to a lecture situated programs while advocating for Association. She will have a chapter in Texas and nationally. He is the director published a chapter in Convergence of where to start can be a challenge. by a famous Texas playwright. Though those who have less? Hartman describes featured in The Concept of MA: Materiality of the Educators’ Summer Art Studio at Contemporary Art, Visual Culture, and Bringing our unique areas of expertise Carter grew up in Beaumont, and has an exhibition she and her students put in Teaching and Learning (edited by, Stephen F. Austin State University. Dr. Global Civic Engagement. to the table, and finding ways to share spent most of his life there, seeing it as a together at a major metropolitan zoo. By Sameshina, Sinner, & Boyd). Dr. Hyatt Nieberding holds a Ph.D. in Art Education our personal passion for the arts and creative wellspring was a transformative giving voice to her students, the project serves on the NAEA Research Commission from The Ohio State University and our knowledge of how they contribute to idea. When asked about his vision of became a powerful promotion for their - Professional Learning through Research masters in photography from Purdue society is an important part of the effort. advocacy, Carter sees the work of every art program. Working Group as the Western Division University. We can’t all be brilliant public speakers, art teacher as foundational. The work art Maria Leake describes the experiences Representative. but we can all contribute in our own teachers do on a daily basis is the first of meeting Japanese atomic bomb unique way. line of defense. survivors dedicated to advocating for

6 TRENDS 2017 2016 TRENDS 7 BIG ART DAY

C.D. Fulkes Middle School-Round Rock Sixth grade art students at C.D. Fulkes Middle School celebrated big art in the park on March 2, 2017 at Round Rock Memorial Park. Students went to art stations that featured fine arts integration in every project. They connected the visual arts with what they are currently learning in science, math, social studies, and language arts.

Student at C.D. Fulkes Middle School creating art in the park

Carroll Elementary School-Houston At Carroll Elementary, Aldine ISD in Houston, the students entering the art room on Big Art Day were given a needle and thread and contributed to our Carroll Community Loom! Grades k-4 participated, the kids had a blast! What was a huge blank burlap in the morning turned into a colorful and creative piece of art by the end of the day. The artwork was placed on display for all members of the school to see and enjoy. Fiberarts for the win!

Students at Caroll Elementary stitching designs into Students at Carroll Elementary stitching designs into burlap burlap

Lakeside Elementary-Coppell At Lakeside Elementary we celebrated Big Art BigArtDay: Collaged Big Art Day sidewalk chalk letters by Lakeside Elementary Students day by creating side-walk chalk letters, spelling out "Big Art Day"! Each grade level made their own creations and we then photographed the letters individually to n internet search for #BigArtDay17 reveals hundreds stitch together using collage apps. Our learners of images of teachers raising the visibility of their art had such a blast making such beautiful messes. Aprograms on Big Art Day.

The following are accounts and images of a few of the exciting events our Texas art educators put together this year:

Sidewalk chalk art at Lake Side Elementary

8 TRENDS 2017 2017 TRENDS 9 Chapel Hill High School-Tyler Our Big Art Day event started with the installation of a Little Neighborhood Food Pantry. The students painted their version of Andy Warhol’s soup cans on the sides. They also brought donations of food to put in it. Further donations will be collected at a later date. We also had an 8-hour drawing activity going on outside the Art rooms throughout the school day. Several students were overheard saying things like “This is the best school day ever!” Non-Art students were also able to participate and draw. Over all, this was a great day and a great event!!

Mural created by Francone Elementary third and fourth graders

Chapel Hill HS eight hour drawing in progress Chapel Hill High School students placing canned goods in Warhol inspired soup cans on the little neighborhood the food pantry food pantry

BigArtDay: All the completed circles in the foyer at Gatesville Elementary

Gatesville Elementary-Gatesville All students and staff at Gatesville Elementary were given a quarter of a Detail of the Francone elementary mural circle to create anything they wanted for Big Art Day. These were then assembled into circles and displayed in our school Francone Elementary School-Houston foyer for everyone to enjoy. The students I explained to my class what Big Art Day is about, and said it is designs so that may have influenced them also. They loved the especially liked pointing out their designs a great way to celebrate art around the whole state. Then, I simply opportunity to create something so big in just one day! Third and to their parents when they joined them asked the kids what they liked about art, and let them choose what fourth grade classes worked on both murals so the third graders for lunch. Mona Lisa and other famous to paint on the mural we created. We have recently studied Romero came in after fourth grade and worked on what had already been paintings were hidden in the display for Britto and I saw some strong lines and repeated patterns that started.

students to find. A completed circle Painted quarter circles being assembled reminded me of his work. We also just did some shoe zentangle 10 TRENDS 2017 2017 TRENDS 11 ART ADVOCACY METALOGUES

Kelsey Rae Robinson, Luna Elementary School Garland, TX

12 TRENDS 2017 ARTIST INTERVIEW An Interview with artist and educator Keith Carter By Bill Nieberding, Stephen F. Austin State University

ecipient of the 2009 Texas Medal of Arts, Keith Carter holds the Endowed Walles Chair of Performing Arts at Lamar University in Beaumont, Texas Rwhere he has been awarded the university's three highest teaching honors. He has exhibited his photographs in over 100 solo exhibitions in 13 countries. In addition, 13 books of his work have been published, and his photographs are in numerous public and private collections. I had the opportunity this summer to sit down with Keith in his home and studio and talk about his work and his views on art making.

Bill Nieberding (BN): You’ve been making photographs for quite BN: Anything in particular that’s caught your interest right now in some time, your first book Uncertain to Blue was published about the field of photography? thirty years ago. Are there things about photography that you still find exciting after all these years? KC: Well, I’m working on a number of projects, and all of them are interesting to me. One of them is a retrospective book with the Keith Carter (KC): Oh yes! I probably find it more exciting now that I University of Texas of forty years of work, which has necessitated did in the beginning, and I was completely on fire in the beginning. going back and looking at sort of how my creative arc evolved. It’s just with all the changes and the decades that have passed, That’s one. I’ve been working on a couple of projects in the last and as you grow older and hopefully a little wiser, and a little more couple years that have involved the digital world, which was sure about the kinds of things you want to spend your time doing relatively new to me, since I historically am a film person and still with respect to the art world. It’s just invigorating! I mean it’s always prefer it given the choice. At the same time, I went the other way invigorating. It’s an exciting way to live a life. It’s relatively few and and learned some other historical antiquarian processes, and far in between when you have bouts of boredom. working in all of them at the same time was just wonderful.

BN: What do you do when they come, what if there is a bout of BN: Do you see connections between the processes, the very old boredom, is there a trick you have to break out of that? and the very new?

KC: Do you mean like when you get to a stopping point and you are KC: I do, you know the beautiful thing about the medium of not sure where to go? photography, is if you look at the history of photography, you learn that you stand on the shoulders of giants. Men and women who BN: Yeah, right. have made photographs or art when they didn’t even know it was art, under the world’s worst conditions: bad chemistry, dangerous KC: Well I think that happens to all artists at some point. Sometimes everything, capricious weather, terrible water. multiple times in their career, and in my experience, what you do is you get back to work right away. And it’s in the working and the BN: What lead you to become an art photographer? What made making of the pictures that things start to happen. In my experience you choose this path in your life, does anything stand out in your if you sit here at your desk like Saint Paul on the road to Damascus mind? waiting for light to strike you, you are going to wait forever. KC: Well partially it was my mom. We were a single parent household, BN: Right. and she was very encouraging and she loved art, but she was geared by necessity to making a living and doing commercial kinds KC: But if you are out there working or sketching or drawing or of work. But one of our best friends was a sculptor here in town at Bog Dog, 2014 © Keith Carter, courtesy of the artist. making photographs, or reading, which is a lot of the time where the time, and he was Beaux Arts trained and I loved being around my ideas come from, I think my goodness! What a paragraph, you him and I loved his library, and so between the two of them I had a know, then you get to work. lot of encouragement. But from the very beginning when I first saw Henri Cartier-Bresson’s famous book The Decisive Moment with

14 TRENDS 2017 2017 TRENDS 15 Maricella, 1998 © Keith Carter, courtesy of the artist Fireflies, 1992 © Keith Carter, courtesy of the artist.

the cover by Matisse, a woodcut by Matisse, then all of a sudden, my path was so clear! of learning your craft, you stumble around your medium. And I sat up in the Galveston that was probably in the late sixties, I was And I just couldn’t wait to get on it. The irony and you try to be everybody who’s work you Opera House, and I thought, “Yeah,” I know just electrified! I’d never seen photographs, is, I’ve lived most of my life in a town where admire. that.” And then he said, she told me I needed let alone black and white photographs that art is not the first thing on peoples’ minds. to be a product of my own times. I need to looked anything like that. David Cargill had And that’s justifiable. The other side of the BN: Right! know the history of acting, of theater, but given me the book out of his library, and coin is, in my career, the search for those I needed to act in my own generational said “you need to look at this.” motifs in the photographs and so on and so KC: That’s a useful thing, and then if you’re way, and I sat up a little straighter, and it what the world needs is you, telling forth, have taken me pretty much around lucky you sort of stumble out of that and thought, “I sorta know that too,” and then BN: Huh! the world, so it’s a kind of a yin-yang you stumble into starting to become he said “I went to New York, and I did that.” your stories, singing your songs, and existence. yourself. But what happened to me was, I Then he said, “after a while I found out that KC: Well that just completely undid me and went to a film festival in Galveston where wasn’t enough. For me,” Foote said, “I found I didn’t want to do anything else. Also, I BN: Right, right… how much do you think the playwright Horton Foote was talking. that I needed to belong to a place.” And I sat writing your poems and making your was like 20 years old. I didn’t care anything being from here influenced the way you It was a panel discussion. He said that bolt upright in the opera house, and I was about money. I just wanted to make pictures make your art? when he was a boy growing up in Wharton, electrified. I thought, oh my God, belong to photographs. that mattered. That’s how it began anyway. Texas, smaller than Beaumont, that he told a place! Whereas most of my friends and I just was on fire! It’s hard to explain. It’s like KC: Well, a lot! And I’ve been thinking one of his teachers he wanted to be an my thoughts often were running from this you’re slightly directionless, you are getting a lot about it lately with respect to this artist, an actor, and she said if you want place. But what if…. ready to graduate from university with your retrospective book. What happened in my to be an artist, you have to learn a couple degree, mine was business at the time, and case was, you know in the very beginnings of things. You have to learn the history of

16 TRENDS 2017 2017 TRENDS 17 to your earlier question. It evolves while know that “this is it?” Is there that moment you didn’t even consider. But in the doing, it be what it will be, and discover it along you are working. While you are doing the when there is a particular something in changed the way I work. It made me think the way. work, rather than thinking so much about front of you that you know is really worth about the imperfections as being more the work. spending time with? Because there are perfect than the perfection of photography. KC: But if you think like that it paralyzes you. all of these moments and spaces around You can count on it not being what it started BN: So, after that initial inspiration of the us. How do you know when this scene or BN: Wow, That’s fabulous. out to be. I guarantee it’s not going to turn notion of having a place, what did you do whatever it is, is really worth investing in? out the way you think it’s going to turn out! with it? What changed in you when that KC: It just changed everything. And it’s So be it. I mean, big deal. realization hit you? KC: Sure. Well sometimes you don’t. But probably why I make pictures like I do there are moments, and I call them perfect today. BN: That’s so true. KC: Well, it made my world manageable. moments, when you know something Instead of scattering myself in so many important is going on here, and you need BN: So, the theme for this issue of Trends KC: It’s kind of exciting. directions, I thought it would make things to do this. But they are not as common as is advocacy. What do you think we can do geographically manageable, physically when you just have to have some faith, you or should do, as arts educators to advocate BN: Yeah, it is. Then my final question is: manageable, intellectually manageable, know. for our field? I asked what advice you might give to a and because there is art everywhere, and at student, what advice would you give to an the same time you look at folk art, you look BN: That you are pushing the button and KC: That probably one that I’m not the best art teacher? at outsider art, you look at great paintings something’s going to happen? equipped for answers… to advocate for our and everything else, you read great stories, field… are you talking about legislatively? KC: I would tell an art teacher that I think and the best of them are the fundamentals. KC: No, that what you are seeing is worth that you are hugely, hugely important. Of your spiritual life, who you love, how you doing. That or “let’s just see what it looks like BN: Well I guess in broad terms advocacy Probably more so at this juncture of our love, the stories we tell to comfort each photographed.” You know. Instead of trying is anything that is specifically aimed to culture than ever before. When the arts are other, and hold us together, the poetry. I to talk yourself out of it… “well no, no, it’s promote our interests, and it’s a question politically under fire. And sometimes closer didn’t think that it was any better coming been done before, blah blah blah…” There that you can pass on if you want. to home, even by parents, you know. What out of New York City than it was coming are things like the photograph of the little you teach and how you teach it is our very out of some of these small places, and I still boys, It’s probably my signature image. It’s KC: Ok, one of the things is to introduce first line of defense against what we are subscribe to that, and that was helpful! To called fireflies, and they are holding a jar of people at a younger age to the beauty, joy seeing evolving right now. And I don’t know me it made things doable, whereas before fireflies standing in the bayous not far from and fulfillment of thinking about, making, of anything more important. It all starts I didn’t quite know which way I should go. I here. That wasn’t at all what I intended to and living with art. Summer camps, with one good student paying attention to didn’t think the world needed another Ansel make, that kind of thing. But I knew there scholarships, anything that brings students one good teacher. Adams. was something there! But I wasn’t going to that could not have that opportunity. I think get what I wanted. And I didn’t! It turned that’s my idea of advocacy. BN: Well, thank you so very much for your BN: There are a lot of people who take that out that through mysterious circumstances I time. route though! got something better than I even knew how BN: Along those lines, is there any advice to get. you would give to a person studying art? KC: You are very welcome! KC: But I tell students, and every now and then, one of them listens, you know: what : Wow! Did that image change the way KC: Oh sure! Essentially, it’s what you the world needs is you, telling your stories, you think about your work? don’t want to hear nowadays. Learn your singing your songs, and writing your poems craft. Learn the fundamentals. Learn to and making your photographs. You as a KC: Oh, completely. And I’d have thrown draw, learn how the backbone of your art teacher know what I’m talking about. And it away had it not been for Pat. Because works, and then look at everybody’s work you know it’s true. But it takes a while to when I made that picture, and I developed that interests you. And look hard at it, and become yourself. And it takes some work. the film, I was really excited, and a little deconstruct it as best you can. Then the The Greater Flamingo, 2015 © Keith Carter, courtesy of the artist. worried, and when I saw the film, which is thing is, if you equip yourself with these sort BN: That’s for sure. always exciting, I was so depressed! It was of fundamentals, ask yourself: “what do I all out of focus. Everything! You know they want to say?” That’s the hardest part. What Anyway, that’s when I started to become— I’m in, I pretty much just take this place, and KC: Well one of the things that hugely just didn’t hold still. So, I made a contact do you want to say? this is in answer to your question—when I those superstitions… influenced me was a line from Wallace sheet and I was really depressed, and a few Bill Nieberding started to begin the aesthetic that I pretty Stephens when he was talking about his days later I showed it to Pat, and she said, BN: That is always the hardest question… Dr. Bill Nieberding is Assistant Professor much continue today. I thought well, I’m BN: And they go with you? own work, and he said: “poetry must almost “You should go print one.” “Which one?” I of Art Education at Stephen F. Austin going to play like I don’t know anything successfully resist intelligence.” And I have said, “they are not sharp.” So, we picked, KC: Uh huh, and who do you want to say it State University. His photographic work about this place. That I’ve never been here. KC: And they go with me. The locales played a game my entire career, anytime I and I went and made a small print and she to, and why do you want to say it? You pick includes traditional silver-based black That I don’t know the history, that I don’t change, but the thinking, of trying to view read the word poetry or poem, I just change came out and looked at it, and she said a project. One project. Some people, and and white portraits, landscapes, and know the music, I don’t know the religion. the world as something at once crystal the word to photography or photograph, “Print that bigger!” So, I made a big print, sometimes I’ve done this, work on several figure studies as well as digital work I don’t know foods, I don’t know the clear, and at the same time completely and the meaning would remain the same. and she came back out and looked, and projects overlapping. Writers do that, that explores notions of social identity animals, I don’t know anything. And I’ll go mysterious and wondrous, stays the same. And I thought well, yeah! My photographs I was looking at it askance, and she was painters do that. And there have been times in public contexts. Dr. Nieberding photograph them. must almost successfully resist intelligence. looking at it askance, and she said ‘oh my when I do that, but a lot of times I just give also writes about art, photography, BN: That describes the way your MUST ALMOST! God’ and I thought ‘oh my God’ you know. myself a couple years and I’m going to work and the discourse of vision with a BN: To learn about them? photographs sort of ‘resolve’ at the same on one thing. I write it down. I try to define focus on phenomenology, and how time. There are parts that are crystal BN: Almost! Oh, that’s beautiful! BN: Then you saw what she saw? it. And then I get to work. Knowing full well different ways of seeing offer insight KC: To learn about them. So that led me to clear, and there are parts that are… quite that it’s going to change. into contemporary understandings of doing the project ‘Uncertain to Blue’ in all unknowable, when you look at the images. KC: It’s true! KC: Yeah! That wasn’t at all what I intended, photography. William holds a Ph.D. those communities. So, these are personal but it was pure photography. Time, light, BN: That’s a very good thought. I think a in Art Education from The Ohio State things, but that’s what happened in my KC: Well, I think that’s how things evolved, BN: So, when you talk about making and it was just a little bit of motion. Optics, lot of us are scared that we won’t achieve University, and masters in photography world. And now at this stage of my life that at least in my world, and again it goes back photographs in other places, how do you and an implied narrative of some sort that the result, without being free to allow it to from Purdue University.

18 TRENDS 2017 2017 TRENDS 19 ARTIST INTERVIEWARTIST INTERVIEW

Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 He has been included in group Installation images by Nash Baker exhibitions at P.S.1 (NYC); the Brooklyn Museum; The Whitechapel (UK); Irish Paul Ramírez Jonas by Zachary Gresham, University of Houston Museum of Modern Art (Ireland); The New Museum (NYC); and Kunsthaus Zurich (Switzerland). He participated in the 1st aul Ramírez Jonas’ select solo exhibitions include a 25-year survey of Johannesburg Biennale; the 1st Seoul Biennial; the 6th Shanghai Biennial; the his work at The Contemporary Arts Museum Houston; Pinacoteca do 28th Sao Paulo Biennial; the 53rd Venice Biennial; and the 7th Bienal do Mercosul , Estado, Sao Paulo, Brazil; The Aldrich Contemporary Art Museum, Porto Alegre, Brazil. In 2010, his Key to the City project was presented by Creative Ridgefield, Connecticut; The Jack S. Blanton Museum of Art, Austin, Time in cooperation with the City of New York. In 2016, his Public Trust project was PTexas; a survey at Ikon Gallery (UK) and Cornerhouse (UK). presented by Now & There in Boston. He is currently an Associate Professor at Hunter College, City University of New York CUNY.

20 TRENDS 2017 2017 TRENDS 21 Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 Installation images by Nash Baker

Zachary Gresham (ZG): Your survey exhibition at the Contemporary PRJ: I don’t want to be prescriptive, and artists should have the PRJ: There is something funny and sad about this question! I live in as separate or do you feel that pedagogy is part of your studio Arts Museum Houston is really spectacular. Congratulations on such freedom to do whatever they want. Absolutely. And yet, we are also New York City where rent is astronomical. My studio is 800 square practice? an awesome show and thank you for making the time to talk. The citizens. We are responsible as citizens to advocate for the kind of feet; about half of it is storage of older work, a well-organized set theme of this issue of Trends relates to the idea of advocacy. Let's society we want to live in. Artists are not exempt; but they have a of tools, and miscellaneous materials. Everything is on wheels, PRJ: Balancing a family, friends, teaching and making art is a start with that. Would you say that you are advocating something choice to manifest it in their work or somewhere else in their lives. the work tables, the storage shelves, the desks, so I can reconfigure challenge. I am not sure how I, or anyone else does it, but somehow it with your work? If so, what would that be? Paulo Freire, an educator and philosopher from Brazil has been the space depending on what I need. Most of the books I read for has worked for years. My friend and colleague Nari Ward at Hunter a great influence and I often go back to something he wrote: “To research are at home in a tiny office that is about 200 square feet. once told me, “Sometimes you are a bad teacher, sometimes you Paul Ramírez Jonas (PRJ): I am advocating for very specific things. affirm that men and women are persons and as persons should I love small and cozy spaces; but then again –I have no choice are a bad parent, sometimes you are a bad artist, no one can do all Bertolt Brecht wrote in Brecht on Theater: The Development of an be free and yet to do nothing tangible to make this affirmation a but to. Often, I make work that is larger than my work space. For three well at the same the time.” I see both activities as separate but Aesthetic that, “the present-day world can only be described to reality, is a farce.” So, do something. example, Ghazi Stadium on view at CAMH was made in panels but they inform each other. In both instances, I see my job as creating present day people if it is described as capable of transformation.” I could only see about a third of it at time. I kept having to hang opportunities for others to increase or exercise their imagination. I want to advocate for the possibility of both imagining the world ZG: Your work is extremely varied, especially in the materials that the parts over and over, “What does the bottom third look like? differently; but furthermore, with that imagining then interacting you use to execute the work. When I was visiting your exhibition at Okay, back to the top left!” etc. Likewise, The Commons was ZG: Are there any examples of your work that you feel specially with the world differently. The change does not have to be big. Part the Contemporary Art Museum Houston, I started wondering what made in parts so it could come in and out of my studio. The horse’s address the blurred line between your art and education practices? of my goal is to break down the world into small parts that we can your studio space must be like. I sort of envisioned a fairly large head and neck come off so the body can make it through my small play with in our imaginations and then act upon, within our own warehouse that would be spacious enough to work on multiple door! PRJ: Art works exist under a different social contract than art individual capabilities. projects as well as a rather large library of science and history assignment, or good in-class workshops; art creates true public books. Would you mind describing where you make your work? ZG: In addition to your art practice, you are an Associate Professor situations. Around artwork, people congregate out of their own free ZG: Do you feel that it is important for the responsibility of an artist at Hunter College, City University of New York. I am curious how you will –thus creating a public. Class rooms are different. Students to also be an advocate? balance your art-making and teaching practices. Do you see these congregate under different power dynamics. The students might

22 TRENDS 2017 2017 TRENDS 23 We are responsible as citizens to advocate for the kind of society we want to live in

Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 Installation images by Nash Baker

24 TRENDS 2017 2017 TRENDS 25 Atlas, Plural, Monumental, Paul Ramírez Jonas Contemporary Arts Museum Houston April 29–August 6, 2017 Atlas, Plural, Monumental, Paul Ramírez Jonas Installation images by Nash Baker Contemporary Arts Museum Houston April 29–August 6, 2017 | Installation images by Nash Baker

be there because they have to, or they are proposal for an imaginary grant worth way to re-introduce a pre-modern way of ZG: Since many of the readers of the publication are K-12 educators, can you talk about the paying tuition so their expectations are several million dollars. The grant also learning: copying the masters. experiences in school that you had with art prior to university? different. They have a completely different includes help securing any site in the world set of expectations regarding the outcome for their work. The students themselves ZG: As a student yourself, were there any PRJ: I was raised in Honduras and while I went to good schools, we could not escape our of the experience; likewise, they are subject will be the jurors that listen and evaluate educators that you think influenced your context. It was the second poorest country in the hemisphere at the time, and there was no to the authority of the teacher—ultimately, the proposals, so they must go all out journey to becoming an artist? art museum in the entire country when I grew up. It was a fairly conservative milieu and I they will be graded. Students in a classroom with their presentations. At the end of all frankly cannot even remember if we had art classes as a separate subject. What I do recall do not form a public. the presentation I give every student a PRJ: What is amazing about learning and was an awareness of things we could not have, but knew existed. Thus, I remember my lottery scratch card. I then tell them the teaching art is how much of it remains brother and I trying to make toys we had seen in pictures only; not because we could not Still, they share some structural or formal assignment for next week is to execute the something that can only be transmitted afford them, but because they simply were not available in the entire country. This process features. In both situations, I verbally. I learned to how to of making do, in fact, of making all the time, was very influential. prefer not to deliver content; mix paint and clean brushes Zachary Gresham but rather to create very I think of creativity from the painter Wendy ZG: Finally, how do you envision the future of art education? Zachary Gresham is an arts adminis- clear parameters that frame Edwards; I was shown how trator and educator who has worked as and facilitate an experience much ink to wipe off an etching PRJ: This is a tough question. I would like to be very optimistic and tell you about my hopes the Education Programs Director at Art that the participant creates and imagination as a plate (with the palm of my for a utopian version of future art education; but as someone who teaches in the public League Houston since 2012. Previously, and contributes to. hand) from printmaker Jane sector, I am frankly just hanging on to the idea that there will be free and affordable art he worked at Lawndale Art Center, the force of change. Kent; I was trained on how to education in the future! Arjun Appadurai said, “The imagination is now central to all forms Museum of Fine Arts, Houston, and the But there is often a migration turn my ideas upside down and of agency, is itself a social fact, and is the key component of the new global order.” Art is Mayor’s Office of Cultural Affairs at The back and forth. Sometimes inside out, so I may consider one of the main subjects where we nurture and augment our students’ imaginations. I think City of Houston. He is an adjunct lecturer an idea migrates to the classroom, and proposal with whatever amount of money their opposite, from artist Tom Lawson; of creativity and imagination as a force of change. Art is also a form of speech. Because in the College of Education and the Col- sometimes the other way around. And they win in the lottery. Dream big, execute and I was inducted into what is the right of this, I see art on par with other human rights, and as such it should not be denied based lege of the Arts at The University of Hous- perhaps the blurriest line is me. I can’t within your means. amount of formal exactitude from sculptor on how much money you have. ton, where he teaches Art in Elementary remember if I learned to be a performer in Roni Horn. But what was really transmitted Schools, an art education course for up- the classroom, or in the artworks—but I am For graduate students, I sometimes ask them while they were doing that is hard to put per-level education majors and Technol- a performer in both. to show one thing they made alongside a into words. ogy in the Arts, a graduate seminar in the forgery, also of their own making, of a work Finally, I learned a tremendous amount MA in Arts Leadership program. ZG: Is there an assignment that you give of art made by someone else. The coupling from someone who was never my teacher: students in your class that is your favorite? should make some sort of sense. All I can Paulo Freire. His books on pedagogy PRJ: For undergrads, I am fond of an say, is that the reviews of the resulting pairs remain a tremendous influence on what I assignment where I ask them to make a are always full of surprises; and it is a subtle do.

26 TRENDS 2017 2017 TRENDS 27 ARTIST INTERVIEW Interview with Tommy Joseph by Heidi Powell, University of Florida ommy Joseph is a Tlingit artist and carver from Southeast Alaska. He has been actively engaged in Northwest Coast carving since the 1980s as an Tinstructor, interpreter, demonstrator, and as a commissioned artist. Since the early 1990s, he has been in charge of the carving shop at made replicas of Tlingit ceremonial at.oow (treasured objects) the Southeast Alaska Indian Cultural Center in Sitka, demonstrating and armor. He continues to create, teach, mentor, and share his and interpreting art of the Northwest Coast. Additionally, he artistry in his home studio in Sitka, Alaska. has been employed by the National Park Service to restore and In 2010, I met Tommy in Sitka, Alaska, when I was serving as a replicate some pieces from their extensive collection of totem poles National Endowment for the Humanities Fellow. I observed him at Sitka National Historical Park. Over his career, Tommy has creating art in his workshop and also had the opportunity to share produced a wide range of artwork including totem poles, house in some of his art making experiences. posts, beautifully detailed masks, and bentwood boxes. He has

Heidi Powell (HP): Hi Tommy, tell me a little sneak knives out of the kitchen, a serrated been a teacher at the University of Alaska bit about yourself and what brought you steak knife or whatever I could get my Southeast, where I pick a topic for the to doing community arts as a carver and hands on, and go try on my own. I would semester, a box, a mask, or something else totem pole artist. Where did your interest get caught and my mom would tell me to as a beginning project for the course. I also as a carver start? How has this helped you stop playing with knives. So, I don’t say I go out to different cities in Alaska. I work become the community artist you are today, play with knives, but I still work with knives with high school students, the most recent advocating for Northwest Coast culture for a living. I didn’t listen to Mom, I guess in Craig and Petersburg, teaching carving. and arts? [laughter]. HP: When I met you, you were creating Tommy Joseph (TJ): I am originally from HP: Tell me about what you do now because masks in the Sitka National Historical Park. Ketchikan, Alaska, another island 200 miles you “didn’t listen to Mom,” and how does How did your artistry there function as down the coast from where I live now. I live your artistry lend itself to advocacy for not advocacy? It is not a traditional space you in Sitka and have been here for 31 years. only Native-based programs, but Native would find an artist in. My very first opportunity to do carving education, and the general public? was with a knife on a piece of wood in 1972 when I was in the third grade. We had a carver come into our school in Ketchikan and work with a small group of us and I then would educate them he showed us how to make a fish hook. A halibut hook. The school doesn’t exist about who we really are and anymore—the building is still there—but it was called Valley Park Elementary School. what the totem poles mean. It was a new elementary school, and I was one of the first students in the school, which was built in my neighborhood. It was a TJ: I would work in the summertime, a time different way of educating, a lot of hands- TJ: In 1991 I started working at the Southeast of tourists. Thousands and thousands of on stuff, different than what you see today. Alaska Indian Cultural Center, which was at people from cruise ships and boats would the Sitka National Historical Park and were come in through the studio, and usually HP: The halibut hook was the beginning of in partnership with each other for 42 years. come here with the idea that we are all your carving experience. Where did it go It doesn’t exist formally anymore, but I Eskimos here in Alaska, and I then would from there? worked there as a demonstrating artist and educate them about who we really are educator for 21 years before it shut down and what the totem poles mean. Many TJ: From there, my next opportunity to and then I began working at my house think that totem poles are religious or carve was when I was enrolled in a summer and a gallery studio, and it is where I have they are worshipped because that’s what camp to learn about design and basic been working ever since. It’s in the central missionaries were teaching a hundred years carving, sewing, language, and songs. It business district in Sitka. It’s a commercial ago, so I was educating them about what was a Native-based program, and it was zone, so in my front yard I have a 20- they really are about. Year-round students my second opportunity to explore carving. foot beam that is a canoe I’m currently have the opportunity to come to the park I got to carve a plaque with a salmon on it. working on, and the past few years I have and watch me carve a reproduction totem Tommy Joseph Carving a Totem Pole After that, I was on my own. I didn’t have created totem poles there and I have the pole, one group of fourth graders got to © Anne Raup/Alaska Dispatch News any carving knives of my own, so I would opportunity to educate as I create. I have come back again later and help me paint

28 TRENDS 2017 2017 TRENDS 29 the totem and were excited because it will be up forever and, hey, they painted the pole, they did it. It creates a bigger sense I am creating brand new stories of community.

of today, about people, events, HP: The work you create obviously reflects back to the Northwest Coast or our nation. traditions and rituals. What are some that are your favorites? What do you enjoy communicating most through your artwork?

TJ: Totem poles are what I have out there in the world the most, teaching people about them and what they are all about. Totems are visual tools for my culture and the Northwest Coast Indians. To tell a story, you have to have the visual of the totem and the storyteller. You look at the pole and its characters as they come into the story. Today, I’m not telling the same story over and over through my work, there are new stories to tell. So I am creating brand new stories of today, about people, events, or our nation.

HP: Do you have a favorite story, one you Tide Woman by Tommy Joseph, courtesy of the artist. like the most?

TJ: A couple years ago I created a sixteen- masks, carvings—do you have a philosophy have a specific mentor. I had teachers foot totem pole for the Carnegie Museums or approach to how you think about art- along the way that helped with this and of Pittsburgh. They wanted a raven themed making as it relates to your heritage? that and my interests. It was always me totem pole, but left it up to me to tell any putting myself in it or around it, looking kind of story I wanted. So I sat down and TJ: Northwest Coast art is a huge part of at books in museums or the library; wrote the story. It was a story told to me by my indigenous identity, our identity. Our going to see it where I could. Most of my an elder 20-some years past, and it was a people are most recognized by the type education as a carver has been going and story about my dad. My dad was lost at sea of art we do, Northwest Coast Formline doing research at museum collections. I when I was six, so I grew up not knowing art. All the tribes, Haida, Tsimshian, Tlingit, have been to Russia, St. Petersburg, and him, and occasionally I would meet people and others, we all have our own variations I saw their amazing collection at the that would tell me about my dad. This of Formline, because we are all neighbors Kunstkamera (Museum of Anthropology particular elder was one of those people, to each other. It can be seen as similar, and Ethnography of Peoples of the World), and he told me a story about how he and but there are distinct differences and all the British Museum in London, and in Paris, my dad, when they were young men, were of what we do is based on stories. We tell at the Musée du quai Branly. I was able out on a seal hunt. The story I wrote is called stories about our culture. We have the to look and see our old, old pieces there. “The Hunt” and it’s about my dad and this two moieties [governing deities]: we are Those are my ancestry, those are, and have man called Bennie. I changed the names of born into the Raven or the Eagle, and you been, my teachers. the characters and didn’t tell the Carnegie follow the moiety of your mother, it’s a what the story was really about until I had matrilineal society. We also have different HP: I love that the art of your ancestors it all done. I presented it publically with clans that fall under Eagle or Raven are your teachers, and so, I have to ask if the totem there. The story was about AJ moieties. Like I said, my father, he was you consider yourself an art educator or (Arnold Joseph) and Bennie (Bennie James), Raven [moiety] Dog Salmon [clan]. I am teaching artist? What I mean by the first and they were the main characters of the Eagle [moiety] Wolf [clan]. term is that you teach people about the story. So I started with the Raven [moiety] arts, and what it means to be creative, at the base, and above the Raven were HP: What or who were your artistic the processes to create and make art with two guys in a canoe with hunting harpoons influences growing up, and how did they an understanding of how to teach; or the and a seal hanging, and above that was a influence your decision to follow art as a second, that you are a practicing artist that dog salmon [which is a clan symbol]. The profession? shares their work in order to help others reason I chose Raven Dog Salmon to be a understand the craft and process of what part of the totem is because that was my TJ: I have always been an artist, if I can they do? dad’s clan crest. He was from Klawok, think of it, draw it or make it using whatever, Prince of Wales Island. doing something with my hands and being TJ: I do both, I sometimes go and do talks, creative. Carving was what you did, there public speaking, where I teach about HP: That’s a wonderful story, ripe with both wasn’t a lot of public demonstration as a different topics related to Northwest Coast cultural and personal history. In the wide kid, but when there was, I would hang out, art, that is sharing and educating about Tommy Joseph, photograph © Anne Raup/Alaska Dispatch News range of work that you create—totem poles, learn, and try to see what I could. I didn’t these things, and in classes I teach I show

30 TRENDS 2017 2017 TRENDS 31 REFLECTIVE DIALOGUE

my processes and ways of doing that are don’t stop. Every piece you do is practice do you approach mask making differently specific to me, and allow students to ask and preparation for the next piece you will than totem pole making. questions. make, that’s what I tell my students. Don’t Drs. Lillian Lewis & stop. TJ: When I was working at the Cultural HP: In many indigenous cultures, HP: How could a teacher best share the Center at the totem park, my job was to apprenticeship is foundational to art Northwest Coast culture and art as a point be a demonstrating artist. All the tourists making. As you have followed your path, of multiculturalism? coming through, and I would come up with Dawn Steinecker how has the carver/artist community which ideas for bentwood boxes or masks. Again, you are a part of changing as they move TJ: I have worked with non-natives and masks are tools for telling stories, different toward the future with new technologies different backgrounds, and I would rather than the totem pole and my interpretations and 21st-century ways of being? teach and share with our people, but I also of animals. I use green fresh cut alder and n the occasion of the special issue of Trends on arts advocacy, Drs. Lillian like to share with others because they are show techniques so I as an artist, I am on TJ: There are a lot of us out there, but interested to keep the culture present, and display as well as my work. This mask, Tide Lewis and Dawn Steinecker spent an afternoon in conversation on the subject. when you think in global terms there are perpetuate our stories. Learn about it. Woman, is in process. I intend to inlay it with just not that many. Social media keeps us Make others curious. abalone. She is the woman in the moon Lewis and Steinecker met as graduate students at the University of North connected to changes and transitions and who controls the tides, high tides and low O Texas. Steinecker, a doctoral student, and Lewis, a master’s student, participated in what is emerging and being said about HP: I know that in Northwest Coast culture, tides and the movement of the ocean. The totem poles and Northwest Coast art. stories and songs are owned and cannot mask represents her. the Priddy Fellowship in Arts Leadership. Beginning in 2005 and continuing through be shared except by the owner or with HP: What do you think the future holds permission. How do you balance the idea HP: Is she used for any specific ceremony 2010, the North Texas Institute For Educators On The Visual Arts, in collaboration for Northwest Coast artists in relation of ownership? or tradition? to maintaining traditions as well as new with the College of Visual Arts and Design (CVAD) and the College of Music (COM) technology? TJ: I did a totem pole for the BBC television TJ: She [the mask] would be used as part station in London. I used Northwest Coast of a dance group, with songs, singing that provided fellowships for graduate students in art and music interested in developing TJ: There are definitely Northwest imagery, but I am not copying anyone else’s relate to the stories about Raven and the their leadership abilities and skills through the Priddy Charitable Trust Fellowships in Coast artists who fully embrace the new story. I used traditional images and more Wolf. There is a song that talks about the technologies and the digital age, and I am contemporary images: a teacher, student, tide, because the tide is related to food. Arts Leadership Program. amazed at what some artists are doing. I educating, and an imaginary ship that sails When the tide is out, the table is set, there am not into tech and am more traditional, around the world, for a show called Blue is food everywhere on our beaches, it is but I also do enjoy incorporating things of Peter. It’s the longest-running kids show just amazing. You wouldn’t starve to death today into traditional practice that didn’t in the world and pre-dates Sesame Street, here, there is so much food year-round, Supported by the Robert and Ruby Priddy to people. We had an opportunity to learn finishing graduate school that there is not exist in our world, 20, 30 years ago, 50 Mr. Rogers, and others. So stories can be and that is the story that Tide Woman Charitable Trust, fifty (50) students about the political things – such as how a single right answer. Is that consistent with years ago, a hundred years ago. There merged with Northwest Coast symbols. I shares. So the mask shares the story. completed the year-long intensive to make yourself visible, writing letters, your experiences since leaving school? are so many things in our world today that used the bear, the wolf, and the raven, and program. Many of these students are understanding legislation and other things need to be incorporated because we are they represent the teacher, student, and HP: I can’t wait to see it finished. Is there filling important leadership roles in arts like that. But you and I also worked together DS: Yeah, I would agree. I did teach still here moving forward in history, but I educating. The bear being upright, the wolf anything else you’d like to share with our organizations throughout the country on the “Instant Advocacy” project. college for a while and now I’m back still like to be true to the form and history as facing upward. The bear was the teacher, readers about what you do, not only as and abroad. Since completing the Priddy in the classroom. You know, when you much as possible. the wolf was the student, and the tongue a Tlingit artist, but also about the Tlingit Fellowship, both Steinecker and Lewis have LL: Right. teach college I think you’re trying to help falls out of the mouth of the bear and into culture and indigenous identity? been active advocates for visual arts in each individual find their own niche and HP: What would you say to students who the mouth of the student. When you see a public K-12 schools, higher education, art DS: Remember we talked about the how they can, in turn, advocate for art. want to pursue carving or create work after shared tongue, it means they speak the TJ: I want them to know we are still here, we museums, and community settings. importance of advocating every day, week, I remember one of my students did a the Northwest Coast tradition as a point of same language of communication. I put are not a people that you just read about, and month. You have to always be doing it hospital project that was community based. beginning? the bears paws holding its tongue which we are a people still living the life. A lot of Lillian Lewis: The inspiration for this on the ground floor level. I think one of the I loved seeing that. In my own classroom I symbolizes hands-on educating, and it people think that we are past, but we are conversation was reflecting on the fact that things with that was we were using a little find myself pushing very hard to connect TJ: Do research, look in books, look at was all about the show and the hosts of the here, and making art about our culture is we met eleven years ago in grad school bit of trickery to get people to understand those dots and keep what we’re doing pictures, find the history of the tribes you’re show, two boys and a girl, and the stories what we do. We are valid today! and there were some things that we talked what was going on with people learning in from being just make-and-take projects looking at, do it and keep doing it, there is they bring back to educate. about in terms of advocating for visual art, the arts. We have a really wide gamut of but “why are we doing this? Why are we never just one piece that is a masterpiece. and advocating for the arts in general, that experiences, coming from that program. making this thing that is decorative? How If you think there is, you need to hang it HP: I have seen many of your masks. Tell happened while we were in grad school is utilitarian art evaluated differently?” So I up, so you keep doing, and making, and me about the mask pictured here, and how and I can’t help but wonder where we are LL: The thing I recall about “Instant feel like I’m always trying to do it on a daily now. Advocacy” that has really stuck with me basis. Since I’m close to Austin I’m starting was that we brainstormed these ideas that to learn the ins and outs of speaking [to Dawn SteineckerS: I can’t believe it’s been were kind of subversive in positive ways. state legislators]. I have a friend who’s very Heidi C. Powell that long! They made a crack in the door to open politically active and so I’m starting to learn up conversations with parents, community the ropes and I want to do more of that… Powell is the Director of Graduate Studies for Art Education and an Assistant Professor LL: I know, right? So it was 2006? members, administrators, and colleagues. but I think that it has to be a constant effort at the University of Florida. She is an artist and scholar of Native American (Lenni Lenape) It was metered. We asked, “what can coming from everyone and I think it has to and Norwegian descent, her more recent scholarly research emphasizes Narrative Inquiry DS: It might have been 2008, but it’s been you do on a daily basis, on a monthly be coming from a sincere place. You know and Experienced-Based research methods, addressing Memory Pedagogy in arts education about a decade. Either way it’s been a long basis, to advocate for art?” I find myself what I mean? across disciplines. Her most recent publication is titled “Becoming a curator of memories: time. I did go into the program wanting vacillating between the small-scale efforts Memorializing memory as place in art making for art education” in Revitalizing History (Vernon to learn how to advocate for the arts we presented at TAEA and some of the LL: Absolutely. It’s interesting that you Press). Her creative work focuses on indigenous and isolated histories and their relationship to better and to learn as much as I could. So larger national issues. I really don’t know, say that because I return to this idea of contemporary society as landscape. She recently received Texas Art Education Association's Art you know, we learned a ton of stuff. We a decade later, where I personally need consistency. So much of what I hear from Educator of the year in Higher Education for TAEA (2016-2017). learned about how to track legislation, we to focus my efforts. Given the different many people I encounter lately is they went to the capital and were introduced professional positions I’ve held since are overwhelmed with this slash-and-

32 TRENDS 2017 2017 TRENDS 33 burn approach to arts and humanities capacity that you can. It’s letting parents DS: Did you happen to see the CBS Sunday So I think we need to think about what we like Neil deGrasse-Tyson. Here’s a man who to each follow through with communicating funding. It seems overwhelming – in talking know why art is important beyond that their morning show with Neil deGrasse-Tyson? need to do to make these things known. can be as cerebral as he wants to be yet why the arts are meaningful to us on a to professors, classroom teachers, and child likes it. The fact that you can do it as a How do we follow through and reach all the he chooses to be accessible, to engage personal level. community members there is an authentic career is just one aspect. It’s a much bigger LL: I didn’t. No. different people who need to be reached? with pop culture. He uses so many different desire to advocate for art but not knowing picture. Parents have so much sway with LL: I agree and I do think there are so media that are not exclusive to his field or LL: I absolutely agree. I think that that goes where to begin. I return sometimes to the politicians and there are parents who want DS: He was talking about physics and his many silos we can find ourselves in as art generation, such as his podcasts and online back to the issue with the binaries we can statement that the mayor of Houston made to speak up and do what’s right for their passion for physics. It developed very, educators. So our advocacy efforts tend videos. Young people like him because he find ourselves in. I don’t think art advocacy way back in…what was that, 2009, when I kids. I’m not sure how all that fits together. very early on. His parents supported that. to focus on having conversations with like is accessible yet it does not diminish the has to be economics versus some higher rode with you in the art car parade? I didn’t know who he was before the show minds. It’s really easy for me to pick up impact of his content. That’s that crucial philosophical value. There’s a space for all LL: Well, I think you make a good point but he is fantastic. the phone and call you and we can talk balance to strike: to be accessible but to those conversations as we discuss visual DS: I think it was 2012. though. The notion that they want to do about these kinds of things because we be robust. Good advocacy is accessible art. I think that art has provided intense what’s right for their kids, you know, we want LL: It’s funny that you mention him because have so much common ground. What I and robust. That’s what I know right material for philosophers to contemplate LL: 2012, okay. The mayor spoke at the to do what’s right for our communities. We he also spoke at AAM in 2012. find personally challenging is: how do I talk now. Whether it’s on a small level, talking for centuries but it also creates jobs and it American Alliance of Museums. She said: also want to do what’s right for ourselves as about my passion for visual art and making with people on my campus or on a national does both of those things simultaneously. “If you want politicians to support the arts, individuals. Ultimately it comes down to that DS: Wow! So when he talked about art accessible to all people to people in my level, it’s staying aware of how you You’re right that we’re not all charismatic vote for politicians who support the arts.” disconnect. That big question: why? I find physics some of it related to what we were community that I don’t know who may or communicate things. and we’re not all drawn to speak to large It was a very funny yet direct and relevant that so many times the comments people doing when we were working on “Instant may not have an interest in art education or DS: Yeah. You know, I think one of the good audiences but I think that because the arts statement. I think we’ve found ourselves in make to me about visual art, for instance in Advocacy”. We were kind of tricking people a background in art? I find my conversations things… thinking back to our graduate class are so many things to so many people and a place at the state and national level with art museums, is that going to see art is nice, by saying, “today I was a keen observer,” it don’t naturally drift that direction because with Dr. Davis, was that he encouraged the variety of arguments to support art are some politicians who don’t support the arts but it’s not necessary. In some ways I find it sounds like science but really we’re teaching to me it feels a little overbearing. I don’t us not to just buy into whatever popular vital it’s important that we work to avoid and yet we voted them into office. The thing is connected to the ideas of intrinsic versus that when we’re teaching drawing. Or think I’m alone when, very often the kinds trend was going around regarding what the trap of not advocating for art at all. I find myself struggling with is: how should extrinsic motivation. It seems that there are “today I analyzed, described, interpreted of conversations we have about what art was “doing”. Such as, “well the arts can On a personal note, I strive to advocate we make recommendations to others for so few things that people find that intrinsic and evaluated” and it sounded like we’re passionate about tend to be with improve test scores”. You have to recognize for art in a way that tries to avoid the traps consistent advocacy actions? The first step passion for. With visual art there is a lot of something you did in language arts. There other people who share those passions. I that there may or may not be a correlation of capitalism but it’s still very often an for me is thinking about how we prepare intrinsic motivation at a certain point in life are two things I’m trying to get to here. One think that’s partly how we find ourselves in there. For me, what it comes down to argument I have to acknowledge because ourselves for the next election cycle. What or under certain conditions. In the situation of those is: with deGrasse-Tyson he talked these polarized positions in society where is: knowing the statistics, knowing the economic impact is what people value. do we need to know about candidates? where creating art is compulsory and is about the importance of reaching people. there is no middle ground. I was having a research, knowing the resources we can Advocacy isn’t necessarily about bending How can we shed light on candidates has diminished value in society it creates Physicists may talk to other physicists but conversation recently with a friend online access to support ourselves as art teachers. somebody’s philosophy to your will. It’s who support the so often they don’t and we were talking about differences Also, it’s recognizing that we can’t all be about recognizing that society is made arts? As I think talk to regular people of opinions in politics and how that has, Neil deGrasse-Tyson. We don’t all have up of a wide variety of people with varied about art advocacy and make physics in some cases, ripped families apart. I’m that kind of personality but I think that if needs and whose needs change over time. today its one of the “If you want politicians to accessible. He talked not trying to imply that advocating for each of us brings what we have it makes In the midst of all that we still have to find weaknesses we have about comics and he art has a negative consequence but I do a difference. One person may be great at a way to provide opportunities for visual art nationally. We were support the arts, vote for politicians was very accessible. think there is a reticence or a discomfort understanding the economic impact of the education to continue; for artists to have focused on other He reaches people with talking to people in a direct or arts. Another person may be really good at funding to continue to make work; because issues and arts and who support the arts.” and he does talk straightforward manner about things understanding what art therapy does for its valuable to society on a wide variety of humanities took a about using a bit of we know to be potentially polarizing. our society. I think there are so many ways levels. Demonstrating the value of art spans back seat. trickery in terms of For various reasons visual art have the in and I think that all those voices need to be from very personal, private, and singular, to a strange paradox because you have hooking people and getting them to buy potential to be polarizing. So I think that’s heard by students to parents to politicians. things that are entirely global. DS: Well, there are certain things I know people who are making art for a grade into a conversation about science. It was what’s interesting about approaching art We need to have a semi-united front but and understand. I know and understand and they don’t often see any other value fascinating. He is brilliant and he could advocacy from a vernacular point of view, we also need to have our own voices and education. I know and understand art. other than the grade. This is unlike STEM be above it all and say, “I know something So I do pay attention to those things and fields where there is so much emphasis stellar and other people can’t even I do base my votes on those candidates. on how it results in employment and the understand. I can’t watch a movie without But there are a couple of other things research produces tangible, measurable seeing the flaws in the science.” But he can Dawn Steinecker that I think about. We have art as a core results in society. We’ve shifted to a very point them out in a way that makes me say An art educator with over 15 years of teaching requirement in high school and we have utilitarian kind of thinking. It concerns me “Oh, wow! Physics is really interesting!” So experience, Dr. Dawn Stienecker has taught early the arts as core requirements in college, that so much of the rhetoric about why we that’s one thing. Advocacy is about reaching childhood to university level settings. Her research but if people are not being informed about do what we do ultimately comes back to people on multiple levels; stakeholder and interests are focused on classroom and community why it’s so significant and how it has been this notion of utility. As a society we have non-stakeholders . How do you get non- practices and the ways these practices can shift to throughout all cultures and all times, then focused so much of our efforts on utility stakeholders to become stakeholders? Also, become formal research projects that demonstrate the educators are missing the boat. That that I see a lack of intrinsic motivation as last weekend when I was doing the flags for critical investigation. disperses outward because the people we a result. It’s not just students in classrooms endangered species, one of the things that touch, if we aren’t informing them…then in compulsory settings but also learners in I kept encountering was the opportunity it Lillian Lewis they just leave getting the course credit noncompulsory settings and parents. I have created for advocacy. The flags were on Dr. Lillian Lewis is assistant professor of art education at Youngstown State University. or some other variety of things they may noticed a kind of dispassionate movement the endangered species of Texas. Students Lewis received her Ph.D. in art education with a graduate minor in art history from be getting out of our classes. Unless we’re through life that is concerning to me. did research about endangered species, The Pennsylvania State University. She received her M.A. in art education and was making it really clear why the arts are Maybe I am cynical but I am concerned they made prints, and they made posters. I awarded a Graduate Certificate in Museum Education from the University of North important what happens varies. Our district that if the way we advocate for art is try to presented it as a community event and took Texas. Lewis is a Youngstown Awesome Foundation trustee, community arts volunteer, has shows but I don’t know if that’s getting put it on par with things like STEM or to try these prayer flags out into the community. and mother of three. Her research interests include: visual art as intercultural practice through to people other than “hey it’s great to look directly at its economic impact or Everybody who came to the table, after I of social inquiry, public pedagogy facilitating learning communities in digital and we’re having a social time. Look what our employability that we’re missing something told them about the project, said, “wow, it’s analog settings, and the roles of intersectional identities in classroom and museum kids can do.” You don’t want to be overly much more important about the artistic so cool that they’re learning that!” People practices. didactic, but I feel like it really important to process. are surprised that my students are learning reach as many people as you can in every so much about what they’re doing in art.

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if you believe in the arts, we will show our by Joana Hyatt, Lamar University support for you in order to build that pro- FACT CHECK: arts majority. Joana: As you know, art is political. And, mericans for the Arts is the leading organization for the advancement of artists are political. Although I believe we should encourage private funding from the arts and arts education in the United States. The organization was patrons of the arts, relying solely on private donations for the arts is problematic, formed in 1960 and their first big advocacy effort was for the creation of because patrons that make private A donations might only fund certain types of the National Endowment for the Arts. Since that time, they have been working art that align with their beliefs. to protect NEA, but also to build infrastructure to ensure that every state has a Jeff: That is part of the freedom of speech state arts council, every community has a local arts agency, primarily members in America, and money can be considered speech and you’re welcome to do that of Americans for the Arts, and that there is a parallel infrastructure of advocacy and support the types of things that you particularly want to support. This is one of the organizations that will increase equitable access to arts education through reasons why we support public investment in the arts, that equity and access piece, to federal, state, and local policy pipelines. disenfranchised and are concerned that that there are four goals of Title I, and arts ensure that our rural communities, our less the current administration does not support can actually achieve those goals. Title I is fortunate or economically disadvantaged the arts? There seems to be the notion that the largest pot of money, so instead of just communities, or those communities who certain political parties are non-art friendly using it for remedial math and English, why are systematically left out of the picture On March 3rd at the Hilton NAEA conference Jeff: We are, at our core, a membership care about political affiliations. What we people. Is there any truth to that? don’t we use the arts as a strategy to get because of the language they speak or in New York City, I had the opportunity organization like NAEA, but we do work in want is that more than half of the people to those students that would really benefit their intellectual ability or their physical to meet with Jeff Poulin, Art Education partnership with organizations like NAEA. in the room care about the arts. We’re well Jeff: At a certain point, it’s about being a from it.” The other person that might be disabilities, we want to make sure that they Program Manager for Americans for the First of all, our membership is extremely on our way, we do sponsor candidates team player, and as an advocate, looking non-arts friendly is someone who truly are also participating, also able to learn in Arts. In this brief interview, we discuss the inexpensive, but what we do as a national and we work to put out information about at the long term and understand that just believes that there should be less and through the arts. role of Americans for the Arts, advocacy organization is cull together all of the presidential candidates, in fact you can most decision makers are dealing with a government, and that they don’t think that At Americans for the Arts we are now in resources, how politics affect art advocacy, partners to bring national attention to the read about previous candidates and those situation of very scarce resources and a lot the government should be in the business a position of working with folks throughout data that supports what the arts can do, causes of the arts and arts education. who are elected and their stances on the of needs. Right now, I think a lot of people of funding the arts and it should be through the nation’s capitol; and we have a goal to what art educators can do to help advocate In fact, we hosted a national Arts arts, and you’d be surprised, a lot of them are very anxious about what’s happening private philanthropy. Though I think many work with the Trump Administration, which for the arts in their communities, as well as Advocacy Day in March, which was a are actually quite positive. We have to do in Washington and decisions being made, of us probably disagree with that and have likely means a lot of talk about economic how to influence art policies. national day on Capitol Hill where we work that together, but we also intervene. especially since January 20th, ramping up a different view of government, especially development and workforce. For example, with all of our members of Congress and I will share the story about the Tucson military spending and cutting domestic because the data is there that for every one you will likely hear that the arts give to STEM Joana Hyatt: Hello Jeff, can you share with the Administration to bring forth the issues Pima Arts Council: Tucson, in Pima County, spending. dollar invested, nine dollars goes back to to make STEAM, and STEAM is innovation, our readers information about what your of access and equity in arts education, Arizona has an arts council which was up to I’ve had to say to people, first know the federal government. It’s a larger section and innovation is workforce development position is within the Americans for the Arts among other issues regarding the arts and be eliminated by their city council. We were that there are a lot of people working on of our GDP than construction or tourism, and 21st century economy. organization? cultural field. We bring together over 90 able to go into the database of members behalf of you in Washington right now to if you look at the creative industries, the At the same time, we stand by our values national partners, including NAEA, so if you of the Arts Action Fund, request that people try and make this all work out. So don’t feel amount of people who are employed that students should not be censored Jeff Poulin: I oversee the Arts Education think about the entire ecosystem, there are do so, and we delivered tens of thousands like you need to hold this burden as an art in the creative nonprofit arts industry is in their art, in fact there was a case in Program, which is one of several programs all of the local folks that are on the ground of letters in the course of 24 hours to the teacher in Midland, Texas to do that. Plug gigantic. On average, people spend in their Washington, D.C., where a student won at Americans for the Arts. That program doing the work, they belong to their state mayor’s desk, and immediately reversed into those networks and absolutely use community $25+ on top of the ticket price an art contest and their art was displayed has a network of members who are organizations, those state organizations that decision. your voice, but don’t feel that responsibility. for the cultural event that they’re going in the halls of Congress. The student was arts education professionals whom we belong to the national associations, and We know that the collective voices of Second, know it’s a long game. Sometimes to, for local businesses, and parking, and from Ferguson, MO and depicted police work to support, but it also has a portfolio those national associations all come people coming together can really make we’re going to have to compromise. If you babysitters and gas, so the impact is there. officers as animals. Some folks that felt of activities which coalesce the field together under the banner of Americans for a difference, because we know that the look at NEA allocations over time, it does But those people just truly believe in smaller more conservatively about that, including nationally to influence federal, state, and the Arts. American public is behind it, we know that fluctuate. In fact, it has taken some things, government and so what we can do is work the Fraternal Order of Police, disagreed local policy. I primarily work with a number We also work with our sister organization, the arts are transformative for students especially using the arts to work with with them on things like the charitable tax with that. There was this whole hurrah of partners to build that movement and called the Arts Action Fund. Some people through data and through their stories, and wounded warriors and returning veterans deduction because we know that arts and where this Republican congressperson tore build national visibility for arts education, have reservations about PACs, I do too, we really know that there is policy footing who are suffering from PTSD or traumatic cultural organizations and arts education it down off the wall, and a Democrat put train advocates on the ground, produce personally, but I think that if big pharma that we can rely on. Sometimes its just a brain injuries, that was the latest bump in organizations benefit from donors giving it back up and then he tore it down again, tools and resources, and really work to and big oil have PACs, arts and culture matter of making a decision to enforce the funding, which is something that appeals to them money. In fact, if you go to Lincoln and then the Congressional Black Caucus connect the federal, state, and local policy needs to have one too to be at the table. policy, to allocate the funds necessary, or the more conservative base. Center, the two people who want to shrink put it back up and then they sued him or pipelines to ensure equitable access to arts We actually work to build a one-million- to provide the resourcing and support that As advocates, we also need to the size of federal government the most, filed a complaint or something. education for all people who can learn member army of arts and cultural is required to create comprehensive arts understand there are two types of folks that the Koch brothers, one theater is named for For me, my standpoint is that student through the arts. advocates to use our voice collectively and education for students. With Americans for we face that are non-arts friendly per our one of them and the other theater is named entered the art contest, won it in a juried show decision makers that we are here and the Arts, we invite you to join the movement, rating system on bills at the legislative level, for the other! They believe in personal panel of arts peers, and, yes it is a highly Joana: Can you explain to our individual we care and these are the things that we we invite you to plug into our networks and the first are folks that are truly in a bind, philanthropy, so we can work with those political slant to what they were doing, TAEA stakeholders who work in K-12, ask for. Right now, we invite people to join, really stand at the ready, especially in this there is not enough money to do everything folks to help make it easier to achieve those but we also live in a country where you museums, administration, and higher they can join at ArtsActionFund.org, and time of great change. and they have to make decisions. We things. It’s all about finding a pathway can speak your mind, and part of that is education who are wondering, what can be part of the army, because it’s cool that understand that and we want to work with and building this coalition, which is why through art, and it should not be censored, Americans for the Arts do for me? we work consistently to elect a pro-arts Joana: That’s wonderful information, them, but we also can pivot those people we are nonpartisan, we do not belong to especially in a place like the House of majority, we are non-partisan, we do not Jeff. However, what about those who feel and say, “Well great, because did you know any political party or any candidate, but Congress, where there are slave owners

36 TRENDS 2017 2017 TRENDS 37 who are held up as statues. We can’t make to the school for several days after, that’s what you’re looking for, there is data for it. ART in Motion (2012), was a collaborative street performance in which art the argument that it is totally politically definitely achieving that goal. I think we What we know as advocates is that you correct anyway, so for us it’s about making can really help to lead the way. really have to combine that data with the education students “annotated” the streets of Erie, PA along the path from the an argument that is going to work, but also Joana: What hurdles are standing in our story. Especially as an educator, you’re so Warner Theatre (where the Governor’s Awards for the Arts was being held) to thinking about the values that we believe. way to make this policy? What can we do empowered to look at a student and see At Americans for the Arts, we believe in as art educators to help make changes in their growth over time or see how their the Erie Art Museum, where the reception was being held. public schools as a pathway to achieving the policies for the arts? family was impacted, or see how maybe the goals of equity of access, freedom of they didn’t speak the first couple of weeks of speech and creative expression and really Jeff: In many ways decision makers struggle school and now they’re a chatterbox at the the values of achieving those goals around with creating policies around arts and end and it’s because they really discovered access and equity in public funding. culture, or arts education, because it’s theater, as an example. Or students who not as quantifiable, it’s not as black and might be tackling issues of depression, Joana: Speaking of public schools, I white as other things. To say that you’re really are dealing with it because of their overheard a group of art educators saying, improving school climate and culture, art class. Or other students that are not nobody cares about the arts, but you have or that you’re improving confidence in finding a mentor or a safe space and data that contradicts this notion. students, is hard to measure. Some states they’re finding it in your classroom. Those have very cool innovative ways where they are the stories combined with that data Jeff: That is one of the biggest measure student growth in creativity, and that really will make the difference. misconceptions I think there is. In fact 89% that aggregates to a school grade and As a goal, we would like to ensure that of Americans believe that the arts should aggregates to a district level. But, that’s in every state there is a state arts action be part of a well-rounded education. hard to wrap people’s brains around, so organization, and in local communities, Additionally, that has been consistent for one of the things that we do is that we people feel empowered to take action at the past 20 or so years, and over time we’ve actually rely on some of the data that has the grassroots level. Similarly, we work seen it improve when we break it down and been collected. with partners like NAEA to ensure that the say, “When should that be important?”, it The majority of states, because of No state chapters are all working together, Ross Schlemmer used to just be for elementary school, and Child Left Behind and the waiver period and in every community people know [email protected] now public opinion shows that the same 9 following, had to collect longitudinal data the resources and tools that they have out of 10 Americans believe that the arts are on student participation, student access, available to help drive forward that mission vital in elementary school, middle school, as well as student achievement in all of the of equitable access to arts education for all high school, and out of school, which is core academic subjects at the time, the arts of our children. pretty cool. So I think as advocates we need being one. What some leaders in the field to understand that the American public is have been doing is helping states scrub that behind us, so if we’re talking to elected data and really make it visually appealing officials and saying, “Your constituents so that people can look at graphs and see believe this, and here’s the study,” and then the impact. Additionally, we also rely on the you can share your own story about how fact that—I give credence to the fact that you’ve seen the transformative power of when you’ve seen one community, you’ve the arts in your classroom or in school or in really only seen one community—however, a student’s life. if you look at it in the aggregate and say I think it’s a really big misconception and well, I’m from Dallas and Dallas is the same what I often say is that we can’t fall into our size city as a lot of cities in the country, and own victim spiral of “Oh it’s so hard, there’s they might have similar demographics, or no money.” We work in the arts and we’re your district may have similar challenges to creative problem-solvers, so we are the other comparable districts. Why not work perfect people to be able to come up with together as an entire field to share data these solutions. In ways, the arts community and say “Yeah, my school looks like this can actually lead the way in new and school, and in this school they did a study innovative models of assessment and that said so-and-so, so we can use that to teaching and learning, and in improving help inform our decisions.” school climate and culture. In fact, the arts There is so much data available, in fact Joana Hyatt have been leading the way for solutions- when people complain about not having oriented educational policy-making. I enough data, I can get frustrated. Say you Dr. Joana Hyatt is an Assistant Professor find it funny when I see a new newspaper care about civic engagement, we know that of Art Education at Lamar University article that says, “Oh there’s this new students who participate in the arts are and the Director of the Lamar University thing called project-based learning,” In more likely to vote and serve on a board Summer STEAM Camp for high school the arts, we’ve been doing it for years! of directors of a nonprofit and volunteer students. She earned a PhD in Art Anther example is how to incorporate in their community when they’re adults. Education from the University of North well-rounded education subjects in Title I When you look at the data about math Texas, and her MEd and BFA from the schools to achieve the goals of Title I: the and science, we know that students who University of Central Oklahoma, where improvement of school climate and culture, participate in the arts are more likely to she received the CMAD award for student achievement, and engagement of enter a science fair and win an award for mural painting. Dr. Hyatt has been a parents and communities. If you could tell math. If you care about standardized tests, K-16 art educator for over twenty years, me about putting on a performance or we know that students who participate in teaching in Nevada, Oklahoma, and exhibit where families come in and students the arts in high school score on average Texas. feel empowered and there’s a festive spirit 100 points higher on the SAT. Regardless of

38 TRENDS 2017 2017 TRENDS 39 FEATURE ARTICLE Advocate in Your Community: Making Art Programs Visible by Jennifer Hartman, University of North Texas

ffective art advocacy requires a clearly defined objective and collective effort on the part of both dedicated individuals and arts organizations E(Bobick & Dicindo, 2012; Kania & Kramer, 2011; Hawkins, 2012; Miksza, 2013). As art educators, we can play an important role in advocating for the importance of a quality arts education for all students. In this article, I will describe the process of designing and participating in an art exhibition at a major metropolitan zoo, with my elementary age students, that sought to advocate for both our art program and the value that art has in our community.

Advocacy in art education can come (Bobick & Dicindo, 2012; Kania & Kramer, In the process, students develop the in many forms. As an art teacher, in 2011; Hawkins, 2012; Miksza, 2013). In capability to explain to others the value public schools, I have found it necessary particular, they assert that effective of the arts in their lives. As these students to advocate for time with my students, advocacy requires both individuals and mature and become active members of appropriate class sizes, money for supplies organizations working together towards their communities, they will hopefully see and instructional materials, and the a single common goal. As a group of the value of the arts and possess the skills curricular flexibility to create engaging, art educators, we must advocate in our necessary to advocate for them. relevant lessons. communities and beyond for all students Hawkins (2012) asserted that over time, I know many colleagues across the to have access to quality arts education. the means of advocacy has changed and nation who find themselves advocating for However, for teachers, like myself, who are we are now in a time “where individuals the very existence of the art programs in fortunate enough to currently work in a place have an increasing ability to organize their schools. In fact, and leverage while a 2005 survey community networks found that 93% of to effect policy Americans believe Teaching is reflexive and change” (p. 129). an education in the She encourages arts is important our advocacy efforts arts advocacy (Americans for the organizations to Arts, 2005), in 2008 consider leveraging only 57.9% of white should be as well everyday arts students, 28.1% of champions in their Hispanic students, advocacy efforts. I and 26.2% of African American students where those basic needs are met, I would believe that art teachers, students, parents, had access to an arts education (Americans like to pose a question: Can we advocate and administrators can be act as everyday for the Arts, 2015). In light of statistics for the growth of our own programs and champions for the arts. like these, our advocacy efforts in public students while simultaneously advocating In the following sections I will describe kindergarten through twelfth grade art for those who do not yet have access to the how I was inspired to create an advocacy education are often targeted at meeting basic components necessary for a quality opportunity for my students which basic needs. According to Miksza (2013), arts education? I am confident that the culminated with an art show at a major “advocates for school arts instruction must answer is yes! metropolitan zoo. In the following sections be concerned with acquiring resources I believe that by advocating for, and I will describe the lessons I designed, the such as funding, enhanced staffing (in participating in, opportunities that engage artworks that my students created, and the terms of numbers or specialization/ students in authentic art experiences in the resulting show experience that my students credentials), and instructional time with community we can make ourselves, our and I participated in as an example of what children, because without such resources, students, and our programs more visible. this type of arts advocacy might look like. comprehensive arts instruction is not likely In doing so, we can demonstrate the true Designing Lessons and Advocacy Events to occur” (p. 25). value of an education in the visual arts. Like many art teachers, inspiration for Several scholars have noted that Additionally, we extend the role of arts my classroom lessons comes from a variety successful advocacy takes collective effort advocate from ourselves to our students. of sources, including my own experiences.

40 TRENDS 2017 2017 TRENDS 41 While on a family trip to the zoo, I came on when educating the public during entirely their own, from the idea to the across an exhibit of artwork highlighting their special wildlife weekends. They also creation. As our second activity, I plan a endangered animals which sparked an idea shared with me some simple actions that more guided lesson where most students for student learning. My elementary age people can take to help protect those will be successful. Typically, in this lesson students love to draw and paint pictures of animals. For example, one animal local to I have preplanned some components, but animals and I saw potential to connect their us is the Texas Horned Lizard. To protect within the lesson framework I still allow for love of art and animals to help them realize this animal, the zoo asks visitors to pledge limited choices. Choice for my students a larger goal of raising awareness about to leave Texas Horned Lizards in the wild might come in the form of the materials endangered species. When I returned alone (capturing them for pets is one of used, the subject selected for the work, or to school the following week, I began the their largest threats). With these lists of in the finishing details. For each lesson, I process by making encourage students contact with the to express their ideas zoo and setting about the animals, up an art show for Advocacy in art education their habitats, and my students that conservation. For would highlight can come in elementary students, endangered I find that between animals. In the two projects each the process, I many forms student is usually able discovered that the to feel confident in resulting lessons, choosing one work of artwork, and show gave a voice to my specific animals and pledges I set out art they will feel proud to see representing students and advocated for our program to create lessons where students could the school. During the critique portion of better than anything I had done before. learn about a variety of wildlife in need of our learning we discuss what makes a work Initially my focus was on developing high protection and some things we could do of art show-ready. For my students, that quality, engaging lessons for my students, to help these creatures. I also added a might be the quality of the art or it might be and advocacy was not a priority. As I went geography component by organizing the the learning that took place. For example, through this experience however, I quickly animals we would study according to their one student might choose a piece because discovered that high quality and engaging location in the world. For example, my they mastered the watercolor techniques lessons are a great first step for teachers second and third grade students learned we learned, while another may choose a wanting to advocate for their programs. about the different geographic regions less polished piece that demonstrates the In fact, Hetland, Winner, Veenema, and of Africa and 6 different animals there in color combinations she created along with Sheridan (2013) argue that “before we can need of protection, while my first grade her recorded observations about how she make the case for the importance of arts and kindergarten students learned about made them. Regardless of how you decide education, we need to find out what the the wildlife in Texas and Mexico. After to navigate this process/product tightrope, arts actually teach and what art students learning some interesting facts about the I believe the most important thing is that actually learn” (p. 1). It is with this mindset region and some simple ways we can help you stay true to your lesson goals and that I would recommend any teacher each animal, we discussed how artists objectives. Then, when all is said and begin their advocacy efforts, because by can help the environment and animals by done, your students will walk away with the designing lessons that encourage authentic making artwork and looked at a variety understanding of what they need to know engagement with art making, students of art examples. While I did this research as artists and art consumers and that is an will be equipped to advocate for the for my students, if you are teaching older extremely valuable form of advocacy. importance of art in their own life. students or have an opportunity to partner Preparing to talk about our work was There are a variety of frameworks that with other teachers, encouraging students our final step in class before the exhibition. teachers can use to help guide the content to do the research themselves would be a We talked about the techniques we used, and delivery of their lessons. Regardless nice extension. Additionally, tying their art what was expressed in our artwork, how of the framework used, the first step is to learning into other subjects would be an our artwork may speak to others, and what determine what goals you have for the excellent way to advocate on your campus. we would like people to know about the lesson. I decided that I wanted students animals we painted. Students were then to learn about a variety of endangered Putting Your Best Foot Forward: The Process vs. encouraged to share this information with animals, to learn about the ways artists the Product their parents and visitors on the day of the can affect social change, and to have an As art teachers, we often seek exhibition. opportunity to express what they learned in to value the artistic process of each of our the form of art. Then, based on our district- students (Hetland et al., 2013) but, when we Planning the Event wide scope and sequence I selected media are going to increase the visibility of our Although initially I did not consider and skills that students would use to create program to the community in the form of advocacy when designing the lessons, while their work. an art show, we should not underestimate working with my students and observing In addition to considering the big ideas the value of the product. Each art teacher their personal connections to the lessons, and studio art content of our lessons, I will need to navigate his or her own path I became excited about the potential added some interdisciplinary connections between the process and the product, this show could have to advocate for our by asking my contacts at the zoo to share but I can offer a few suggestions that program and for art education. Just as you some information about the types of have worked for me. First, to honor the begin lesson planning with objectives and animals that my students might feature process, I often allow students to have time the learning you want students to focus on, in their artwork. I was provided a list of to plan, respond, and create something you can also begin planning for advocacy endangered animals that the zoo focuses related to the topic or theme that is events in a similar way. First, decide who

42 TRENDS 2017 2017 TRENDS 43 your target audience is and what you want invitation to take home to invite their friends of our school able to see the art and see how excited the zoo staff was about arts advocate from myself to my students. by providing my students opportunities to them to see, experience, or learn. For this and family. Additionally, for this show I understand its role in raising the art. Many of them work closely Initially the event was conceived as share their voice within their community, particular show, our primary audience was partnered with our music teacher, who awareness about important issues? with the animals that were represented a learning opportunity for my students they not only will develop the ability to the parents and relatives of students in our directs our school choir. He taught his choir For this event, I believe we accomplished and they had very thoughtful insights to connect a subject matter they felt tell others about the importance of art in school, but we knew any visitor of the zoo songs related to animals and they planned each of these three objectives to some for the students about their art. As well passionate about with an opportunity their lives, but that hopefully they will be would also see our work so we kept this a performance near the artwork at the zoo. extent and although there were some attended as the event was however, most to display and communicate about their encouraged to engage with, and support, secondary audience in mind as well. Next, In our experience, we have better event challenges along the way, they presented students only communicated about their art in public. As the planning process the arts in a variety of ways throughout set advocacy goals or objectives. The zoo attendance when there are either multiple opportunities to grow our advocacy efforts. artworks with their own friends and evolved, it became something more, an their lives. had asked that we focus on endangered siblings participating or when there are In evaluating the aforementioned goals family, so other visitors of the show were opportunity to share with the community animals, so we created works of art multiple activities/events for the students one and two, I saw evidence that students greeted by myself. While this was nice, the role art and art education plays in the featuring a variety of endangered animals to attend. By coordinating our efforts, we could communicate the role of art and it would have been more successful to lives of our students. As I begin planning and learned facts about how we could help knew we would be able to highlight our share their work with their families, but have students explaining their own work. In future events and opportunities for student those animals to share with our parents school and increase attendance to both the often did not do so without prompting. the future, I hope to select student docents advocacy, my next step will be to consider and the zoo visitors. For this event, our show and performance. During our lessons, students learned not who feel comfortable sharing their work how this advocacy can be sustained. advocacy goals were: and the work of others with visitors. Effective advocacy requires collective 1) The students will be able to effectively effort (Bobick & Dicindo, 2012; Kania & communicate the role art can play in Conclusion Kramer, 2011; Hawkins, 2012; Miksza, 2013). helping raise awareness about the show was a powerful Based on the feedback I received from As art educators, it is our responsibility to important issues like endangered students, parents, administration, visitors, advocate in our communities and beyond animals. advocacy tool for the arts and zoo personnel, I think the show was for all students to have access to a quality 2) The students will be able to share their a powerful advocacy tool for the arts in arts education, and this can be done by Jennifer Hartman artwork and learning with their family. our community. Miksza (2013) found that showing the public how the arts play a Jennifer Hartman received her BFA in 3) The students will be able to share their in our community “school arts programs are more likely vital role in the community. Hawkins (2012) Painting and Digital Media from the artwork with community members to thrive when teachers can enlist the asserted that over time, the means of University of Colorado and her MA outside of our school. support of their surrounding community advocacy has changed, and we are now in a in Art Education from the University After deciding on your audience and In order to reach out to additional only about endangered animals, but also and parent organizations when advocating time “where individuals have an increasing of North Texas. She has taught advocacy goals you should consider community members who were not able about artists who have created work for a for the arts” (p. 30). I think that with this ability to organize and leverage community seven years in public schools and logistics of the show, such as the location, to attend the event, we contacted our cause that was important to them. When event students, parents, administrators, networks to effect policy change,” (p. 129). has worked with students at both the times, display space, etc. Our show was district's communications department and students were viewing the art with their and the surrounding community were She encourages arts organizations to elementary and secondary level. She displayed in a very popular portion of the our local newspaper, and both were happy parents they would often stand shyly to able to engage with art and see the leverage everyday arts champions in their is currently a PhD candidate in Art zoo that allowed both parents and visitors to cover the event. Finally, during the show the side, or they would excitedly point at role it can play in students’ lives and in advocacy efforts. I believe that art teachers Education at the University of North of the zoo easy access to visit the art. It and performances, we took many pictures. it, but not offer in depth discussions. When our community. Additionally, I believe and even art students can serve as this Texas and an elementary art teacher. was sheltered, which both protected the These pictures were turned into a short prompted by their parents, I often heard that the show helped to extend the role of type of advocate for the arts. I hope that art from the elements and made the show movie highlighting the day, which can be them discussing the animal, the habitat (if a popular place for visitors to stop and rest used to share with students and members it was portrayed in the artwork), and even out of the sun. Our show was spread out of the community who could not attend. the facts about protecting the animals, References over the entire weekend, adding flexibility It will also serve as helpful advertising for but I did not often hear them discuss Americans for the Arts. (2005). News and information [Press release]. Retrieved from http://www.americansforthearts.org/sites/default/files/pdf/ for parents and students to come see the future art shows and can be shared on our the specific role art might play in this or news/press-releases/2005/06/New-Harris Poll-Reveals-93-Percent-of-Americans-Believe-Arts-are-Vital-to-Well-Rounded-Education.pdf work and increasing the number of zoo school and district social media outlets. other important issues. However, when Americans for the Arts. (2015). Decline of arts education in underserved populations. Retrieved from http://www.americansforthearts.org/sites/default/ guests who were able to see it as well. Hopefully by utilizing these social tools we I asked the students I found they readily files/pdf/2015/by_program/reports_and_data/research_studies_and_publications/ArtsEd_UnderservedPops_2015.pdf Also, the show was planned for a special will reach an even larger audience with shared this information, so one idea I will Bobick, B. & Dicindo, C. (2012). Advocacy for art education: Beyond tee-shirt and bumper stickers. Art Education, 65(2), 20-23. weekend with many activities around the our efforts as Hawkins (2012) encourages try in the future is to create a poster that Hawkins, J. (2012). Leveraging the power of individuals for arts advocacy. Journal of Arts Management, Law & Society, 42(3), 128. doi:10.1080/10632921. zoo, and discounted ticket prices, making advocacy groups to do. has a few questions viewers might ask the 2012.729497 Hetland, L., Winner, E., Veenema, S., & Sheridan K. (2013). Studio thinking 2: The real benefits of visual arts education. New York, NY: Teachers College it easier for families to attend. This special students about their work. I hope this will Press. weekend was well advertised by the zoo Facing Challenges and Evaluating the Results: encourage more in depth conversations, Kania, J. & Kramer, M. (2011, Winter). Collective impact. Stanford Social Innovation Review, 9, 36-41. and, since one of our goals on the exhibition Did We Advocate? especially about the importance of art and Miksza, P. (2013). Arts education advocacy: The relative effects of school-level influences on resources for arts education. Arts Education Policy Review, day was to advocate for endangered Teaching is reflexive and our advocacy art education. Another idea to help with 114(1), 25-32. doi:10.1080/10632913.2013.744245 animals and arts education, we wanted efforts should be as well. After the this goal would be to have students create to make sure it was well advertised to completion of any event we should reflect an artist's statement or reflection of their our school community as well, because on the successes and challenges in order learning which may make it easier for them encouraging event attendance is an to monitor and adjust future efforts. When to share with others. essential component for advocacy (Bobick assessing student learning you need to In response to goal three, I believe that & Dicindo, 2012; Miksza, 2013). focus on the goals and objectives of your community members were able to see 1. Class Blog To achieve strong community awareness lesson. Similarly, when you assess advocacy and understand the art, but there is still 2. Cross-Curricular Planning and Projects of our show, I had to take on the role of public effectiveness you need to focus on your room for growth. Our students had the (in this case it was a class quilt) relations director. First, understanding advocacy goals and objectives. To assess opportunity to share their work and learn 3. District Art Shows – (open to the that every parent and student would not this event, I asked: with their parents at both our campus public monthly) be able to attend our show at the zoo, I 1) Were students able to effectively open house and at the zoo. We had created a pre-exhibition with every work of communicate the role art can play in wonderful turnout at both events. We J. Richards - Art Specialist EC-12 art created for the zoo on display for our helping raise awareness about also had many visitors who were not part District Middle School Lead parents to see at our campus open house important issues like endangered of our school community visit the show at CMSE Visual Art in August. Alongside the work were posters animals? the zoo. Visitors seemed to be curious www.theideafactorycmse.blogspot.com advertising our upcoming show at the zoo 2) Were students able to share their about the art and the student learning and @RichardsArtRoom in September. Then, as the show date artwork and learning with their family? several even inquired about purchasing approached, each student was given an 3) Were community members outside student art. I was also very interested to

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inform what types of learning opportunities States. Each young man took their time we decide to share with our students and to compose their responses. Daiki, age Advocating for Peace why (Bolin & Hoskings, 2015), leading 20 said, “Japan did many bad things, but us to prioritize our own educational Japan was also damaged…so I want people agendas. Thus, my decision to participate to never forget these things” (personal in a socially engaged study tour communication, July 4, 2016). Hiro, also and Reconciliation: opportunity that advocates for peace and age 20, suggested, “When U.S. children reconciliation, aligned with my personal learn about atomic bombing, please think goals to guide students to be thoughtful about the people who were bombed; don’t Lessons from Japan Maria Leake, Madison High School global citizens. Throughout the process think only about a conclusion” (personal of looking, listening, and observing the communication, July 4, 2016). Kazuya, age actions of the people in Japan, I wondered 18, shared, “I hope innocent people are n the 75th Anniversary of the attack on Pearl Harbor, Japan’s Prime how I might get my students to internalize never killed by other people and this never Minister Shinzo Abe and the United States’ President Barack Obama this information in a meaningful way. As happens again” (personal communication, a fan of social learning theories and the July 4, 2016). The final comment was one I stood side by side in Oahu, Hawaii. Together these world leaders stood practicality of putting ideas into practice have heard repeated numerous times by O in the real world (Bandura, 1977; Lave & the people we encountered in Japan. “We as advocates of peace, offering heartfelt condolences to the fallen victims of Wenger, 1991; Wenger, 1998; and Wenger, never want atomic bombing to happen McDermott, & Snyder, 2002), I was excited again. We need to stop nuclear weapons” the Pacific War (Schmidt, 2016). to see how my students might create art was the message Kouich, an 18 year old that brought the topic of peace into our student shared with me as I departed local school community and what impact (personal communication, July 4, 2016). that might have locally. Social justice Personally, I was moved by the thoughtful While this event was punctuated with I took advantage of viewing these artifacts advocacy in art education has evolved art education, which is rooted in social responses these young adults shared. many thoughtful reflections of how our two when participating in a study tour program since the 1970s, Bobrick and Dicindio (2012) learning theory, posits that “as long as the Thinking about the interactions which were countries have fostered mutually respectful with eleven other U.S. educators in agree that the common goal of advocacy process of making art offers participants initiated in the museum setting, followed relationships following the war, the Hiroshima and Nagasaki, Japan. The goal is to increase public awareness on how art a way to construct knowledge, critically by my conversation with the young men, following excerpt from Prime Minister Abe’s of this study tour led by Dr. Anne Prescott can impact peoples’ lives and also society. analyze an idea, and take action in the our socially situated learning interactions (2016) speech captured my full attention. and John Frank , was to help US educators Interactions that call upon individuals world, they are engaged in a practice of went well beyond the superficial aspects of It has now been 75 years since that Pearl better understand how the Japanese to form “new social relationships or social justice artmaking” (Dewhurst, 2010, social learning, as Kundu and Kalin (2015) Harbor. Japan and the United States, which people of different ages and backgrounds collaborations” that will help our students p. 7). There are many ways to conceptualize are critical of. Instead, our interactions fought a fierce war that will go down in the are promoting peace education and why it critically reflect on issues affecting our what social justice art education means supported purposeful and open-ended annals of human history, have become matters. Although I have traveled to Japan world is an example of the participatory (Bastos, 2010; Bell, 2007; Bell & Desai, possibilities for learning. allies, with deep and strong ties rarely found twice previously to explore life and culture nature of advocacy (O’Donoghue and 2011; Dewhurst, 2011; Dewhurst, 2014) but Not only did our study tour have adult anywhere in history. We are allies that will as a participant in Fulbright programs , Berard, 2014, p. 7). working towards transformative change guides, but when our study tour group tackle together to an even greater degree socially interacting with various Japanese O’Donoghue and Berard (2014) suggest is an underlying goal. I will now share the Photo of artifacts on display at the Nagasaki Atomic went to Hiroshima, a fellow teacher and I than ever before the many challenges activists and survivors of war made this a six qualities for fostering meaningful social parallels I found between socially engaged Bomb Museum. Image of young Japanese student were paired with four young students from covering the globe. Ours is an alliance of uniquely situated and emotional learning learning that can help K-12 art students learning theories with the actions taken by groups exploring the exhibitions. Hiroshima University’s Mihara Junior High hope that will lead us to the future. experience for me. This article highlights raise public awareness on an issue, thus the people of Japan to promote peace. School. Our first order of business was to talk What has binded [sic]us together is examples of advocacy utilized in Japan engaging in advocacy. Recommendations viewed and took notes on the artifacts and get to know each other over lunch. We the hope of reconciliation made possible to promote peace and reconciliation and include focusing on a specific social issue, Advocating for Peace in Japan they encountered in the museum with their then walked through the Hiroshima Peace through the spirit, the tolerance. What considers the educational implications and generating context-specific solutions to In preparation for our visit to Japan, tour guides. Even graphic images of the Memorial Museum, and the Hiroshima I want to appeal to the people of the challenges of adopting these ideas for art problems, inviting community participation each teacher was provided with ten books burned bodies of hibakusha, atomic bomb Peace Memorial Park, taking time to stop world here at Pearl Harbor, together explorations with high school art students. to find solutions, blurring the sites where to read about the war in the Pacific survivors, were on full display and used as with President Obama, is this power of learning can unfold, creating conditions from multiple points of view. Although educational tools to inform visitors of the reconciliation. Even today, the horrors of to bring people together to learn, and I acknowledge that history will always realities of nuclear warfare (see Figures 2 war have not been eradicated from the lastly, expanding how pedagogy can shift remain contested, the information and & 3). surface of the world. There is no end to the beyond the classroom. Gude (2009) agrees insights presented in these books were In Nagasaki, our teacher group was spiral where hatred creates hatred. The that when art educators foster connections intended to extend our prior knowledge led by two dynamic volunteers who have world needs the spirit of tolerance and the between our students’ lives, the artistic of the war, and use it as a foundation for dedicated many years to educating visitors power of reconciliation now, and especially process, and the development of an art meeting and interacting with individuals about the efforts of the museum. They each now. (Abe, 2016, para. 15 & 16) product, we are helping students become and organizations working to promote shared both official and personal stories Advocacy can take many forms. Take aware of how they can “shape the world” peace education. When we engaged in both of the war with us and made clear their for example when President Obama wrote (p. 7). Furthermore, Zimmerman (2011) formal and informal exchanges, learning intentions to do everything possible to make Image of four Japanese students who led me on a tour of a message dedicated to the fallen of reminds us to speak out to audiences became transformative in that it facilitated sure nuclear warfare is never repeated. In the Hiroshima Peace Memorial Museum and Hiroshima Hiroshima which stated, “We have known beyond our classrooms to share how and access to ideas situated in real-world fact, one of our guides, Tomoko Maekawa, Peace Memorial Park. the agony of war. Let us now find the why art education matters; suggesting issues and concerns as recommended by invited us to meet with her English language courage, together, to spread peace and educators use the National Art Education’s Bastos (2006), Darder (2002), Dewhurst students at Nagasaki University, which and talk about the artifacts surrounding pursue a world without nuclear weapons.” Photo of handwritten note and origami cranes made and Advocacy White Papers for ideas on how (2010, 2011, 2014), and Freire (1970). In the we did. During our exchange of questions us and sharing insights as to what they The act of sharing this handwritten presented by President Barack Obama to the citizens of to do this. Whether we chose to advocate following examples, teaching and learning and answers with her English language represent. In this photo (see Figure 4) the message, along with his offering of Japan on May 27, 2016. for the types of educational programs we unfolded within and beyond the museum class, I was paired with four young men. students who took us on the tour stand handmade paper cranes (see Figure 1), value publicly or privately, our decisions setting. After our formal exchanges to help them at the site where President Obama and were symbolic acts working to support The Social Qualities of Advocacy regarding what to include and exclude In the museum settings in both Hiroshima practice their English language skills were Prime Minister Abe laid wreaths together. peaceful interactions between former What does “advocacy” mean and what from our curriculum is intentional. and Nagasaki, student groups of all ages, completed, I asked if they wanted to share What I noticed was that the students were enemy nations. During the summer of 2016, does it look like? While the concept of As educators, our personal beliefs including very young elementary students, a message with students in the United not only practicing their English language

46 TRENDS 2017 2017 TRENDS 47 skills by sharing prepared statements answers that he is concerned that people Advocating for Peace through Art Smaller-scale works of art about war connect, question, and translate ideas with us about the war, but they were also are forgetting what happened already, and There were so many examples of artists also captured my attention, particularly using art, learning is a purposeful act that reinforcing human to human interactions it was obvious this was weighing heavy on within and beyond the museum settings the work made by a Dutch prisoner of allows for uniquely situated responses. This that are essential in maintaining peaceful his mind. As our time with Mr. Yamawaki was that used art to promote awareness to var- war named René Schäfer, because of the was the case when my students viewed social relationships. I noticed many groups ending, we had the pleasure of watching ious implications of nuclear war. Take for contextual information that was presented and discussed the meanings and intentions of Japanese students walking with journals him rush to another room to begin a live example, at the Mori Art Museum in Tokyo, alongside his art. Schäfer shared that as behind the Japanese Manner Posters, and (see Figure 5), coming up to strangers they webcast with students somewhere else in video piece by Japanese artist Fujii Hikaru a prisoner of war forced into hard labor, the types of behaviors taking place on thought could speak English, and began Japan. Mr. Yamawaki was enthusiastically called The Educational System of Japan he hated the Japanese soldiers. Yet, as he our campus, that do not illustrate good engaging with young children, taking their (2016), that I found to be relevant to the dis- experienced the force of an atomic bomb behavior (see Figures 11&12). The students questions and answering them, using 21st connect youth often feel towards nuclear falling on him while digging an airstrip, he discussed which behaviors take place on century technology so they might revisit the war. In this work, Hikaru captures the re- described how the hate left his body and he our high school campus that they felt were past through his eyes. sponses of South Korean teenage students did not hesitate in helping injured Japanese problematic. They decided individually Each interaction with hibakusha was after they watched both propaganda films soldiers along with his fellow prisoners which topic they wanted to explore and unique. Mr. Toshimi Ishida, whom we met created by the U.S Military in the 1940s to how to teach others using art with a clear at Honkawa Elementary School, was full demonize the Japanese enemy, and then message, with the knowledge that their of energy and had a beaming smile on his watched documentary footage of actual work would be put up in the school hallways. face throughout most of our time together. images of death and destruction collected Like the Japanese Manner Posters, my Mr. Ishida was a young child at the time during the war. Hikaru’s video piece helped students thought about the message, of the atomic bombing on August 4, 1945. to articulate for me, as the viewer, the awk- Mr. Ishida reminded us that the nuclear ward reactions youth have in response to bomb killed approximately 400 children viewing these images of war, realizing that at Honkawa Elementary School that day. these events took place before they were Example of Manner Poster utilized in Tokyo Metro Mr. Ishida told us he enrolled at Honkawa born and the historical context seems far system to promote proper etiquette while riding mass shortly after the school re-opened. He took removed from our daily lives now. transportation. us around the grounds of the school to show Another example of art that actively us evidence of the bombing and described reinforces the power of collaboration is some of the artifacts that remained from evident in the Nagasaki Peace Park. The the explosion. One artifact in particular public art located throughout the park is that caught my attention were drawings noteworthy because the pieces were made he and his classmates made, using art and donated by countries outside of Japan. Photo of student holding an English language booklet supplies donated by church members Art representing Portugal, Czechoslovakia, related to monuments located within the Nagasaki Peace from Washington, D.C. After the bombing, Bulgaria, Germany, Netherlands, USSR, Park. the members of the U.S. church hoped giving art supplies to the children at this engaging in dialogue about peace. These Japanese school that experienced so much impromptu interactions were always devastation, might facilitate the healing positive exchanges, which usually led to process. This relationship is fully explored taking photos and exchanging contact in the documentary film called Pictures Example of poster encouraging positive behavior in the community. information. from a Hiroshima Schoolyard (Manale & More somber social engagements also Reichardt, 2014). What struck me most was These images, along with other public took the form of listening to the stories of when Mr. Ishida stopped during our tour to notices to promote good behavior (see the atomic bomb survivors, referred to wave and smile at the young elementary Figure 10) seemed like good places to as hibakusha, and asking them questions students currently enrolled at Honkawa, begin using art to engage my students in both within and beyond museum settings. as they walked to class. He looked on with the conversation of being advocates for One hibakusha named Masahiro Sasaki pride as they danced, and played during positive behavior. shared his memories of watching his sister, our tour. Art created by Dutch prisoner of war René Schäfer Sadako Sasaki, the girl who inspired the We had the honor of meeting numerous reflecting on his memories. Taking Action in the Classroom using Art children’s book called Sadako and the hibakusha during our time in Japan, and As Buffington, Cramer, Agnelli, and Thousand Paper Cranes (Coerr, 1977) suffer each person had his or her own unique story when they all shared in the bombing Norris (2015) make clear, using art to foster from radiation exposure. Mr. Sasaki told to share . Fortunately, there are numerous experience (see Figures 7 & 8). Schäfer social engagements can take on non- us what it was like for him and his family filmed online testimonies documented by donated his art in 1980 at a Nagasaki Peace traditional artistic forms of expression. experiencing life after the bombing and artist and director Shinpei Takeda (2011), in Ceremony, which he personally attended, However, Tremblay (2013) encourages why it was important to honor his sister’s conjunction with the United Nations Office and his art remains on permanent display educators consider three pedagogical memory by setting up a foundation in her for Disarmament Affairs, which work to at the Nagasaki Atomic Bomb Museum. recommendations when framing learning honor called Sadako Legacy . Mr. Sasaki’s remind viewers of the human stories behind More highly visible examples of graphic initiatives that seek to promote social stories gave us personal insights into nuclear warfare. These video recorded arts are used throughout Japan to promote change. First, we need to share examples what he witnessed, how he felt, and how stories are emotional, thus conveying a This public art piece called Triumph of Peace over War respectful behavior in daily life, which I of works of art with our students that was donated by Argentina in April 1996 to the people of his family suffered. Our group also met first-hand narrative that transcends what Nagasaki on the commemoration of the 50th anniversary have found to be functional, educational, successfully draw attention to a topic and listened to hibakusha Mr. Yamawaki, can normally be conveyed in traditional of the atomic bombing. and entertaining. Take for example the of social inequality or injustice. Second, where he recounted his memories of being history books. Their stories contribute to the ever-changing Japanese Manner Posters we should model ways to create socially a young child in Nagasaki on August 9, global conversations about war and how it China, Poland, Italy Cuba, Brazil, Turkey, (Gakuran, 2012), which are used throughout engaged art and discuss how to display 1945. Mr. Yamawaki read from a transcript impacts lives. I was equally moved by the U.S., and Argentina (see Figure 6) all the Tokyo Metro system (see Figure 9) it. Third, we should raise questions about of his recollection, and with the help of a public and private art that addressed the share in promoting a message of peace to teach people what bad behavior and how the art will help viewers reflect on translator, answered our questions. Mr. topic of war and peace, and learning about visually, as well as in the statements that etiquette looks like, while politely stating social realities. Dewhurst (2014) agrees Student art inspired by the Japanese Manner Posters. Yamawaki shared during our questions and the inspiration motivating their creation. contextualize the work. what you should do as a friendly reminder. that when we teach our students how to

48 TRENDS 2017 2017 TRENDS 49 how they wanted to draw attention to the the following passage from the 2016 Naga- behavior, and select the appropriate text saki Peace Declaration : also teaches high school art in San to convey the message to their peers. It There is also something that each and Antonio, Texas at James Madison High was fantastic to see students walking up to every one of us can do as members of civil School. Dr. Leake has been teaching art the posters in the hallways and talking society. This is to mutually understand the with students ranging from PK-16 and about them and identifying with the differences in each other’s languages, beyond for more than 25 years. She has themes. cultures and ways of thinking, and to published articles in The Journal of Social Unfortunately, not all of the student work create trust on a familiar level by taking Theory in Art Education, Visual Culture was approved by the principal to be hung up part in exchange with people regardless and Gender, Art Education, and Trends, for public display, and this became part of of their nationality. The warm reception the Journal of the Texas Art Education the learning process too. Take for example given to President Obama by the people Association. She has an upcoming book the image in Figure 13. At our campus, we of Hiroshima is one example of this. The chapter to be included in the Palgrave have students from different countries and conduct of civil society may appear small Handbook on Race and the Arts in respecting other people’s culture, as noted on an individual basis, but it is in fact a Education, co-edited by Amelia Kraehe, in this student work, is a problem. Despite powerful and irreplaceable tool for building Rubén Gaztambide-Fernández, and this image sending a clear message that up relationships of trust between nations. B. Stephen Carpenter, II. Her research conforms with our school’s commitment (Tsue, 2016, para. 16) explores the educative potential of to the “Resolution of Respect” pledge put Helping guide our students to enact utilizing contemporary art and social out by the Anti-Defamation League (2016), change locally and become active practices to facilitate meaningful Student who came up with concept for banner poses proudly in front of it after it is removed from public display due to it was not approved for public display. parent complaint. knowledge producers who can call learning experiences. Dr. Leake would The censored imagery reminded me of attention to important social issues is like to extend her deepest gratitude to the oppressive educational practices were not deemed appropriate for public barriers to promote social awareness challenging, but perhaps our greatest Maria Leake the Five College Center for East Asian display. These questions led to unscripted is not without obstacles, even with the challenge is taking the first step . Socially Studies for allowing her to travel and critical discussions which opened the door best of intentions in mind. Rather than be engaging with others to promote peace Dr. Leake is currently serving as an learn more about peace education in for further dialogues. discouraged, although those experiences will remain unpredictable and likely full Assistant Professor of Art Education at Japan during the summer of 2016. The Similarly, when my students created were challenging, my students and I of challenges, but the opportunity to see The University of Nebraska at Kearney, author can be contacted at clintmaria@ collaborative banners promoting messages realized we were getting people talking students move forward towards supporting teaching online graduate courses. She sbcglobal.net or [email protected] of peace, one of our posters was approved about peace; an unlikely topic for high a peaceful future is a path worth exploring . for display by the principal, but a parent school students to have to defend to parents complained that it was inappropriate, and administrators. I acknowledge that our and it was taken down (see Figure 14). In efforts did not change the world, however, Dewhurst, M. (2011). Where is the action? Three lenses to analyze social justice art education. this poster, one student came up with the my high school art students and I took the Equity and Excellence in Education, 44(3), 364-378. concept of a woman crying as she looked first steps towards being advocates for Dewhurst, M. (2014). Social justice art: A framework for activist art pedagogy. Cambridge, MA: Harvard Education Press. down on the nuclear devastation. Within change. Dower, J.W. (2012). Ways of forgetting, ways of remembering: Japan in the modern world. New York, NY: The New Press. this banner, another student added a Freire, P. (1970). Pedagogy of the oppressed. New York, NY: Continuum. Student art that was not approved for public display. quote from Gandhi which says, “There is Closing Thoughts Gakuran, M. (2012, September 10). 36 iconic Tokyo metro subway posters 2008-2010. no path to peace. Peace is the path.” Yet, As art educators contemplate how to Retrieved from http://gakuran.com/36-iconic-tokyo-metro-subway-manner-posters-2008-2010/ discussed by Freire (1970). The art students once again, I shared this parent’s response move forward to advocate for a more Gude, O. (2009). The 2009 Lowenfeld Lecture: Art education for democratic life. Art Education, 62(6), 6-11. in my classes asked for further clarification to our art with my students, and we came peaceful future in collaboration with our Ham, P. (Ed.). (2013). Yoko’s diary: The life of a young girl in Hiroshima during WWII. (D. Edwards, Trans.). New York, NY: ABC Books. regarding why this image and many others to realize together how breaking down students, it might be helpful to reflect on Izumi, M. (2015). Nagasaki: A record in Manga. (T. Burke-Gaffney, Trans.). Nagasaki, Japan: Typint Gallery. Kundu, R., & Kalin, N.M. (2015). Participating in the neoliberal art museum. Studies in Art Education, 57(1), 39-52. References Lave, J., & Wenger, E. (1991). Situated learning: Legitimate peripheral participation. New York, NY: Cambridge University Press. Abe, S. (2016, December 27). Remarks by President Obama and Prime Minister Abe of Japan at Linenthal, E.T., & Engelhardt, T. (Eds.). (1996). History Wars: The Enola Gay and other battles for the American past. New York, NY: Holt Paperbacks. Pearl Harbor. Retrieved from https://obamawhitehouse.archives.gov/the-press-office/2016/12/28/remarks-president-obama-and- Manale, S.S., & Marshall, R. (2014). Running with cosmos flowers: The children of Hiroshima. Gretna, LA: Pelican Publishing Company. prime-minister-abe-japan-pearl-harbor Manale, S.S. (Producer), & Reichhardt, B. (Director). (2014). Pictures from a Hiroshima schoolyard [Motion picture]. Japan: Specialty Studios. Anti-Defamation League. (2016). Resolution of respect. Retrieved from Marshall, L. (2014). Art as peace building. Art Education, 67(3), 37-43. http://austin.adl.org/noplaceforhate/Bae, J. (2012). An intercultural peace mural project: Let’s make a peaceful world hand in hand! Minow, M. (1998). Between vengeance and forgiveness: Facing history after genocide and mass violence. Boston, MA: Beacon Press. Art Education, 65(1), 48-54. Bae, J. (2013). Saving whales and dolphins through petroglyphs and activist artworks. Art O’Donoghue, D., & Berard, M.F. (2014). Six qualities of socially engaged design: Emerging possibilities for K-12 art education programs. Education, 66(4), 28-35. Art Education, 67(6), 6-10. Bandura, A. (1977). Social learning theory. Englewood Cliffs, NJ: Prentice-Hall, Inc. Sakamoto, P.R. (2016). Midnight in broad daylight: A Japanese American family caught between two worlds. New York, NY: HarperCollins. Bastos, F.M.C. (2006). Border-crossing dialogues: Engaging art education students in cultural research. Art Education, 59(4), 20-24. Schmidt, M.S. (2016, December 27). Japanese leader offers condolences in visit to Pearl Harbor.The New York Times. Retrieved from http://www. Bastos, F.M.C. (2010). What does social justice art education look like? Art Education, 63(5), 2-3. nytimes.com/2016/12/27/us/politics/pearl-harbor-abe-obama-visit.html?_r=0 Bell, L.A. (2007). Theoretical foundations for social justice education. In M. Adams, L.A. Bell, Southard, S. (2015). Nagasaki: Life after nuclear war. New York, NY: Viking. & P. Griffin (Eds.), Teaching for diversity and social justice (pp. 3-15). New York, NY: Routledge. Takeda, S. (2011). Hiroshima Nagasaki download: Memories from the Americas. Retrieved from Bell, L.A., & Desai, D. (2011). Imagining otherwise: Connecting the arts and social justice to envision and act for change: Special issue introduction. https://www.un.org/disarmament/education/hibakusha/intro/ Equity & Excellence in Education, 44(3), 287-295. Tremblay, G. (2013). Creating art environments that address social justice issues. International Bobrick, B., & DiCindio, C. (2012). Advocacy for art education: Beyond tee-shirts and bumper stickers. Art Education, 65(2), 20-23. Journal of Education and the Arts, 14(2.3), 1-12. Bolin, P.E., & Hoskings, K. (2015). Reflecting on our beliefs and actions: Purposeful practice in art education. Art Education, 68(4), 40-47. Tsue, T. (2016). Nagasaki Peace Declaration. Retrieved from Buffington, M.L., Cramer, E.P., Agnelli, K., & Norris, J. (2015). Food landscapes: A socially engaged art project. Art Education, 68(5), 40-45. http://nagasakipeace.jp/english/appeal/rireki/2016.html Coerr, E. (1977). Sadako and the Thousand Paper Cranes. New York, NY: The Penguin Group. Wenger, E. (1998). Communities of practice: Learning, meaning, and identity. New York, NY: Cambridge University Press. Cook, H.T., & Cook, T.F. (1992). Japan at war: An oral history. New York, NY: The New Press. Wenger, E., McDermott, R., & Snyder, W.M. (2002). A guide to managing knowledge: Cultivating communities of practice. Darder, A. (2002). Reinventing Paolo Freire: A pedagogy of love. Boulder, CO: Westview Press. Boston, MA: Harvard Business School Press. Davies, R.J., & Ikeno, O. (Eds.). (2002). The Japanese Mind. North Clarendon, VT: Tuttle. Zimmerman, E. (2011, November 16). Introduction: Advocacy white papers for art education. Dewhurst, M. (2010). An inevitable question: Exploring the defining features of social justice art education. Art Education, 63(5), 7-13. Retrieved from https://arteducators-prod.s3.amazonaws.com/documents/250/bc399de9-76d7-4381-b8c9-946fb3b87d11.pdf?1451958364

50 TRENDS 2017 2017 TRENDS 51 FEATURE ARTICLE Lessons Learned from a Southern Mother: Advocacy and the Creative Process by Amanda Allison, Texas Christian University

y mother was a culinary artist, though she would have never claimed such an extravagant title. Daily, I watched this 6-foot tall lady saunter Mthrough our kitchen, pulling ingredients from the pantry and refrigerator until the countertops were full. Then she began to work her magic—cutting, chopping, blending—all with such ease that I hardly knew it was happening.

The synergy became apparent when the claim that making art is as necessary to describe the conditions and events that control of materials and outcomes. They offerings. My instructional strategies and a children’s hospital into my freshman art ingredients, one by one, went into a large survival as food, clothing, shelter and even led me to advocate for this class and the communicate their ideas. They develop curricula begin with their interests. My education course. cast iron pot. As the food released its juices, procreation! larger cause of the therapeutic arts at competence as art makers (Andrus, 2006; teaching philosophy begs me to look at Very often, my mom would find good a magical aroma filled the air. My stomach In this article, I aim to provide a thick TCU and in the community of Fort Worth, Andrus, 2012). It is also my belief that these my students in a holistic manner; realizing deals at the grocery store…four pints of rumbled from the smells and the sights in description (Stake, 1995) of the creative Texas. Advocacy for the therapeutic arts is behaviors transfer to other life situations that each student has social, emotional, overripe strawberries, for instance. The that kitchen. I was awaiting something process of cooking and sharing food with needed for three main reasons: knowledge and result in greater self-efficacy for the physical and cognitive needs that should mass of these ingredients directed her special: Dinner. others and compare it to my process of and understanding about therapeutic art is art maker. Studies have shown that art be identified and addressed (Comer, cooking. Jellies, jams, shortcake and pies My mother identified her primary designing and teaching classes that respond just developing, the benefits of therapeutic making can produce resiliency, or the Haynes, Joyner and Ben-Avie, 1996) and were just a few of the delicious results. I job as that of a homemaker, and more to and fulfill student interests. I believe this art are substantive, and the needs in our ability to withstand stressful situations funds of knowledge (Moll, Amanti, Neff, do the same thing at my university. When specifically, as one who fed her family course both satisfies and nourishes in the communities are numerous. (Bolwerk, Mack-Andrick, Lang, Dörfler, and Gonzalez, 1992) from their families and many non-art majors began to enroll in often and well. She attended to us through same way that a thoughtfully designed To fully understand the content of this and Maihöfner, 2014). lived experiences, as well as cultural capital my course and wondered how to use art in her actions. Resourcefulness and ingenuity meal does. Many meals can be satisfying, article, therapeutic art and art therapy Art therapy is a form of treatment, (Freire, 1993) of interests from popular their future professions, I paid attention to infused her work. She studied her craft, meeting a craving or inciting pleasure, but should be defined. Therapeutic art is a performed by a licensed professional culture that can and should be utilized in this collective evidence and begin creating. watched cooking shows and read hundreds for a meal to be satisfying and nourishing process of making art with oftentimes counselor. The counselor meets with constructing curriculum. I had, like my mother, essentially amassed of cookbooks. She knew her space— is a bonus. Walnut encrusted salmon marginalized populations, where the the client to determine goals and they A few years ago, I noticed that art a 12” wheel of brie on sale and I needed everything in her kitchen had a place. paired with garlic sautéed kale and sweet outcome is an enhanced quality of life. This help he client reach these goals through education majors in my art education to spread raspberry walnut chutney on it, My mother was in a state of creative flow potatoes and quinoa is a powerhouse of outcome is achieved by: appropriate art materials and processes. class were designing K-12 art lessons wrap it in puff pastry and bake it! So, in (Csikszentmihályi, 1990) when she cooked. a meal. I am aware of the Omega 3 fatty • Developing a relationship with the At TCU, we practice therapeutic art with therapeutic goals. For example, response to these students, I incorporated One ingredient begged the use of another. acids in the fish, the anti-inflammatory person with whom you are making art. and train our students in the actions listed they wanted elementary students to therapeutic art prompts into my existing The results were informed, serendipitous properties of the garlic, the beta carotene This involves tracking the person’s above. We learn about art therapy, and understand their strengths as they created courses, and more non-art majors from and delicious—all at once. in the potatoes, the Vitamin D in the Kale, actions (Kottman, 2014) by saying many of our students enter graduate school a power shield in the style of the Plains across the university began to approach I cook just like my mother. That’s one the complete amino acids in the quinoa things like, “I notice you are using a lot in art therapy, but we are not equipped to Indians; they wanted middle school me about therapeutic art and art therapy. way I keep her near me after her passing and the manganese in the walnuts. I serve of green in your picture, and your lines practice art therapy. Our primary goal is to students to see that media ads influenced I explained the distinction among the eleven years ago. From watching her, I this meal because I want to nourish my are very strong and bold. Can you enhance the quality of life of the persons their body image; they also wanted two in my courses, and I brought art observed the creativity inherent in the loved ones and all the flavors pair together tell me more about why you made with whom we work (Martin, 2017). these students to have control over the therapists to campus for guest lectures. process of cooking. I carry this same in a symphony of taste and visual beauty. these choices?” It is my hope that as the reader enters power of these images by asking them Events like this whetted the appetite of creative process into most areas of my life. It’s our family’s favorite meal. In the same • Creating a prompt for art making that into this thick description of my process to deconstruct and reconstruct them. As I students; they wanted second helpings I don’t just cook in my kitchen; I “cook” in vein, I design experiences in my class that lends itself to reflection, such as: “Using of advocacy for the therapeutic arts, they spoke to art education majors about their of other community organizations that my university art education classroom at address topics that students care about in the stencil of a key, trace the stencil as see it as a creative, nourishing venture, future classrooms, they expressed to me used the arts for personal growth and Texas Christian University (TCU). How is a way that is dynamic and a powerhouse many times as you’d like and then much like cooking and feasting with those that wanted to help others use art making healing. They wanted to learn to use the the creative process of cooking I describe of artistic, cognitive experiences. For illustrate what “keys” you need in your you love; I also hope that the reader will as a tool for responding to adversity. arts in their future professions of speech above related to what I do as a teacher? instance, when we explore the topic of child life to be content and successful.” be able to examine their own professional Many of them had personally experienced therapy, education, child development and Unmistakably, I make the regular event of abuse, the students research the topic and • Choosing materials and processes that and personal trajectories and uncover the abuse, bullying or stigmatization because psychology. This led me back to my area a university class special. Five years ago, I then have interactions with children who reach the intended goals, and causes that are most germane for them to of learning differences as K-12 students. of Fort Worth, where I located a number designed an innovative university class, The have experienced abuse. Their learning supporting the art maker for success by support. They wanted art making in their classroom of art programs for various populations: Therapeutic Arts, based on this practice of culminates in the production of a piece of differentiating instruction (demon- My primary job is that of a professor. I to help their future students. By attending senior citizens, adults with disabilities, and using the “ingredients” around me to create art that speaks out for an abused child and strating the process in multiple attend to my students by knowing their to these requests, I was honoring their children in hospitals. The influx of these experiences that invite and satisfy. More a field experience where students design ways, enabling experimentation tastes, their professional and personal funds of knowledge (Moll et al., 1992) and resources led me to design The Therapeutic than satisfy, I believe these experiences and teach therapeutic art to children who beforehand so that students have palettes (what mix of experiences, cultural capital (Freire, 1993). I moved Arts, a course which explores service- also nourish human beings at their deepest have been abused. confidence). preferences, and talents make each forward by incorporating child abuse oriented professions that use the visual levels. Anthropologist Ellen Dissanayake, in To be an advocate is to support a It is my belief that as people are given student unique?) I want my students to be prevention training and field trips to a local arts for therapeutic ends. The class is open her book Homo Aestheticus (1992), makes cause, idea, or action. In this article, I will choices in the artmaking process, they gain both satisfied and nourished by my course art therapy studio and an art program in to all majors, freshman through seniors,

52 TRENDS 2017 2017 TRENDS 53 and there are no prerequisites. Students summer workshop I designed where patients under her care. That very same This class field trip brought me—and the U.S. who hear about our unique in the class make personal artwork for teachers explored the use of therapeutic week, my students returned from a field my class—to my rendition of my mother’s program. TCU is considering including therapeutic ends. They learn how art is art in their public school art classrooms. trip to Cook Children’s Hospital, where table, savoring every bite and marveling parts of this curriculum in their upcoming therapeutic (enhances the life quality) for After that workshop, the art teacher, Cally the art therapist on staff told the story of at how each carefully chosen dish of medical school. The Student Government marginalized populations such as persons Tilly, could put a name to the profession that a doctor coming to the art department to the semester came together all at once, Association passed a resolution in fall 2016 with disabilities, those who are chronically was ultimately her calling. She began the understand why his patient was requiring like the food in the cast iron pot. In this asking for a Therapeutic Arts minor at TCU. ill, children who experience abuse, and graduate art therapy program at Prescott less pain medicine every day from 2-4 PM. one field trip, we were nourished by the The work is expanding, and I am grateful the homeless, to name a few. They design University in New Mexico and is currently in She explained to the doctor that the patient therapeutic powerhouse of the visual arts. to be doing it, directing and connecting and lead art experiences for these groups her final semester. Last year, Cally acted as was engaged in an art lesson during that A regular university class meeting had entities and students for an enhanced through a rigorous pre-visit meeting, in- a cooperating teacher for Alex Sharp, an time. One university student on this trip, become special. It was a result of, and quality of life for Fort Worth residents Amanda Allison class research and practice teaching with art education major who was completing Cami McCurdy, heard that story and response to, all that had come before. It through art making. Dr. Amanda Allison is an Associate peers, the actual teaching event, and a post her student teaching assignment. Alex came to me to say that she was a nursing was delicious. My mother often used food in her speech. Professor and Coordinator of visit debrief. Course activities and field trips completed student teaching and was major and wanted to see this proven out My mother developed specialties in The saying, “the proof is in the pudding,” Art Education at Texas Christian introduce students to the various careers accepted into the graduate art therapy scientifically; she wanted to witness this for her cooking. There were many dishes that spoke to the final results of something. How University. For the past ten years, she that use art in therapeutic ways, such as program of the School of the Art Institute herself. After these two events occurred, she made which our family frequently have I learned the lessons of my mother? has been developing and designing art therapy, child life, museum education, of Chicago. Cally helped Alex succeed the TCU student and the cancer nurse met requested. She became known for While I don’t saunter across my classroom, therapeutic art experiences for a public school art teaching and community in pursuing art therapy because both of and developed a therapeutic art program. cooking these items well. Yellow squash I do design experiences for my students variety of populations in Fort Worth. programming. their experiences, interests and beliefs (Mittie, 2015). casserole, turnip greens, cornbread cakes, that are special, lasting and (ful)filling. I Her current projects include a These activities meet real needs in the about art education are similar. It is Had I not been out in the community homemade bread, cinnamon rolls, and nourish them by providing the professional research study with cancer patients community. Special education and art gratifying to see the outcomes of providing (my pantry), this serendipitous connection teacakes, to name a few. After teaching nutrients that build a strong body and participating in a watercolor teacher Ranella Franklin regularly writes relevant professional development for would not have occurred. And, this the Therapeutic Arts course for 5 years, practice for their future careers. I creatively workshop, coauthoring a book on about our five-year collaboration with her teachers (Allison, 2013). As our faculty event was a catalyst in advocating for I have had the opportunity to forge respond to my environment. Ironically, my solution-focused therapy and art life skills classes in Everman ISD (Franklin, provide knowledge and experiences in the therapeutic use of art in Fort Worth sustainable connections with dozens of mother is nearer to me now than she was making, and a video art production 2015). One of the main outcomes of our therapeutic art, practicing art teachers and instilling a desire in other students agencies and organizations in Fort Worth when I was in her kitchen eleven years ago. about chronic pain. She lives in Fort work together is that both her students subsequently host our student observers to volunteer in therapeutic art settings who seek therapeutic art experiences for She is sauntering through me as I explore Worth with her husband Justin and and my students understand that art is a in their classrooms and show them what throughout our community. Alex Sharp, the their clients. I have met with graduate my teaching pantry, mix my ingredients, her 7 year old son, Arthur. way to engender real communication and a therapeutic art class looks like and talk student teacher mentioned earlier, taught students and professionals from across savor the results and nourish others. connection among groups. I have worked to them about how to create such an watercolor painting for 4 years at James L. with Alliance for Children for three years. environment. They are, in a very real way, West, an Alzheimer’s care facility (Dillard, They are a child abuse advocacy center, an extension of the curriculum at TCU. 2016). Non-art and art majors at TCU began and each year my students create art It is not uncommon for the art teachers to rally for official university internships packs for teens who are attending court and the students to have experienced at health care facilities like the ones References hearings due to sexual abuse by a family the same therapeutic art activity at TCU, mentioned above, and in summer 2017, an Allison, A. (2013). No art teacher left behind: Professional development that really matters in an age of accountability. member. These art packs help the teens such as mandala drawing or spontaneous official partnership was launched with Cook Arts Education Policy Review, (114)4, pp. 178-190. cope with a devastating experience and painting. The teachers and TCU students Children’s Hospital with six TCU students American Art Therapy Association (2017). What is art therapy? Retrieved from: even draw them closer to the caregivers thus oftentimes have a common topic completing therapeutic art internships. https://arttherapy.org/upload/whatisarttherapy.pdf who are with them during the process, as for dialogue. Because of this dynamic Published articles and partnerships like Andrus, L. (2006). In B.L. Gerber and D.P. Guay (Eds.), Reaching and teaching special need through art (pp.177-188). they work in the art packs together (Martin, connection, they can train our students in these influence policy makers, especially Reston, VA: National Art Education Association. 2017). Art therapist and founder of The Art an extremely effective manner. those in large organizations like hospitals, Andrus, L. (2012). Teaching urban students with special learning needs: What we have learned through the art partners program. Station, Jane Avila, told me that she was Just like my mother knew her pantry and to agree that art making can enhance the Retrieved from The John F. Kennedy Center for the Performing Arts website: http://education.kennedy-center.org/education/vsa/ delighted that we are providing a layer of exactly where to find each ingredient, I quality of life of patients and should be a mental health support to persons in Fort make it a goal to know my city. I regularly part of their total health care plan. The resources/FinalprofessionalpapersbookArticle2.pdf Worth, where the mental health community drive around and explore Fort Worth. As I children’s hospital has since increased the Bolwerk, A., Mack-Andrick, J., Lang, F.R., Dörfler, A., & Maihöfner, C. (2014). How art changes your brain: Differential effects of visual art production is taxed for appropriate services to meet began to take a different route to work last resources they devote to art funding and and cognitive art evaluation on functional brain connectivity. PLOS ONE 9(7): e101035. Retrived from: the myriad of needs (J. Avila, personal year, I discovered the area of town where another large hospital has approached https://doi.org/10.1371/journal.pone.0101035 communication, January 2015). our homeless population receives services. us and asked us to design therapeutic art Comer, J.P., Haynes, N.M., Joyner, E.T., & Ben-Avie, M. (Eds.). (1996). Translating theory into practice: The comer model of school reform. Just like my mother perfected her craft Shortly after, I received an email from the programming for their patients for fall 2017. In Rallying the whole village: The comer process for reforming education (pp. 27-41). New York: Teachers College Press. by collecting cookbooks, watching cooking director of one of the homeless centers Just as my mother was in a constant Csikszentmihályi, M. (1990). Flow: The psychology of optimal experience. New York: Harper & Row. shows, and testing out new recipes, I asking if we had any volunteers for their state of creative flow (Csikszentmihályi, Dillard, B. (2016, August 20). Bridging the gap: Creating memories through art for people with dementia. Fort Worth Business Press. Retrieved from: seek out and spend time with people art program. My Therapeutic Arts class 1990) when she cooked, so am I when I http://www.fortworthbusiness.com/news/betty_dillard/bridging-the-gap-creating-memories-through-art-for-people-with/arti- and organizations in the city that have visited this program and met some of their teach. Flow is characterized by total cle_88044628-664d-11e6-a142-43d1fc89f260.html therapeutic goals, or seek to enhance clients. We now regularly send students to absorption in an activity, where the the quality of life of their audiences. the homeless center to teach art classes challenge matches your skill and where Dissanayake, E. (1992). Homo aestheticus: Where art comes from and why. New York: Free Press. As an educator of art teachers, I meet to children and teens. The following year, I you have the power to achieve outcomes Franklin, R. (2015). A gift of art. SchoolArts, (114)7, 18. Retrieved from: new art teachers every week. Many of met a hospice director at a local hospital that you desire. Last semester, I was http://www.schoolartsdigital.com/i/456754-march-2015/10 these teachers believe that art making is while I was visiting a family member. She sitting with my Therapeutic Arts students Freire, P. (1993). Pedagogy of the oppressed. New York: Continuum. therapeutic and they strive to create an asked me if my class would be available to during our visit to the art program at Cook Kottman, T. (2014). Play therapy: Basics and beyond. New York: John Wiley and Sons. environment and curriculum that makes teach a therapeutic art lesson to families Children’s Hospital. A 9-year old patient, Martin, L. (2017). Straight from the heart: Therapeutic art programs help people transform their lives. Endeavors: Research, Scholarship, their students’ lives calmer through some and patients under her care. We did, and Abby, was sharing one of her paintings and Creative Activity at TCU (Spring). Retrieved from: http://www.endeavors.tcu.edu/spring2017/Endeavors2017.pdf of the principles listed at the beginning during the session, a nurse from another with us and telling us how art helped her Mittie, L. (2015, April 25). Nursing student starts art program for cancer patients. TCU 360. of this article (prompts, pedagogical floor came to meet me because she had relax and feel normal. As I listened to Retrieved from: https://www.tcu360.com/story/34266nursing-student-starts-art-therapy-program-cancer-patients/ strategies like tracking, and novel, special seen flyers advertising the event. She was her, I felt a surge of invigoration that was Moll, L. C., Amanti, C., Neff, D., & Gonzalez, N. (1992). Funds of knowledge for teaching: Using a qualitative approach to connect art materials). These therapeutic teachers in graduate school for nursing and wanted palpable—it showed itself in my affect, my become mentors to my art education to design a study that proved that art breathing, my body; I witnessed this same homes and classrooms. Theory Into Practice, 31(2), 132-141. majors. One such teacher attended a making could reduce the pain of cancer response in my students. Stake, R. E. (1995). The art of case study research. Thousand Oaks, CA: Sage.

54 TRENDS 2017 2017 TRENDS 55 INTERNATIONAL ARTICLE Activist Art Education: Creation of Hybrid Spaces for Learning and Living by Teresa Torres de Eca University of Porto, Portugal

Education in general from a kind of ignorance; ignorance compromise ourselves in the process. We Several core texts were extremely in- resulting from an excess of information and live in amazing times; challenging long fluential to my generation: Learning to be a lack of critical tools to select, analyze and standing referents, opening new ways (Faure, 1972); Learning: The treasure within, transform it (Jenkins, 2006). This dramatic for exploring uncertainty. Contemporary (Delors, 1996), The Seven Complex Lessons overdose is a tool of censorship more artists are showing us strategies for in Education for the Future (Morin, 1999), efficient than a pair of scissors. questioning and navigation tools that may and three core education reports commis- be of good use in education. Art creations sioned by the United Nations Educational, Reform are our referent. Scientific and Cultural Organization (UN- In my work, I advocate for changes in It is time to start practices in our ESCO). Common to these texts was an educational practice through the value classroom, in our collaborative work humanistic view of education for values of experiencing the learning process. The space. There are too many words, too and the hope that through education and field of art education has fostered re- much written discourse in the repositories critical pedagogy, society would be more constructionist practices advocating for of scholars who have done nothing to equitable and sustainable. These seminal educators as facilitators focusing on a change education or art education. We are texts are still relevant for our debates about curriculum that highlights social reform as privileged because we work with the most learning today, but they face the compe- the aim of education. Since the second half valuable treasure in the world: the prima tence-based focus seen in educational of the twentieth century, education has been materia of the future—next generations. policies around the world during the last used as a tool for immediate and continuous We do not need more advocacy papers, two decades. As Foucault (1991) claimed, change (Freire, 1971; Morin, 1999) through but we do need praxis to inform politicians schools are selection mechanisms and sites of power control. I believe governments are not really interested in humanistic visions for education or in thinkers such as Dewey How is art able to help us be (1934), Freire (1994), Illich (1970), and Morin (1999) who believed that education could transform societies through peace and cul- more creative, sharp, and critical in tural understanding. Society’s obsession with financial value the face of current reality? and profit has maintained inequality, and far from bringing more sustainability, has created more injustice. The contemporary multicultural understanding and social and and theory. We need to create the hybrid political climate is characterized by environmental conscientiousness. spaces where new rationales for education particularism and economic hegemony Outlining the tools and strategies that may grow through the arts. (Elfert, 2015, p. 96). promote social reform in art education, Rather than promoting solidarity and I explore three key competencies and International advocacy sharing, in education, the system promotes capabilities that relate to the practices The UNESCO road map for arts individual achievement, creativity, and and actions of creating hybrid spaces for education (UNESCO, 2006) and the Seoul entrepreneurship. The only discourse that learning and living: 1) physical and socio- Agenda for arts education (UNESCO, 2010) matters is business. Considering this so- cultural tools, 2) interacting with diverse were historical reports that developed called economic development, education groups, and 3) taking responsibility for common documents for art education systems have barely preserved humanistic one’s own actions (DeSeCo, 2005). advocacy purposes, but these were mainly visions. Instead, assessment systems that based on the economic interests of creative only validate hard core measurable skills, Call to action industries. The dream of art education which are not necessarily the skills human From an activist approach, there is a for peace and cultural understanding beings need to survive and to maintain need for making visible and deepening was reduced to a very tiny part of equilibrium on our planet take precedence. updated methodologies of art in education. the recommendations. Nevertheless, Western education systems are based on As art educators, our driving question is regardless of whether opportunities for art the laws of elimination of those less able to about taking responsibility, asking, 'How education are promoted privately, by the compete, based on standardized testing. can we contribute to the improvement state, by not-for-profits or by commercial These types of pedagogical approaches of social life and have an impact on bodies, they may offer people from Lost identity. Photo by Clara for an augmented fit the new age of authoritarianism, arising people’s lives?' We need to take action, to differing social and ethnic backgrounds the reality game designed by Joao Tadeu 56 TRENDS 2017 2017 TRENDS 57 Maltratadas/‘Battered’ project

Two Battered Women’s Project quilt images and hyperlink

Art students Carlos, Maria, and Eugenia reading replies to a questionnaire they conducted with students from other classes about Mental Health.

chance to get involved in the community. Through exploring art production, learners acquire artistic inquiry and negotiating Contemporary artists are skills, learn how to form their own opinions, and begin to accept criticism from others. showing us strategies for In this way, young people learn through experimentation how “a life with contrasts and ambivalences works [… and they questioning and navigation tools learn] to live with the risks that go with that” (Eckart, 2016, p. 11). Art education that may be of good use In an InSEA European congress held of considering our actions. spaces of reflection, creation, and art explores the development of subjectivity in Portugal in March 2016, Spanish 6. We need to make our actions visible. production, aesthetic spaces of questioning and inter-subjectivities, from the inner self in education. researchers and members of the activist color, humor, contemplation, appreciation, to the community, by establishing aesthetic art education group C3, Maria Jesus Agra Herbert Read (1965), one of the pioneers and respect for the others. Questions for relationships. Pardiñas and Cristina Trigo listed the of education through art, stated, "We art educators to explore further: How is art following recommendations for a survival declare that our foremost aim is ‘the able to help us be more creative, sharp, and A guide to creating activist spaces Depression. Photo by high school student kit in art education: establishment of an education in art which critical in the face of current reality? How Educators, students, and parents need Gonçalo Santos will develop the imaginative and creative can artists living in elitist contexts far away to regain the sense of time that was taken 1. Assuming our ignorance is the first powers of children,’ and... to bring about from the problems of the world contribute away from us, to slow down the frenetic step; acknowledging our incapacity, a revolution in the whole structure of our to promoting collective reflection, some sort pace of school life, the stress of rankings, we can stop and pay attention to the Society” (Read, 1965). These tools and of introspection that makes us change our assessment results on standardized tests nearest people and surroundings. strategies may seem quite radical, but by actions? How can educators democratize that do not evaluate the skills to survive in 2. Let us promote pauses and let us looking to the stories of education through the artistic process of the art market and the real world long term. I think there is a consider that work is the creation art, and particularly the founders of the remix it, using it in educational settings? need to challenge the collective hysteria of spaces to think/feel, to slow down, International Society of Education through Art educators bring art to schools and of speed in the work place, of indicators to restrain, and to make. Art (InSEA), we will find in the beginnings other educational settings, not only for art of achievement based on non-relevant 3. Avoid Sintropia: Starting from reflection of InSEA the same energy and hope for the appreciation but to promote skills dealing evidence. and research, break conventions that future. with ambiguity and uncertainty. Learners As believers in education through art we are anesthetizing us, that never and teachers can transform art spaces may use physical and socio-cultural tools as generate energy. Conclusion allowing these vestiges of inquiry that a way of interacting with diverse groups, to 4. We do not have to convince people: In 2017, art education has not yet reached make art a necessity in our daily lives. question notions of time, space and power, we must construct a story, involving the expectations of Herbert Read. But in Beyond the formulas and guidelines, the no matter how subversive it may appear. us in an adventure directly connected micro terms, in many schools, and many key to successful programming is people We can use all the tools of contemporary with emotions. places in the world, there are art education passionate about education for social art to have a voice, to express our views 5. We must be committed to experiences practices developing the imaginative and change and artistic process as learning and to enable others to express themselves. that have the capacity to change creative powers of children. Art education strategies. us, to make us think about other ways is now present in many contexts, enabling

58 TRENDS 2017 2017 TRENDS 59 Teresa Torres de Eca

Teresa Torres de Eca began her career as a painter, printer, and ceramic artist in the eighties in her native Portugal. Subsequently, she transitioned to working as an art teach- er and completed her master’s and PhD in Art Education in the UK. During this time, she discovered the International Society for Education Through Art-InSEA, a worldwide community of researchers in art education, and art educators committed to education through art. Continuing her work as a visual artist and an art teacher, Teresa has been teaching drawing and studio art in a secondary public school in Portugal for many years. As a researcher, she collaborates with researchers in Portugal and Spain, and as an advocate, Teresa has served on the Executive Board of the Portuguese Art Teachers’ Association, collaborating with both K-12 educators and community art programming. Teresa has also been heavily involved with InSEA since 2006, and currently serves as the President of the organization since 2014, giving her a vision of art education from the global level, and opening her up to the multifarious ways of practicing and developing art education in different social and cultural contexts and purposes, a diversity which she views as a major strength for art education.

References Agra-Pardiñas, M.J. & Trigo, C. (2015, July). Survival kit for artistic education coaches. Presentation from InSEA Lisbon Congress. Retrieved from: http://insea.org/docs/inseapublications/suvivalkitEN.pdf Delors, J., Al Mufti, I., Amagi, I., Carneiro, R., Chung, F., Geremek, B., … Nanzhao, Z. (1996). Learning: the treasure within. Report to UNESCO of the international commission on education for the twenty-first century. Paris, France: UNESCO. DeSeCo Project (2005). The definition and selection of key competencies. Retrieved from [https://www.oecd.org/pisa/35070367.pdf] Dewey, J. (1934). Art as experience. Carbondale, IL: Southern Illinois University Press. Eckart, L. (2016). Zur Bedeutung des internationalen wissenschaftlichen Austausches in der Kulturellen Bildung. In S. Keuchel & S. Czerwonka (Eds). Perspektiven Kultureller Bildung in Europa. Remscheid, Germany: Akademie Remscheid für Kulturelle Bildung. Elfert, M. (2015). UNESCO, the Faure Report, the Delors Report, and the political utopia of lifelong learning. European Journal of Education, 50(1), 88-100. Faure, E., Herrera, F., Kaddoura, A., Lopes, H., Petrovsky, A.V., Rahnema, M. & Ward, F.C. (1972). Learning to Be: The World of Education Today and Tomorrow. Paris: UNESCO. Foucault, M. (1991). Discipline and punish: The birth of a prison. London: Penguin. Freire, P. (1971). Educação como prática da liberdade. Rio de Janeiro: Paz e Terra. Jenkins, H. (2006). Convergence culture: Where old and new media collide. New York, NY: New York University Press. Morin, E. (1999). Les sept savoirs nécessaires à léducation du futur. Retrieved from http://unesdoc.unesco.org/images/0011/001177/117740fo.pdf Read, H (1965, January). Education through art: A revolutionary policy. Lecture given at an Open Meeting at University College London, England. UNESCO (2006). Road map for arts education. Retrieved from http://www.unesco.org/fileadmin/multimedia/HQ/CLT/CLT/pdf/Arts_Edu_RoadMap_en.pdf UNESCO (2010). Seoul agenda goals for the development of arts education. Retrieved Teresa Eca’s response concerning the Maltratadas/‘Battered’ project confident, and they found emotional support. Many people came from http://www.unesco.org/new/en/culture/themes/creativity/arts-education/official-texts/development-goals/ A young university student from Spain was doing volunteer work and are still willing to participate. I think it is about political action, in my town at a cultural association, and she wanted to make a the empowerment of people when they collaborate and share a manifestation for the 26 November (celebration of the eradication craft/art work to make change. of violence against women. They called me to help, maybe because they know I make activist art projects. After having talked Access more information about the Maltratadas/‘Battered’ about the project, we decided to make a patchwork quilt in the project by going to the website: https://sharingsketchbooks. main square of the city. I started to talk with colleagues, friends, wordpress.com/maltratadas/ and wrote a public letter, a call to join us in making the patchwork. Other communities became interested, and soon it took on great Update proportions. I learned a lot in doing the project, like you may change Now, we are re-activating the Maltratadas/‘Battered’ project the lives of people with small things, like the patchwork. In Porto, by cutting the original piece in parts and sending each part to one of my friends, the artist Emilia Lopes, made the squares with another place in the world, to begin new projects, like a rhizome. women who told stories about family abuse, and through telling Each square is a node that is capable of generating new networks, their stories with needles, string and old fabrics, they become self- making stories visible through arts and crafts.

60 TRENDS 2017 2017 TRENDS 61 this even further. After the recovery efforts began many parents were involved in either gutting houses, helping first responders, and also working in the shelters. My local parish decided to open the doors and provide babysitting/childcare for parents who needed to be out and about helping with recovery efforts. Once again, we were able to take our idea and utilize it with these children as well. We began with following the same methods that we used in the shelters listening to the kids and just being there for them, but then we turned it into a service project as well. We encouraged the kids to create messages/ artwork for the first responders, national guardsmen, etc. This helped the kids realize that the helicopters, rescue boats, and all of the people that they had been seeing on the news and in their community also had families of their own and were tired and needing some encouragement. The kids began to realize that even in a scary situation we have heroes that help us and that together we can help each other. Hurricane Harvey was a life changing experience for sure not just our area, but for me personally. I saw my community come together like I’ve never seen before; neighbor helping neighbor, stranger helping stranger. Through it all there was a common bond and a need for a sense of normalcy. My love for children and art and my belief that we are bound by a universal love of creative expression was the driving Hurricane Harvey Relief force for my recovery effort. I hope to take by Kelsey Thibodeaux, Groves Middles School this a step further in the coming weeks and months to help schools recover who have lost many of their art rooms/supplies. urricanes can be a traumatic experience During times like these fine arts programs get overlooked when it comes time for for so many, especially for children. I live in donations and recovery. My goal is to help those teachers with their needs so that they Port Neches, Texas and on August 29, 2017 can in turn help their students heal and H move on through creative expression. we experienced the wrath of mother nature as Hurricane Harvey landed in Southeast Texas.

Rain poured on our area and rose so and I immediately went into “art teacher” quickly that families were forced out of mode and started searching for supplies to their homes; many being rescued by boat, keep the kids occupied. As the days went on helicopter and high water rescue vehicles. I decided this is what I was called to do to As rain continued to pour, churches and help with the recovery efforts. I knew several schools quickly opened their doors and of my colleagues were also looking for ways began to take in those who were being to help so I enlisted the help of my fellow art rescued with no where to go. When the teachers. Now that there were more of us, water began to recede, I was finally able we were able to not only distract the kids, to leave my home and begin to volunteer but actually interact with them on a more opened up and started sharing with us as in shelters that were giving families a dry personal level; listening to their fears and we were able to form a bond with these place to stay and a hot meal. When I came concerns, learning more about them and children through a mutual love of creativity. across the first shelter I noticed there were their families, and just providing a listening From these first couple of days working in many children that could use a distraction ear. We were awestruck by the way the kids the local shelters, we were inspired to take

62 TRENDS 2017 2017 TRENDS 63 Hurricane Harvey Relief (continued) by Lee Carrier, Cypress-Fairbanks ISD

Artist and Art Coordinator of Cypress-Fairbanks Independent School District, Lee Carrier collaborated with art therapist Ashley Jones and reached out to the executive director of the Community Artists' Collective, Michelle Barnes and Co-founder Dr. Sarah Trotty to host an art therapy event for the children affected by Hurricane Harvey. The "Collective" is a nonprofit organization created to meet the needs of professional African American artists, and has served the community for over 30 years. The organization opened their doors during the aftermath of Harvey to take in art supplies donated by local Houstonians including art educators and art patrons who wanted to support the cause. Michelle, Ashley, Sarah and Lee worked together to plan art making sessions for the Salvation Army located at McGowen in Houston's 3rd Ward to serve over 50 children housed during the storm. The art therapy event was held on September 7, 2017. Also included in the art therapy sessions were yoga activities through Republic Yoga who donated yoga mats and their time to conclude the art making sessions with healing through relaxation and meditation. The group of women banded together along with volunteers from the Houston community (consisting of friends and family of the 4 women) the day of the event which turned out to be a great success. Many children asked if the volunteers could come back as they ended the sessions. The art therapy group thought it necessary to be art advocates for the children affected by Harvey because they know that art is a significant means of communication for children, especially in troubled times. The group hoped to uplift the spirit of the community by giving children an outlet but also provided hope by leaving them with art care packages to continue to create art throughout their recovery and journey. For more information about The Communty Artists' Collective visit www.thecollective.org.

64 TRENDS 2017 2017 TRENDS 65 EXECUTIVE BOARD

Jillian Richards, represented Coppell Independent School District when she visited Austin on the Legislative Day at the Capitol. Ms. Richards met with representatives and senators from our state. She advocated for public schools and art programs. She discussed school vouchers, funding and finance, the A-F rating system, and districts of innovation in regards to possible TAEA Executive Board State Division Chairs standardized testing options. Suzanne Greene, President Tracy Evans, Elementary Division Mel Basham, President Elect Amanda Batson, Elementary Division Elect Samantha Melvin, Vice-President Membership Christine Grafe, Middle School Jr. High Division Jen Holsinger-Raybourn Vice-President Joelle Dulaney, Middle School Jr. High Division Elect Youth Art Month Sarah Wagoner, High School Division Kelley Quinn McGee, Secretary Sherry Snowden, Higher Education Division Jami Bevans, Treasurer Shelby Johnson, Student Division Chris Cooper, Vice-President Elect Membership Sharon Chumley, Supervision/Administration Division Gretchen Bell, Vice-President Elect Youth Art Month Michaelann Kelley, Supervision/Administration Division Elect Ricia Kerber, Commercial Exhibits Director Jennifer Restauri, Museum Division Linda Fleetwood, State VASE Director Emily Cayton, Museum Division Elect

Executive Staff Sara Chapman, Executive Director Jackie Brewer, Website Manager Suzanne Greene, Jr. VASE State Director Mary Tavares, TEAM Director Karri Clark, High School State Event Director Jillian specifically focused on recapturing funding that is intended to go to poorer districts but does not make its way there (as noted in the artifacts). Jillian explains, “This means that schools are not receiving the funds that people believe they are and that programs like ours, visual arts, can be cut from these poorer districts.”

66 TRENDS 2017 2017 TRENDS 67 About the cover: Fireflies (1992) by Keith Carter 10”x10” gelatin-silver print. image courtesy of the artist

TEXAS ART EDUCATION ASSOCIATION 14070 Proton Road Suite 100 Dallas, TX 75244 P: 972.233.9107 x212 | F: 972.490.4219 | [email protected]