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Stories of Becomingan Art Educator

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Stories of Becomingan Art Educator Stories of Becoming an Art Educator: Opening a Closed As part of my research dissertation I collected tales of Israeli art Door teachers and studied the ways they negotiated their teaching identi- Nurit Cohen Evron ties within and against their schools’ normative discourses. I learned 1 Faculty of the Arts, Beit-Berl College, Israel that being and becoming an art teacher involved an ongoing pro- cess of negotiation between personal and professional experiences, ABstraCT knowledge and beliefs, and the school’s discourse. Their beliefs and This paper describes recollections of my personal experiences in Israel and identities couldn’t be separated from the socio-cultural environments their interplay with my decisions as an art educator. These stories are examples of how the borders between the professional, the personal, and the institu- and the discourses in which and through which they were constantly tional are blurred. Becoming and being an art educator in a country which is (re)constructed (Cohen Evron, 2004). Our identities as teachers are deeply affected by a long-standing, deep-rooted, stubborn, and violent conflict, I neither fixed nor are they an inventory of knowledge or technical pro- struggle to find ways to teach art in a meaningful way and to react to the culture cedures of teaching experience. We continually reconstruct our views of conflict through critical art pedagogy. of ourselves in relation to others, workplace characteristics, profes- sional purposes, and cultures of teaching. Furthermore, we bring to Becoming an Art Educator our teaching profession our personal and institutional biographies The question of what is involved in the process of becoming a good (Connelly & Clandinin, 1999; Sivertsen, 1994). Our biographies in part art teacher guides many of those who teach and research prepara- account “for the persistency of particular worldviews, orientations, tion programs for art teachers. Some of the curricular deliberations dispositions, and cultural myths that dominate our thinking, and in are concerned with the necessary knowledge and skills art teachers unintended ways, select the practices that are available in educational should demonstrate in art making, visual culture, art history, art criti- life” (Britzman, 1991, p. 3). Therefore, personalities, interests, weak- cism, art teaching methods, pedagogical skills, child development nesses and personal life experience are important components of our in art, art education theories, and research methods (Anderson & becoming and being teachers. They influence what we do as teachers, Milbrandt, 2002; Burton, 2004; Day, 1997; Eisner, 1994; Erickson, 2004; how we interpret what happens in our classes, and how we continue Freedman, 2003). Other curricular decisions stem from developing to shape our teaching (Anderson & Holts-Reynolds, 1995; Connelly & teachers’ identities and voices (Giroux, 1988; Greene, 1995; May, 1997). Clandinin, 1999). The process of developing teachers’ identities engages with discours- This study is concerned with my own teaching identity and is based es and the knowledge we utilize to make sense of who we are, who on self-narrative research. As such, it includes stories which do not we are not, and who we want to become (Britzman, 1992). necessarily accumulate into a whole biography; rather, it is a collec- The term “teacher’s identity” as it is used by post-structuralist tion of short descriptions and accounts. They are significant because theorists suggests that the “self” is constructed rather than grounded they are one way of defining the self (Josselson & Lieblich, 2001). Like (Spivak, 1987). It implies a holistic outgrowth, often elusive, of a set of any stories of past events, they are explicitly reconstructed by me as embedded processes and practices that concern the whole person. It is the person who experienced them. They make sense of life experi- shaped in and across social and cultural contexts by various interde- ence by connecting the personal occurrences with meta-narratives of pendencies among person, context, history, and teaching (Britzman, community and history (Clandinin &Connelly, 2000; Neisser, 1994). 1991; Cochran-Smith, 2005; Olsen, 2008). They describe some of my own stories of being and becoming an art 1 [email protected] educator in Israel. I reassembled stories of my personal experiences | 110 | Journal of Cultural Research in Art Education Vol. 32 2015 Stories of Becoming an Art Educator | 111 | in this place and their interplay with my decisions as an art educator. members of the communities, and it constructs and influences their Examining processes whereby self-narratives are produced, poststruc- experiences and their social world (Ehrlich, 2013; Salomon 2002). Such turalist discourse extends the possibility for empirical researchers to a conflict is characterized by existential fears, and an “us and them” focus on the condition of social practices and cultural patterns (Son- mentality. It is accompanied by negative collective images about the dergraard, 2002). Drawing from this discourse, the study enlarges the other3 who is perceived as a carrier of hostile intentions, unaddressed range of the socio-cultural environment of becoming an art educator historical grievances and traumas, economic asymmetries, and the beyond the school’s discourse. While contextualizing my personal frustration of collective human needs such as identity, security, rec- experiences of living and working in Israel, I do not intend to offer ognition, dignity, participation and justice (Raviv, Oppenheimer, & generalizations about other art teachers’ ways of becoming in this Bar-Tal, 1999; Salomon 2002; Spyrou, 2002). country. In the coming sections I will provide stories which describe As part of the culture of conflict, systematic efforts are undertaken recollections of my personal experiences in Israel and their interplay within the public education system, both in terms of curriculum with my decisions as an art educator. development and pedagogical practices, to prepare Jews4 from kin- dergarten through high school to fulfill their military duties. Build- Contextual Voices: Facing a Culture of Conflict ing collective memories of past Jewish traumas and celebrating the When I gave birth to my tiny premature twin baby boys, the first Israeli heroism inherent in Jewish myths and holy days are presented person who greeted me was the cleaning lady in the operating theater. as neutral knowledge (Gor, 2005). Such educational practice creates She congratulated me: “Mazal Tov, two soldiers are born!” I heard her nationalist subjects and eliminates any discussion of shameful acts of blessing with horror. At the moment of their birth, their future roles the past, such as atrocities and violations of human rights (Salomon 2 as part of the Israeli military had already been declared . She affirmed 2002; Spyrou, 2002). Many efforts and resources are dedicated to in- the institutional and social expectations that involved the readiness creasing the number of combat soldiers graduating from high school. to kill or sacrifice their lives on behalf of the country, and my readi- The preparation of combat soldiers became one of the most important ness as their mother to educate them to this end. Like Adrienne Rich goals of Israeli educational policy as one learns, for example, from the (1976), I resist the idea that by becoming a mother of boys I have to ac- announcement of Gideon Saar, the Education Minister, to the press on cept the army’s assignment of raising my sons to become combatants December 1, 2009: in a militaristic society. Our nation was helpless for many generations and therefore con- The story of this random blessing provides a glimpse into the culture demned to persecutions and annihilation. Today, as well, there is no of conflict within and against which I live and teach in Israel. The existence to Israel and its citizens without the army’s force of defense. culture of conflict constructs national identity and pride, builds collec- But the army service is also a virtue. It expresses the values of giving tive memories of past traumas and celebrates Israeli heroism (Bar- Tal, 2007). It influenced not only my maternal experiences but also 3 The other in the Israeli-Palestinian conflict includes the Arabs in general and the Palestinians in particular: those in the occupied territories and the 20% Pales- the challenges of being an educator in this country. In deep-rooted, tinians who live in Israel and are Israeli citizens. stubborn, violent, and ongoing conflict which exists in places such 4 The Israeli school system segregates Jewish students who are taught in as Israel, the conflict becomes an inescapable part of daily life for the Hebrew from Palestinian students who are taught in Arabic, from kindergarten 2 At the age of 18 Israeli-Jewish men are conscripted for three years and Israeli- through high-school. Orthodox Jews have a separate education system, which Jewish women for two. does not encourage the students to join the army. | 112 | Journal of Cultural Research in Art Education Vol. 32 2015 Stories of Becoming an Art Educator | 113 | and contribution to all and is a melting-pot of the Israeli society. … for me as her child. In this “room of her own”6 that provided the sepa- The mission we set for ourselves is to return the Israeli society to itself ration she needed from the family’s interruptions, she painted every and that is why I have set the encouragement of army recruitment as day, all day, in the manner of a
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