When I consider the truest purpose of schooling and education, I resolve at community. I have determined this response mainly in part because, for me, school, in particular the art classroom, was the first community I can remember. To my benefit, from elementary school to higher education, the art classroom was a place where I felt I had a voice and one that mattered. It was one of the only places where I felt I had the potential for success. Most importantly, it was a place where I felt myself and other students had power to work together in determining the trajectory of our own learning.
Two of the most inspiring courses I took during my graduate studies at Columbia was Education, Culture and Society, and Multicultural and Global Education. During these courses we investigated the profound works to the likes of Paulo Freire and Dr. Sonia Nieto. As I prepared and delved into my student teaching practicum, I found myself reflecting on how this learning might inform how I design the culture of my classroom. I recalled the words of Dr. Nieto (2016) who said, “education is not colorblind, gender blind, language blind, or social class blind.” There are always standards and those standards are determined by those in power of language, race, gender, social class and color. As designers of learning environments, I believe it is imperative that we teachers are frequently revisiting questions such as, “Who has power in my classroom, how is it being used, and to what end? Am I the only one allowed to have power in my classroom? Who has a voice? Whose is the loudest?” Cultivating a creative voice in the art classroom is a critical part of my pedagogy and requires these types of questions to be continually revisited to make sure that ideological barriers and barriers of power do not hinder my teaching practice or the inclusive classroom community I strive to cultivate.
Dr. Nieto (2016) also provided a practical definition of social justice in action. She stated, “Social justice challenges, confronts, and disrupts misconceptions, untruths and stereotypes that lead to, and perpetuate, structural inequality and discrimination.” In addition, she later made a poignant statement, “There are no generic students.” Understanding the latter better prepares teachers to promote a learning environment of equity in a way that actively depicts the former. Once again, I found myself reflecting on my own pedagogy of cultivating creative voices. Throughout my practicum, I was constantly reflecting on themes of promoting equity and justice in my classroom. I had to consider if I was allowing my students to respond to curriculum that is indicative of their own cultural perceptions or was I holding them to a standard that does not embrace their unique voice, but rather demands conformity to those in power?
In his book Pedagogy of the Oppressed, Freire (1970) says, “Freedom is acquired by conquest, not by gift. It must be pursued constantly and responsibly. Freedom is not an ideal located outside of man; nor is it an idea which becomes myth. It is rather the indispensable condition for the quest for human completion." What a more spectacular means of pursuing and acquiring freedom than through the powerful juxtaposition of words and images as only discovered in the world of art! I aspire to cultivate creative voices that are rooted in students pursuing the completion of their identities and acquiring not just ideological freedom but social freedom as well.
As an designer of learning environments in the visual arts it is imperative that I continue to, as Dr. Nieto (2016) advised, “address the differences." I must continue to seek knowing myself, knowing and affirming my students, and knowing and respecting my students and their communities. Designing curriculum that allows students to be an active participant in the trajectory of their learning is essential in establishing and equitable community of power. Being a white middle class male puts me in a unique position as both an educator and an advocate for social justice and reform. The oppressive standards mentioned earlier are often defined by those that fit my ethnic profile. Modeling for students, families, teachers, administrators, and communities to embrace Freire’s concept of “incompletion” will be an important aspect of promoting social justice and disrupting such trends. Demonstrating a philosophy of “incompleteness” will also promote a more mutual approach to education between myself and my students. Additionally, this attitude will hopefully aide in deconstructing barriers and stereotypes the historically oppressed have adopted toward those whom my socio-economic and racial profile represent.
References
Freire, P. (1970). Pedagogy of the Oppressed. New York: Continuum
Nieto, S. (April 17, 2016). Language, Literacy, and Diversity: The Imperative for All Teachers to Address Culture, Race, and Other Differences [Webinar] Retrieved from: https://sas.elluminate.com/m.jnlpsid=221&password=M.F821B62DE5F8D6FC079FE8AEC358B5
Two of the most inspiring courses I took during my graduate studies at Columbia was Education, Culture and Society, and Multicultural and Global Education. During these courses we investigated the profound works to the likes of Paulo Freire and Dr. Sonia Nieto. As I prepared and delved into my student teaching practicum, I found myself reflecting on how this learning might inform how I design the culture of my classroom. I recalled the words of Dr. Nieto (2016) who said, “education is not colorblind, gender blind, language blind, or social class blind.” There are always standards and those standards are determined by those in power of language, race, gender, social class and color. As designers of learning environments, I believe it is imperative that we teachers are frequently revisiting questions such as, “Who has power in my classroom, how is it being used, and to what end? Am I the only one allowed to have power in my classroom? Who has a voice? Whose is the loudest?” Cultivating a creative voice in the art classroom is a critical part of my pedagogy and requires these types of questions to be continually revisited to make sure that ideological barriers and barriers of power do not hinder my teaching practice or the inclusive classroom community I strive to cultivate.
Dr. Nieto (2016) also provided a practical definition of social justice in action. She stated, “Social justice challenges, confronts, and disrupts misconceptions, untruths and stereotypes that lead to, and perpetuate, structural inequality and discrimination.” In addition, she later made a poignant statement, “There are no generic students.” Understanding the latter better prepares teachers to promote a learning environment of equity in a way that actively depicts the former. Once again, I found myself reflecting on my own pedagogy of cultivating creative voices. Throughout my practicum, I was constantly reflecting on themes of promoting equity and justice in my classroom. I had to consider if I was allowing my students to respond to curriculum that is indicative of their own cultural perceptions or was I holding them to a standard that does not embrace their unique voice, but rather demands conformity to those in power?
In his book Pedagogy of the Oppressed, Freire (1970) says, “Freedom is acquired by conquest, not by gift. It must be pursued constantly and responsibly. Freedom is not an ideal located outside of man; nor is it an idea which becomes myth. It is rather the indispensable condition for the quest for human completion." What a more spectacular means of pursuing and acquiring freedom than through the powerful juxtaposition of words and images as only discovered in the world of art! I aspire to cultivate creative voices that are rooted in students pursuing the completion of their identities and acquiring not just ideological freedom but social freedom as well.
As an designer of learning environments in the visual arts it is imperative that I continue to, as Dr. Nieto (2016) advised, “address the differences." I must continue to seek knowing myself, knowing and affirming my students, and knowing and respecting my students and their communities. Designing curriculum that allows students to be an active participant in the trajectory of their learning is essential in establishing and equitable community of power. Being a white middle class male puts me in a unique position as both an educator and an advocate for social justice and reform. The oppressive standards mentioned earlier are often defined by those that fit my ethnic profile. Modeling for students, families, teachers, administrators, and communities to embrace Freire’s concept of “incompletion” will be an important aspect of promoting social justice and disrupting such trends. Demonstrating a philosophy of “incompleteness” will also promote a more mutual approach to education between myself and my students. Additionally, this attitude will hopefully aide in deconstructing barriers and stereotypes the historically oppressed have adopted toward those whom my socio-economic and racial profile represent.
References
Freire, P. (1970). Pedagogy of the Oppressed. New York: Continuum
Nieto, S. (April 17, 2016). Language, Literacy, and Diversity: The Imperative for All Teachers to Address Culture, Race, and Other Differences [Webinar] Retrieved from: https://sas.elluminate.com/m.jnlpsid=221&password=M.F821B62DE5F8D6FC079FE8AEC358B5