January 7, 2016 at 4:56 pm #4758
6. FUTURE: If curriculum is not culturally responsive, what changes would you like to see?April 22, 2016 at 8:23 am #4857
I would personally like to see curriculum explore and address the issues of race, gender, sexuality, age and disability. I think all sensitive issues could be addressed if a school district aligned their curriculum k-12. The more sensitive topics such as sexuality and race could be taught at a high school level while the less sensitive at an elementary level. Aligning a curriculum k-12 would allow for students to grow and explore viable topics that are mostly missing from a school curriculum.April 26, 2016 at 9:13 am #4861
I believe present-day art curriculum is culturally responsive to issues involving gender, race, age, sexuality and disability. See post on culturally responsive.May 2, 2016 at 6:18 pm #4872
We need to educate the administration behind the curriculum. This could be during meetings, a presentation, basically whatever it takes to show what has changed. I truly believe those who are involved in the decision processes do not know when the curriculum is not culturally responsive. More in likely they are comparing past cultures, a curriculum that has been seen in the past and one used regularly. As a teacher I believe we need to embrace what is out there. Sure students might on their own but it will be helpful if we could guide them.May 8, 2016 at 4:38 pm #4911
I think curriculum needs to allow for students to connect the artwork they are making to their own lives. Art doesn’t happen in a vacuum and neither should art education. Students should be creating artwork like artists do and this means responding to and reacting to issues that they feel are important. If the students aren’t invested in the artwork then it isn’t going to have as much meaning within their learning or within the world of art.January 8, 2017 at 2:30 pm #5036
This area of the entrance, “Distinction in Studio Art Teaching: Applying Judy Chicago’s Pedagogical Principles,” highlights the Judy Chicago Symposium: Planting a Feminist Art Education Archive symposium presentations and tasks that use Judy Chicago’s Art Education Archives and the utilization of her instructing instructional method.
We welcome you to see the recordings beneath and read the productions connected here. Share your viewpoints, encounters, inquiries and remarks in the Dialog Portal. We have suggested conversation starters to hd car wallpapers begin a discourse on applying Judy Chicago’s instructive standards. Recordings are connected on the titles beneath.
Chicago has planted solid foundations of women’s activist workmanship instruction from which have bloomed differing types of women’s activist craftsmanship. A large portion of Chicago’s understudies built up effective vocations as specialists (e.g., Suzanne Lacy, Faith Wilding, Nancy Youdelman).May 1, 2018 at 4:19 pm #6567
i think that if our curriculum is going to be culturally responsive, we not only need to teach students how to use the skills and strategies the arts have to offer but also how to take the issues of the past and present and transform them into something new. I think that the changes I would like to see in the curriculum are to leave behind the idea that art is only painting, drawing and sculpting. Instead, I wish that we would instead change the curriculum to include contemporary forms of creation like photography and video. I would hope that the curriculum would stray away from focussing on the individual student and begin to think about the greater collective.May 1, 2018 at 5:44 pm #6568
To me, culturally responsive means to connect communities with the arts in tangible ways. The arts are a way to build community, knowledge, interface and aesthetics. Neighborhoods centered around the arts mean that people work together in all capacities to support the arts whether or not they themselves are artists. For example, my hometown is centered around an outdoor theater that brings music, plays, children’s programming and the performing arts to the community in the summer. People work together to facilitate these productions for the artists, such as concessions, building and grounds, lighting, maintenance, box office, ushering, etc. Everyone has a chance to be a part of an artistic production. By way of volunteering, neighbors are exposed to the value and education of the arts as well as learning about the people they see throughout the year. Arts open doors to conversations and familiarity. In the end, a culture of community is built.
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