3. “Rickshaw”
Banksy
Modern Day
Globalization Racism Classism
Slavery
“Othering” Modernity
First World & Colonization
“Third World”
Tourism &
Business
Exploitation
Mindsets
Relationships with Global Consumerism
5. Critical Aesthetic Pedagogy & Empowerment
By exposing students to participatory encounters
with artworks that possess certain qualities that
encourage the sharing of experiences and the
recognition of common sources of oppression,
educators can create a sense of empowerment that
will prepare students to enable social justice.
(Medina, 2006)
Students can explore oppressions, privilege,
relationships & tensions that exist in community so
that they can be empowered to create change.
6. Art as a “Portal”
The “Portal”
Art serves as a medium for deeper
analysis
Art asks us to make deeper
connections about ourselves
7. Art as a Portal
At the very least, participatory
involvement with the many
forms of art can enable us to
see more in our experience, to
hear more on normally unheard
frequencies, to become
conscious of what daily
routines have obscured, what
habit and convention have
suppressed. (Greene, 1995, p.
123) 1917 -
8. Art as a Portal Into Self, Soul & Society
Many nature-based cultures have no word for art or
artist because producing what we call art is simply part
of being human.
True art has nothing to do with impressing or
entertaining others with pleasant or stunning creations;
it’s about carrying what is hidden in the soul as a gift to
others.
However we embody our souls in the world, that is our
art.
Soul expression...(Plotkin, 2003, p. 191)
9. Using Art as a Teaching Method
Steps:
What do you see?
What relationships exist among the
elements of the artwork?
What do you think it means?
11. Art as Myth
Myths are oral art, as opposed to visual art
“A myth is, in a sense, the very truest of stories, a
story that reveals universal qualities of that human
condition, of the world, and the deeper meanings and
possibilities of our lives.” (Plotkin, 2003, p. 204)
Myths contain “layers upon layers of significance,
like bands of rock in a canyon wall, each stratum
holding and hiding untold treasures and mysteries.
We become aware of the different layers only as we
develop spiritually.” (Plotkin, 2003, p. 205)
12. Art as Myth
Myths are “stories”
acting as banks that store
cultural values, origins
of thinking, rituals, and
traditions that might
otherwise be lost.
Connection to ecojustice
pedagogy because of
how myths can help to
question dominant and
privileged mindsets.
http://prezi.com/lsncossgvb3c/nine-worlds/
13. Using Fine Art as a Portal
“War By
Numbers”
Shepard
Fairey
23. “Girl Before a Mirror”
Picasso
Long hours she sat
looking in the
mirror, trying to
discover the secret
of the ugliness, the
ugliness that made
her ignored or
despised at school,
by teachers and
classmates alike.
Bluest Eye
by Toni Morrison
35. THEATRE OF THE OPPRESSED
Image Theatre, Forum Theater, Newspaper Theater, Rainbow of Desire, Historical
Theater, Invisible Theater
36. THEATRE OF THE OPPRESSED:
IMAGE THEATER
• Frozen image, no sound
• “Spectactors” analyze what they
see and provide their
interpretations
• Mime adds movement with no
sound
• Rainbow of Desire: Spectactors
provide words for the actors
that might explain their thinking
37. THEATRE OF THE OPPRESSED:
NEWSPAPER THEATER
• Reenacting
a situation that
was reported in the
newspaper
• Purpose is to understand the
injustice and to work with it
in a safe way to promote
understanding, compassion,
and possible actions/
decisions that might work
38. THEATRE OF THE OPPRESSED:
FORUM THEATER
• Story is one that is born out of a real
community issue
• Forum Theater is “rehearsal for life”
• Scenes must be accurate depictions of an
injustice in community. Spectactors can stop
the scene if something seems exaggerated or
unreal.
• Spectactors yell “FREEZE” when they see an
injustice and replace the protagonist in order
to see if s/he can stop the antagonist’s actions.
• A “joker” (teacher) asks questions of the
spectactors
39. THEATRE OF THE OPPRESSED:
INVISIBLE THEATER
• Actors do something in
community, but are not
initially seen as actors.
• Purpose is to raise
awareness of how we
respond to injustice when it
happens right in front of us
• http://www.youtube.com/watch?v=Dvzj8wyZ9PI
Augusto Boal
1931-2009
46. REFERENCES
Greene, M. (1995). Releasing the imagination. San Francisco: Jossey-Bass.
Medina, Y. (2006). Critical aesthetic pedagogy: Toward a theory of self and
social understanding. Unpublished Dissertation, University of North
Carolina at Greensboro, Greenboro, NC.
Plotkin, B. (2003). Soulcraft: Crossing into the mysteries of nature and
psyche. Novato, CA: New World Library.
