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Art Through Revolutionary Leadership: Paulo Freire and The
                Pedagogy of the Oppressed




                             and
        Instructional Resource for the Art Classroom
                      for grade levels 6-12
                       By Marie Max




                               1
Table of Contents

                                                                                                      Page

      I.     Abstract ..................................................................................... 3


      II.    Literature Review ..................................................................... 4
                    The outline of Freire's methodology
                    and terms for action, such as generative themes,
                    decoding, cultural synthesis, and critical
                     consciousness.

      III.   Methodology ............................................................................. 8
                  Action research including, observations,
                  data, and results.


      IV.    Conclusion .............................................................................. 13


       V.    Instructional Resource ............................................................ 15
                    Classroom application of dialogic
                    action in a liberally structured art
                    class.

      VI.    References ............................................................................... 18




Marie L. Max
AEDU*690*03 (3278) Graduate Ind Study
Spring 2010
Cognitive and Creative Development



                                                  2
Art Through Revolutionary Leadership: Paulo Freire and The Pedagogy of
                                         the Oppressed
                                         By Marie Max




I.      Abstract:


        Revolutionary leadership is a term used to describe an action for educating the
underprivileged, the objects of oppression. This revolutionary action of overcoming oppression
through education was a life-long commitment by the internationally renowned educational
theorist, Paulo Freire. This action was introduced in the book, The Pedagogy of the Oppressed by
Freire (1970). The revolutionary goal is for the oppressed to lead their lives liberally and in
harmony with the oppressor, without either side sacrificing human rights. The pedagogy
addresses the educational issues of the underprivileged, or de-humanized students, who are living
in what Freire described as a dual reality. The duality is, on one side, the recognized reality of the
oppressor, and on the other, the unrecognized reality of the oppressed. The oppressed, with a
consciously work to transform from being preserved as an object of the dehumanizing oppressive
leaders, to be the subject of humanization and live in a reality that is liberated and functional
between both worlds. Two main points Freire makes are the actions of dialogics and anti-
dialogics. Unlike practicing anti-dialogic action or historically fundamental practices, dialogue in
the classroom, or dialogic action, can help the oppressed recognize their role in society, and
overcome manipulation, make cultural adaptations, and have a critical and creative conscious
awareness of their human existence (humanized liberation).



                                                  3
II.     Literature Review:

        Paulo Freire, having suffered from severe poverty during the Depression Era of the early
1900s, committed his life to working to prevent children from experiencing the pains of hunger.
He was inspired to focus on theories in education due to his realization that there was an
overwhelming lack of social justice in oppressed regions, which greatly contributed to this
problem of hunger. The lethargy from hunger in school prevented children from being educated
properly and, as a result, they remained within the confines of living an underprivileged life and
oppression from dominant forces. The educational system did not address their realities of hunger
and poverty nor did it prepare the children for their realities for the future. Freire's original
methodology was widely accepted by Catholics and supporters of literacy campaigns in the
northern regions of Brazil. However, in the 1960's, there was a military coup and Freire was
arrested because he appeared to be a threat that represented the old government. The scenario is
the oppressed violently overthrew the oppressors and, in turn, became the oppressors themselves.
After his release, he fled Brazil in political exile and began his research for the Pedagogy of the
Oppressed. This pedagogy has been adopted in 16 countries, including the United States, and is
named throughout, The Paulo Freire Institute.
        Feire's research for this pedagogy revolves around the idea of Conscientização. The
Conscientização is learning to recognize and identify social, political, and economic dualities, the
contradictions, and procedure to take action to overcome the forces of oppression. This is a
revolution, not through a rebellion, but through a transformation. His theory was that students can
be productive for themselves and their futures if poverty stricken educational environments
convert the anti-dialogic historical curriculum into the reality focused dialogical method. Freire
refers to The Pedagogy of the Oppressed as the 'pedagogy of man' (p.39). He stresses the need for
all people to recognize humanization as well as humanity. The pedagogy is intense in its depth of
understanding and methods of application. To understand Freire's philosophy better, it is
important, as the educator, to understand four factor of what oppression is, who the oppressed and
who the oppressors are, and how it is overcome.
        Oppression is the result of incomprehensible human domination of over other humans,
either by physical force or psychological manipulation, which instates poverty and ignorance.
The oppressed are people who have severe hardships resulting from violence, economics, social
restraints, or cultural barriers, due to induced poverty and ignorance. The oppressed are people
who become trapped in a self-deprecating way of life, separated from humanization and exist in
an assumed or supposed reality: a false reality that dissuades freedom, therefore inducing the fear


                                                   4
of freedom. The oppressors are people who are dominant in society who enforce the economic or
social restraints, cultural barriers, and at times, the violence that the oppressed experience. The
oppressors, also, do not have humanistic empathy for the underprivileged and manipulate the
provisions for the oppressed, therefore inducing false realities that nurture oppression. Oppression
is overcome, in summary, by co-intentional education between teacher and student to help the
oppressed become aware of the reality of oppression, their own identity, and practice of a
commitment to self-liberation from being oppressed without having a fear of freedom, while both
groups live symbiotically.
        The oppressed cannot live without the oppressor, or the oppressor without the oppressed.
The result is a manipulated and veiled version of the reality of culture and human rights. They
become afraid of freedom and acquire, or are ingrained with, fatalistic and self-deprecating
attitudes, thus becoming emotionally dependent. The oppressed are unaware of the extent of
oppression and do not argue to gain more access to freedom from the oppressors, where as,
oppressors, if threatened, argue to keep their human rights. Freire repeatedly emphasizes these
issues in his book; the humanization and dehumanization are contradictions of contradictions and
their order is created out of their disorder. The solution is to simultaneously work with the
oppressor in an ongoing process. To do this means to transform oneself from being an oppressed
object in preserved reality for the non-oppressed and becoming the subject of a non-oppressed
role in a humanistic reality. Freire proposes a pedagogy that enables these students to learn,
through educational methods, how to overcome oppression. This is a gradual, step-by-step
process in an educational environment and needs time to develop in a classroom. It has several
stages within the initial actions: to first, recognize the reality of oppression and make a deliberate
intention of transformation, and second, the commit to the phases of the liberation itself. This is
revolutionary learning.
        Freire describes this deliberate intention as 'Intersubjectivity' (p. 131). This is in
contradiction to historic ideas that: the teacher, only, is knowledgeable and the students are
unknowledgeable, the teacher is the narrator and the students are the audience, the teacher is the
depositor and the students are the bank, etc. This is a challenge the anti-dialogic stances by the
historically fundamental educator in a culturally invasive and manipulated thought process. In
order to understand revolutionary learning, the actions need to be defined as follows:


Generative Themes
The methodology is based on generative themes (pp. 75-118). That is, create a curriculum that is
generated by a student's production capability. Students' and teacher's commitment to dialogic



                                                   5
action, cooperation, and cultural synthesis is essential for generative learning. In an anti-dialogic
action, the fundamental classroom is a setting where the students' are the objects of cognitive
deposits by the teacher or 'banking' (p. 57). This induces manipulation of information, an invasion
of culture, and a lack of unity within the generative themes. Generative learning is to allow these
oppressed students to integrate his or her independent thoughts on culture, social experience, and
identity into the class curriculum by means of mutual dialogue and interaction with the teacher.
Through mutual dialogue, they begin to recognize their reality.


Decoding
Decoding is the action of engaging in dialogism in the classroom. Consistent dialogue with the
teacher about perceived thoughts is the first step to the recognition of the underprivileged person's
place in reality. Cooperating needs to be a characteristic of dialogical action not the action itself.
In maintaining dialogue that does not manipulate or impose and is non-directional but it is
expressive and can lead to the challenges that the opposed face. The decoding process is a
transformation process. The first step is to recognize issues of false realities and confront them by
committing to the change of one-self. The oppressed need to recognize their viewpoints of the
world, ethics, and behaviors that keep them oppressed. By decoding these thoughts, cooperating
in the engagement of dialogue, the oppressed students can begin to liberate themselves, not to be
in an existing liberated society, but to become existent in liberation, in society.


Action
The students and the teachers are, simultaneously or co-operatively, the subjects and objects
(actors) in the dialogical learning process. The action is to transform the oppressed from being the
objects but rather the subjects by learning through intersubjectivity, reality transformation, and
humanization. In an oppressive environment the teacher is the first the actor and then the subject,
while the student remains the object of the communicated information. The intersubjectivity is
the changing of the object, subject, and acting roles in the classroom. It transforms the action of
the student being the object to the student being, first, the actor and then subject. Reversely, the
teacher becomes the subject first and then the actor. They share a mutual goal to transform from
being dehumanized in oppression to becoming humanized in liberation.


Cultural Revolution
Culture is a population with shared beliefs or values. Revolution is a complete change or
transformation. Cultural revolution is the transformation of the beliefs or values within a cultural



                                                   6
invasion, which is a form of cultural superiority and anti-dialogic. For the oppressed, the goal is
for the student to decide what to be creative about and what to search for. Not just in a concrete
way, but also abstractly in time and space.


Unity of liberation
In an anti-dialogic action, the dominant create an environment where the oppressed become
divided amongst each other. In the dialogical action, all oppressed need to unite together in
solidarity to create organization in the actions towards gaining liberation.


Organization
Organization is between different oppressed groups and involves factors such as consistency,
risk, love, and faith.


Cooperation
Cooperation can only be achieved through dialogical action. In an anti-dialogical action,
cooperation is accomplished because of one person obeying the rules of another's decision-
making. In a dialogical action, there is mutual decision-making and mutual action between both
the teacher and the student.


Cultural synthesis:
Synthesis is the act of combining various components into a whole. Cultural Synthesis is the
result of the phases of educational process of dialogical action. Cultural Synthesis is one of
several combined processes such as decoding, actions, and cultural revolution; in conjunction
with cooperation, unity, and organization. This can be applied at a point where the oppressed
students have begun to transition into being free from the self-deprecating thinking, instilled
violence, and lack of hope as a liberated human being. This stage allows the student to become
more familiar with his or her identity, emotions, thought process, application of skills, and ability.


Critical Consciousness:
Critical consciousness is liberation from the fatalistic, or dehumanized, outlook that is ingrained
in the oppressed resulting from social injustices. It is the goal: to freely exist in reality with a)
emotions, b) ethics, and c) view points of the world, d) without violence e) in unity with the
oppressors. This goal is a result of giving the student the opportunity to experience a role in
revolutionary leadership.



                                                    7
III.    Methodology:

        Revolutionary leadership is best understood through 'hands-on' experience. Art classes
incorporating Decoding to Cultural Synthesis were field tested in a boarding school for
government warded and socially restricted, adjudicated teens. They were both male and female
and between the ages 13 to 18 years old. The setting was volatile and the facility was devoid of
instructional or production devices and materials. Many students suffered from an absence of
self-discipline or emotional stability, due to their environmental circumstances. All were abused
and neglected prior to forced enrollment. Modifications and adaptations to the needs of the
students had already been set in place by the facilitators and faculty of the institution. Safety
concerns were of importance. Classes began with no visual or written references. They were
gradually introduced as dialogue increased. The students were given the opportunity to have
some freedom with their own decision-making and transition from one topic or idea to another.


Week one:


        The lessons began slightly structured with allowance for individual modification. The
first project's goal was to create wearable art headpieces. The theme was to express themselves as
individuals. The process was to decorate the piece, be authentic, and ensure it could be worn on
one's head. No visual references were provided in order to not culturally influence or invade the
students' imagination. The materials provided were large strips of pre-cut colored paper, assorted
sequins, and glue.




                       Fashion and Friends. Paper, applique', and magic marker. Student, 2010



                                                         8
Most of the students, at first, expressed disinterest in this project. However, they did
participate after we engaged in 'dialogism' (dialogue); we discussed personalities and the freedom
of artistic expression. All who participated changed the criteria in some manner, to suit their own
abilities of understanding how it should be accomplished. They requested colored markers and
staplers, in addition to what was offered. Instead of just creating the headpieces and adding
sequins and such, the students chose to make them personal. For example, some wrote names or
phrases on the pieces and others made them symbolic. As students became more vocal, I could
learn their needs in how to be motivated and, therefore, modify my lessons accordingly. Without
any historical references to abide by, the students felt accomplished due to the allowance of
freedom to introduce their own themes and materials in the process.




                       The Basketball Fan. Construction paper and foam sheets. Student, 2010



Week two:


        The second lesson was about the process of encaustic book covers for hand-structured
sketchbooks. An Abstract Expressionist artist was introduced in order to provide a visual example
of randomness and unstructured looking artwork; an historical condition. Little discussion about
his process was attempted but the students began to ask and we briefly discussed his methods and
personality. They became extremely anxious to start the project. The materials were hole paper,
punchers, fasteners, wax crayons, lamination pockets, and a child safe portable laminating
machine. As a back up for materials, I also provided wallpaper books for patterned or decorative
book covers. This activity was of interest yet was simple enough to allow for open dialogue in its



                                                        9
duration of production. They then, began to apply the process of mixing different color waxes
together, through trial and error of output. Most made the sketchbooks, but some chose to hang
their creations as pictures to display or keep as a personal placemat.




                           Experiment. Melted wax on paper and laminate. Student, 2010


Week three:


        Lesson number three was a collage project. Students were provided with scissors, paper,
glue, current newspapers, junk mail, and National Geographic and periodical magazines. The
collage was to be an example of the student and the student's identity. We discussed current
events, music, art, and lifestyles. Some students did not participate. Others participated by
curiously reading the articles. A few chose to do this project directly into their recently created
sketchbooks. The finished results ranged from collages of their societal observations to fantasy
living rooms to personally significant clippings of words, phrases, or images. One student
interpreted the project as layering paper to create a cell phone, another expressed abandonment in
a loosely applied collage. During this lesson, I noticed a 2 dimensional paper mask and a student
proudly announced it was hers. We briefly discussed previous experiences in mask making. She



                                                      10
Paper Cell Phone. Collage. Student, 2010                Betrayed. Collage. Student,2010


and some other students requested to do an art project that related to mask making, a project they
had done for a Social Studies class. I offered a different way to make them for our class, in a
three-dimensional or relief forms. We agreed that it would be the next lesson.


Week four:


        Students had decided upon mask wall hangings a week before. I participated by including
images of multiple, cultural masks. I also showed the classes an authentic plaster mold replica
from an ancient Mayan calendar. I thought would be of great interest due to the recent notoriety
of the predicted Mayan Armageddon, in the year 2012. This coordinated with Mayan masks and
relief surfaces. The original project of mask making evolved into a new idea of relief molds. The
first stage of materials provided were metal, disposable pie plates, colored pencils, mask
exemplars, and correlating resource materials. In each class, a couple of students were if they
would volunteer to take charge of ensuring the mold's safety. They agreed. The interest was
overwhelming and the project evolved away from the requested mask wall hangings and onto
their desire to design bas-relief surfaces.
        Most of the students chose to etch into aluminum plates to form relief surfaces with their
own designs. The colored pencils served a multi-purpose. They were soft enough to bend into the
metal without tearing. It also left behind tones of color. Students were inquisitive and learned a
simple process they could do in their own home with recycled materials. One student was curious
as to what the Chinese symbol of Yin and Yang was for her embossing others experimented with


                                                   11
Student/mask::Teacher /Mayan mask   Teacher/Mayan Calendar     Student/exploration of metallic relief



cutting the tin or making patterns with words or flowers. All of the students that participated
decided to not make masks after all. They all applied applications in bas-relief style with the
option of making a mold from it in the future. They participated nearly in full and were extremely
proud of where their own creative ideas, with some requested guidance from the teacher
regarding process, had led them. This was the last of my visits to the school and the
administrators were provided with simple instructions for teachers on how to complete the project
by pressing self-drying clay into the surfaces created by the students.


Results:


         I divided the criteria for measuring progress of the students into four categories; dialogue
and participation, participation only, dialogue only, and neither participation nor dialogue. Data
has been estimated to the nearest percentage due to the fact that, daily, some students were not
present or a new student joined the class. Observation and activity was based on seven, 45 minute
classes per week with an average of ten students per class, each meeting once per week. On a
percentage scale about 50% of the students engaged fully for the first project. The others engaged
in 20% to 25% for the other three categories. The percent of students who engaged in full
participation and dialogue increased weekly by an estimated 10% to 15% per week. As the
percentages in this categories increased, the percentages in the other three categories mostly
decreased by 5% each week. The Dialogue Only category reduced to less than 1% by week four.
There was a steady 10% of neither participation nor dialogue in the second and third weeks of art
classes. The percentage of students in this category did, however, decrease during the fourth week
during their personally selected application of ideas and materials.




                                                   12
DIALOGUE - INTERACTIVE STUDENT CENTRIC DISCUSSION (BETWEEN TEACHER AND STUDENT)

        PARTICIPATION - DESIRE TO BE ACTIVELY INVOLVED IN PROJECT(S)




                 Total student/teacher interaction: one class a week per student (about 70 students)

.


IV.     Conclusion:

        While not all the students participated, many of them had much to offer in terms
revealing their own identity in the art classroom and interests of what they would prefer to learn.
The few who did not participate spoke negatively about themselves, behaved negatively with
violence and anger, or voluntarily remained isolated from the groups. These students were new to
the institution and time will allow for their transition into liberation from their oppressive pasts.
Some students displayed less severe behavioral problems, as expected with being a new and
invasive person in the classroom. Very calmly and without frustration, I let them know the reality
of their behaviors; e.g. age appropriateness or disrespect for others physically or with supplies
and materials that would result in intervention protocol. Others were simply rude. For example,


                                                          13
when a student began to interrupt class, physically and verbally, during the initial engagement of
student/teacher dialogue, I offered this student the opportunity to switch roles with me. At first,
these students would appear dissatisfied with my presence, but ultimately, became friendly and
open to dialogue and participation.
        By applying this pedagogy in an art classroom, it created an affect on students; they
began identifying their interests, expressed their hopes, and revealed their intentions in society in
the future. Gradually introducing additional material that was related to the students' topics of
choice created more interests and newer ideas. This also encouraged students' desires to discuss
other cultures and history. The classroom became a 'revolving door' of information from both
teacher and student. I also acknowledged each and every student, if not by name, by gently
patting their shoulder while complimenting on their efforts. I sat with students at the tables and
discussed topics relating to them and my ignorance of some of these topics while they were
working on activities. The students gained independence by being the initiators of the lessons and
how they would proceed, therefore gaining a strong interest, absorbing the information, and
processing the knowledge through creativity. As the teacher, I learned what the students needed
and how they needed to learn it, which in a way, made me dependent upon their participation.
More time spent with these students would have made for an accomplished curriculum with much
to learn for an art educator in an oppressed environment.
        In closure, the finished projects varied in a range, from critical issues to creative
applications, depending on individual students and capability of production. This is pedagogy is
for critical, creative, and radical teaching. Freire believed that it will, without a doubt, be
misconstrued as an anarchist method. Revolution is normally perceived as rebellion but in this
cause, it means self-transformation, which is clearly defined in the book. The Pedagogy Of The
Oppressed serves as an encyclopedia for understanding, in detail, the background of the
oppressed and the oppressors, habits of mind, and the methodology of interrelated processes. This
pedagogy is not for the sectarian institution or traditional educator. It requires strict commitment
to the liberal, non-definitive, and dialogue based methods, that are outlined by Freire. The process
is a long and continuous one for students and teachers for the ultimate goal of revolutionizing the
psychological path to leading a life of human freedom.




                                                   14
V.        Instructional Resource:



                  Revolutionary Leadership through the Art Classroom
                                    for students grade levels 6-12




                               Expressing thoughts through collage. Student, 2010



History


          Revolutionizing a classroom to be student centered for an oppressed environment is a
process that takes several weeks to establish. With modification in the teacher's role, the overall
intention is to practice the method of students and teacher symbiotically learning and teaching
each other in order to achieve the cultural synthesis and consciousness of individual identity.
Cultural Synthesis is a process that is married to the same philosophy in the art classroom. By
allowing the students to be free with their own identities and processes in the creative
productions, they will then become interested in exploring others ideas. The teacher becomes the
observer, acknowledges students abilities, and discovers with the students, a manner in which
they can cognitively, creatively, and effectively have a productive unity. Several classes are
needed to set-up and build a comfort zone for students. As dialogue grows, students become more
vocal about taking leadership in how they wanted to learn about art. In adapting to their needs or


                                                      15
desires, one student initiated modification leads to another. More students begin to become
involved in learning the process of being the independent initiator of their creativity. This
pedagogy is not for every teacher, is specifically designed for victims of social injustices or
oppressions, and is a radical, dialogical method that requires both student and teacher
commitments.


Goal: Create works of art through mutual learning.


Essential Question: Can revolutionary or liberal learning be applied in the art room?


Studio Application:


        The students productively create art in a mutual learning environment between teacher
and student. In the creative freedom that the students use to progress, the art class teacher can still
met the educational standards for art and humanities with the inclusion of multidisciplinary
applications. Initially, provide small activities that can be produced while engaging in dialogue
regarding various issues, initiated by students. There should be plenty of dialogue between the
teacher and student and a sharing of ideas and interests. Begin with an absence of historic
documentation or visuals. Gradually introduce visuals related to topics of discussions and
activities. After several studio sessions and activities, students and teacher create a comfort zone
by engaging in dialogue. When students' independent thought processes begin, they will then
decide on the style of art they would like to produce. They create through voluntary decision
making in an involuntary situation. Students take ownership of their ability to learn how to
improve skills in craftsmanship, processing ideas, and applying creative elements with a desire to
learn more. The result is production of artwork in a student-centered classroom that is motivating
for students suffering from having limited interests.


Objectives:
Students will:
 • Improve cognitive skills by engaging in dialogue
 • Develop cognitive skills by independently selecting projects
 • Develop motor skills through unrehearsed applications of materials
 • Improve psycho-motor skills by exploring stages of evolution in ideas and processes
 • Create a work of art


                                                  16
Procedure:


   1. Upon first meeting students, introduce project that is slightly goal specific with plenty of
       room for modification. Give students the option to participate.
   2. Begin dialogue with students.(sit with them, participate, answer their questions,
       compliment them).
   3. Discuss students' histories, achievements, knowledge, and interests.
   4. Repeat in each class until students begin to reveal their interests and take leadership in
       what they want to learn and choose a project.
   5. Introduce materials and related resources for selected project. Introduce materials that
       may somehow relate to the topic or idea that was selected.
   6. Offer students opportunity to be leaders of tasks: e.g. overseers of equipment or materials
   7. Let students choose what direction they want to go with their projects and processes in
       conjunction with the available materials, clay or plaster, scissors, etc.


Suggested Materials and Resources:


    Recycled materials: lids, cartons, tins
    Wallpaper books, Assorted papers: card stock, construction, foam
    Assorted materials: beads, sequins, wiggle eyes, etc.
    Glue: Elmer's, Tacky
    Scissors
    Colored pencils, Colored Markers, Paint and brushes
    Visual references, Tactile examples of cultural art pieces


Assessment Suggestions:


*Rubrics with behavioral modifications and adaptive methods
       -Participation in discussion, Individualized creative process


Safety concerns: Exacto blades


Time : 50 minutes per class, 16 weeks




                                                17
VI.     References:

Freire, P. (1970). The pedagogy of the oppressed (M. Ramos, Trans.) .New York: Seabury Press.
Smith, M. K. (1997, 2002) 'Paulo Freire and informal education'. The encyclopedia of informal
education.
        Retrieved March 1,2010 from http://www.infed.org/thinkers/et-freir.html
Paulo Freire Institute UCLA (2010). Retrieved from http://www.paulofreireinstitute.org/


*Special Thanks to the staff and students at St. Mary's Villa for Children




                                                18

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Freire: Art Through Revolutionary Leadership

  • 1. Art Through Revolutionary Leadership: Paulo Freire and The Pedagogy of the Oppressed and Instructional Resource for the Art Classroom for grade levels 6-12 By Marie Max 1
  • 2. Table of Contents Page I. Abstract ..................................................................................... 3 II. Literature Review ..................................................................... 4 The outline of Freire's methodology and terms for action, such as generative themes, decoding, cultural synthesis, and critical consciousness. III. Methodology ............................................................................. 8 Action research including, observations, data, and results. IV. Conclusion .............................................................................. 13 V. Instructional Resource ............................................................ 15 Classroom application of dialogic action in a liberally structured art class. VI. References ............................................................................... 18 Marie L. Max AEDU*690*03 (3278) Graduate Ind Study Spring 2010 Cognitive and Creative Development 2
  • 3. Art Through Revolutionary Leadership: Paulo Freire and The Pedagogy of the Oppressed By Marie Max I. Abstract: Revolutionary leadership is a term used to describe an action for educating the underprivileged, the objects of oppression. This revolutionary action of overcoming oppression through education was a life-long commitment by the internationally renowned educational theorist, Paulo Freire. This action was introduced in the book, The Pedagogy of the Oppressed by Freire (1970). The revolutionary goal is for the oppressed to lead their lives liberally and in harmony with the oppressor, without either side sacrificing human rights. The pedagogy addresses the educational issues of the underprivileged, or de-humanized students, who are living in what Freire described as a dual reality. The duality is, on one side, the recognized reality of the oppressor, and on the other, the unrecognized reality of the oppressed. The oppressed, with a consciously work to transform from being preserved as an object of the dehumanizing oppressive leaders, to be the subject of humanization and live in a reality that is liberated and functional between both worlds. Two main points Freire makes are the actions of dialogics and anti- dialogics. Unlike practicing anti-dialogic action or historically fundamental practices, dialogue in the classroom, or dialogic action, can help the oppressed recognize their role in society, and overcome manipulation, make cultural adaptations, and have a critical and creative conscious awareness of their human existence (humanized liberation). 3
  • 4. II. Literature Review: Paulo Freire, having suffered from severe poverty during the Depression Era of the early 1900s, committed his life to working to prevent children from experiencing the pains of hunger. He was inspired to focus on theories in education due to his realization that there was an overwhelming lack of social justice in oppressed regions, which greatly contributed to this problem of hunger. The lethargy from hunger in school prevented children from being educated properly and, as a result, they remained within the confines of living an underprivileged life and oppression from dominant forces. The educational system did not address their realities of hunger and poverty nor did it prepare the children for their realities for the future. Freire's original methodology was widely accepted by Catholics and supporters of literacy campaigns in the northern regions of Brazil. However, in the 1960's, there was a military coup and Freire was arrested because he appeared to be a threat that represented the old government. The scenario is the oppressed violently overthrew the oppressors and, in turn, became the oppressors themselves. After his release, he fled Brazil in political exile and began his research for the Pedagogy of the Oppressed. This pedagogy has been adopted in 16 countries, including the United States, and is named throughout, The Paulo Freire Institute. Feire's research for this pedagogy revolves around the idea of Conscientização. The Conscientização is learning to recognize and identify social, political, and economic dualities, the contradictions, and procedure to take action to overcome the forces of oppression. This is a revolution, not through a rebellion, but through a transformation. His theory was that students can be productive for themselves and their futures if poverty stricken educational environments convert the anti-dialogic historical curriculum into the reality focused dialogical method. Freire refers to The Pedagogy of the Oppressed as the 'pedagogy of man' (p.39). He stresses the need for all people to recognize humanization as well as humanity. The pedagogy is intense in its depth of understanding and methods of application. To understand Freire's philosophy better, it is important, as the educator, to understand four factor of what oppression is, who the oppressed and who the oppressors are, and how it is overcome. Oppression is the result of incomprehensible human domination of over other humans, either by physical force or psychological manipulation, which instates poverty and ignorance. The oppressed are people who have severe hardships resulting from violence, economics, social restraints, or cultural barriers, due to induced poverty and ignorance. The oppressed are people who become trapped in a self-deprecating way of life, separated from humanization and exist in an assumed or supposed reality: a false reality that dissuades freedom, therefore inducing the fear 4
  • 5. of freedom. The oppressors are people who are dominant in society who enforce the economic or social restraints, cultural barriers, and at times, the violence that the oppressed experience. The oppressors, also, do not have humanistic empathy for the underprivileged and manipulate the provisions for the oppressed, therefore inducing false realities that nurture oppression. Oppression is overcome, in summary, by co-intentional education between teacher and student to help the oppressed become aware of the reality of oppression, their own identity, and practice of a commitment to self-liberation from being oppressed without having a fear of freedom, while both groups live symbiotically. The oppressed cannot live without the oppressor, or the oppressor without the oppressed. The result is a manipulated and veiled version of the reality of culture and human rights. They become afraid of freedom and acquire, or are ingrained with, fatalistic and self-deprecating attitudes, thus becoming emotionally dependent. The oppressed are unaware of the extent of oppression and do not argue to gain more access to freedom from the oppressors, where as, oppressors, if threatened, argue to keep their human rights. Freire repeatedly emphasizes these issues in his book; the humanization and dehumanization are contradictions of contradictions and their order is created out of their disorder. The solution is to simultaneously work with the oppressor in an ongoing process. To do this means to transform oneself from being an oppressed object in preserved reality for the non-oppressed and becoming the subject of a non-oppressed role in a humanistic reality. Freire proposes a pedagogy that enables these students to learn, through educational methods, how to overcome oppression. This is a gradual, step-by-step process in an educational environment and needs time to develop in a classroom. It has several stages within the initial actions: to first, recognize the reality of oppression and make a deliberate intention of transformation, and second, the commit to the phases of the liberation itself. This is revolutionary learning. Freire describes this deliberate intention as 'Intersubjectivity' (p. 131). This is in contradiction to historic ideas that: the teacher, only, is knowledgeable and the students are unknowledgeable, the teacher is the narrator and the students are the audience, the teacher is the depositor and the students are the bank, etc. This is a challenge the anti-dialogic stances by the historically fundamental educator in a culturally invasive and manipulated thought process. In order to understand revolutionary learning, the actions need to be defined as follows: Generative Themes The methodology is based on generative themes (pp. 75-118). That is, create a curriculum that is generated by a student's production capability. Students' and teacher's commitment to dialogic 5
  • 6. action, cooperation, and cultural synthesis is essential for generative learning. In an anti-dialogic action, the fundamental classroom is a setting where the students' are the objects of cognitive deposits by the teacher or 'banking' (p. 57). This induces manipulation of information, an invasion of culture, and a lack of unity within the generative themes. Generative learning is to allow these oppressed students to integrate his or her independent thoughts on culture, social experience, and identity into the class curriculum by means of mutual dialogue and interaction with the teacher. Through mutual dialogue, they begin to recognize their reality. Decoding Decoding is the action of engaging in dialogism in the classroom. Consistent dialogue with the teacher about perceived thoughts is the first step to the recognition of the underprivileged person's place in reality. Cooperating needs to be a characteristic of dialogical action not the action itself. In maintaining dialogue that does not manipulate or impose and is non-directional but it is expressive and can lead to the challenges that the opposed face. The decoding process is a transformation process. The first step is to recognize issues of false realities and confront them by committing to the change of one-self. The oppressed need to recognize their viewpoints of the world, ethics, and behaviors that keep them oppressed. By decoding these thoughts, cooperating in the engagement of dialogue, the oppressed students can begin to liberate themselves, not to be in an existing liberated society, but to become existent in liberation, in society. Action The students and the teachers are, simultaneously or co-operatively, the subjects and objects (actors) in the dialogical learning process. The action is to transform the oppressed from being the objects but rather the subjects by learning through intersubjectivity, reality transformation, and humanization. In an oppressive environment the teacher is the first the actor and then the subject, while the student remains the object of the communicated information. The intersubjectivity is the changing of the object, subject, and acting roles in the classroom. It transforms the action of the student being the object to the student being, first, the actor and then subject. Reversely, the teacher becomes the subject first and then the actor. They share a mutual goal to transform from being dehumanized in oppression to becoming humanized in liberation. Cultural Revolution Culture is a population with shared beliefs or values. Revolution is a complete change or transformation. Cultural revolution is the transformation of the beliefs or values within a cultural 6
  • 7. invasion, which is a form of cultural superiority and anti-dialogic. For the oppressed, the goal is for the student to decide what to be creative about and what to search for. Not just in a concrete way, but also abstractly in time and space. Unity of liberation In an anti-dialogic action, the dominant create an environment where the oppressed become divided amongst each other. In the dialogical action, all oppressed need to unite together in solidarity to create organization in the actions towards gaining liberation. Organization Organization is between different oppressed groups and involves factors such as consistency, risk, love, and faith. Cooperation Cooperation can only be achieved through dialogical action. In an anti-dialogical action, cooperation is accomplished because of one person obeying the rules of another's decision- making. In a dialogical action, there is mutual decision-making and mutual action between both the teacher and the student. Cultural synthesis: Synthesis is the act of combining various components into a whole. Cultural Synthesis is the result of the phases of educational process of dialogical action. Cultural Synthesis is one of several combined processes such as decoding, actions, and cultural revolution; in conjunction with cooperation, unity, and organization. This can be applied at a point where the oppressed students have begun to transition into being free from the self-deprecating thinking, instilled violence, and lack of hope as a liberated human being. This stage allows the student to become more familiar with his or her identity, emotions, thought process, application of skills, and ability. Critical Consciousness: Critical consciousness is liberation from the fatalistic, or dehumanized, outlook that is ingrained in the oppressed resulting from social injustices. It is the goal: to freely exist in reality with a) emotions, b) ethics, and c) view points of the world, d) without violence e) in unity with the oppressors. This goal is a result of giving the student the opportunity to experience a role in revolutionary leadership. 7
  • 8. III. Methodology: Revolutionary leadership is best understood through 'hands-on' experience. Art classes incorporating Decoding to Cultural Synthesis were field tested in a boarding school for government warded and socially restricted, adjudicated teens. They were both male and female and between the ages 13 to 18 years old. The setting was volatile and the facility was devoid of instructional or production devices and materials. Many students suffered from an absence of self-discipline or emotional stability, due to their environmental circumstances. All were abused and neglected prior to forced enrollment. Modifications and adaptations to the needs of the students had already been set in place by the facilitators and faculty of the institution. Safety concerns were of importance. Classes began with no visual or written references. They were gradually introduced as dialogue increased. The students were given the opportunity to have some freedom with their own decision-making and transition from one topic or idea to another. Week one: The lessons began slightly structured with allowance for individual modification. The first project's goal was to create wearable art headpieces. The theme was to express themselves as individuals. The process was to decorate the piece, be authentic, and ensure it could be worn on one's head. No visual references were provided in order to not culturally influence or invade the students' imagination. The materials provided were large strips of pre-cut colored paper, assorted sequins, and glue. Fashion and Friends. Paper, applique', and magic marker. Student, 2010 8
  • 9. Most of the students, at first, expressed disinterest in this project. However, they did participate after we engaged in 'dialogism' (dialogue); we discussed personalities and the freedom of artistic expression. All who participated changed the criteria in some manner, to suit their own abilities of understanding how it should be accomplished. They requested colored markers and staplers, in addition to what was offered. Instead of just creating the headpieces and adding sequins and such, the students chose to make them personal. For example, some wrote names or phrases on the pieces and others made them symbolic. As students became more vocal, I could learn their needs in how to be motivated and, therefore, modify my lessons accordingly. Without any historical references to abide by, the students felt accomplished due to the allowance of freedom to introduce their own themes and materials in the process. The Basketball Fan. Construction paper and foam sheets. Student, 2010 Week two: The second lesson was about the process of encaustic book covers for hand-structured sketchbooks. An Abstract Expressionist artist was introduced in order to provide a visual example of randomness and unstructured looking artwork; an historical condition. Little discussion about his process was attempted but the students began to ask and we briefly discussed his methods and personality. They became extremely anxious to start the project. The materials were hole paper, punchers, fasteners, wax crayons, lamination pockets, and a child safe portable laminating machine. As a back up for materials, I also provided wallpaper books for patterned or decorative book covers. This activity was of interest yet was simple enough to allow for open dialogue in its 9
  • 10. duration of production. They then, began to apply the process of mixing different color waxes together, through trial and error of output. Most made the sketchbooks, but some chose to hang their creations as pictures to display or keep as a personal placemat. Experiment. Melted wax on paper and laminate. Student, 2010 Week three: Lesson number three was a collage project. Students were provided with scissors, paper, glue, current newspapers, junk mail, and National Geographic and periodical magazines. The collage was to be an example of the student and the student's identity. We discussed current events, music, art, and lifestyles. Some students did not participate. Others participated by curiously reading the articles. A few chose to do this project directly into their recently created sketchbooks. The finished results ranged from collages of their societal observations to fantasy living rooms to personally significant clippings of words, phrases, or images. One student interpreted the project as layering paper to create a cell phone, another expressed abandonment in a loosely applied collage. During this lesson, I noticed a 2 dimensional paper mask and a student proudly announced it was hers. We briefly discussed previous experiences in mask making. She 10
  • 11. Paper Cell Phone. Collage. Student, 2010 Betrayed. Collage. Student,2010 and some other students requested to do an art project that related to mask making, a project they had done for a Social Studies class. I offered a different way to make them for our class, in a three-dimensional or relief forms. We agreed that it would be the next lesson. Week four: Students had decided upon mask wall hangings a week before. I participated by including images of multiple, cultural masks. I also showed the classes an authentic plaster mold replica from an ancient Mayan calendar. I thought would be of great interest due to the recent notoriety of the predicted Mayan Armageddon, in the year 2012. This coordinated with Mayan masks and relief surfaces. The original project of mask making evolved into a new idea of relief molds. The first stage of materials provided were metal, disposable pie plates, colored pencils, mask exemplars, and correlating resource materials. In each class, a couple of students were if they would volunteer to take charge of ensuring the mold's safety. They agreed. The interest was overwhelming and the project evolved away from the requested mask wall hangings and onto their desire to design bas-relief surfaces. Most of the students chose to etch into aluminum plates to form relief surfaces with their own designs. The colored pencils served a multi-purpose. They were soft enough to bend into the metal without tearing. It also left behind tones of color. Students were inquisitive and learned a simple process they could do in their own home with recycled materials. One student was curious as to what the Chinese symbol of Yin and Yang was for her embossing others experimented with 11
  • 12. Student/mask::Teacher /Mayan mask Teacher/Mayan Calendar Student/exploration of metallic relief cutting the tin or making patterns with words or flowers. All of the students that participated decided to not make masks after all. They all applied applications in bas-relief style with the option of making a mold from it in the future. They participated nearly in full and were extremely proud of where their own creative ideas, with some requested guidance from the teacher regarding process, had led them. This was the last of my visits to the school and the administrators were provided with simple instructions for teachers on how to complete the project by pressing self-drying clay into the surfaces created by the students. Results: I divided the criteria for measuring progress of the students into four categories; dialogue and participation, participation only, dialogue only, and neither participation nor dialogue. Data has been estimated to the nearest percentage due to the fact that, daily, some students were not present or a new student joined the class. Observation and activity was based on seven, 45 minute classes per week with an average of ten students per class, each meeting once per week. On a percentage scale about 50% of the students engaged fully for the first project. The others engaged in 20% to 25% for the other three categories. The percent of students who engaged in full participation and dialogue increased weekly by an estimated 10% to 15% per week. As the percentages in this categories increased, the percentages in the other three categories mostly decreased by 5% each week. The Dialogue Only category reduced to less than 1% by week four. There was a steady 10% of neither participation nor dialogue in the second and third weeks of art classes. The percentage of students in this category did, however, decrease during the fourth week during their personally selected application of ideas and materials. 12
  • 13. DIALOGUE - INTERACTIVE STUDENT CENTRIC DISCUSSION (BETWEEN TEACHER AND STUDENT) PARTICIPATION - DESIRE TO BE ACTIVELY INVOLVED IN PROJECT(S) Total student/teacher interaction: one class a week per student (about 70 students) . IV. Conclusion: While not all the students participated, many of them had much to offer in terms revealing their own identity in the art classroom and interests of what they would prefer to learn. The few who did not participate spoke negatively about themselves, behaved negatively with violence and anger, or voluntarily remained isolated from the groups. These students were new to the institution and time will allow for their transition into liberation from their oppressive pasts. Some students displayed less severe behavioral problems, as expected with being a new and invasive person in the classroom. Very calmly and without frustration, I let them know the reality of their behaviors; e.g. age appropriateness or disrespect for others physically or with supplies and materials that would result in intervention protocol. Others were simply rude. For example, 13
  • 14. when a student began to interrupt class, physically and verbally, during the initial engagement of student/teacher dialogue, I offered this student the opportunity to switch roles with me. At first, these students would appear dissatisfied with my presence, but ultimately, became friendly and open to dialogue and participation. By applying this pedagogy in an art classroom, it created an affect on students; they began identifying their interests, expressed their hopes, and revealed their intentions in society in the future. Gradually introducing additional material that was related to the students' topics of choice created more interests and newer ideas. This also encouraged students' desires to discuss other cultures and history. The classroom became a 'revolving door' of information from both teacher and student. I also acknowledged each and every student, if not by name, by gently patting their shoulder while complimenting on their efforts. I sat with students at the tables and discussed topics relating to them and my ignorance of some of these topics while they were working on activities. The students gained independence by being the initiators of the lessons and how they would proceed, therefore gaining a strong interest, absorbing the information, and processing the knowledge through creativity. As the teacher, I learned what the students needed and how they needed to learn it, which in a way, made me dependent upon their participation. More time spent with these students would have made for an accomplished curriculum with much to learn for an art educator in an oppressed environment. In closure, the finished projects varied in a range, from critical issues to creative applications, depending on individual students and capability of production. This is pedagogy is for critical, creative, and radical teaching. Freire believed that it will, without a doubt, be misconstrued as an anarchist method. Revolution is normally perceived as rebellion but in this cause, it means self-transformation, which is clearly defined in the book. The Pedagogy Of The Oppressed serves as an encyclopedia for understanding, in detail, the background of the oppressed and the oppressors, habits of mind, and the methodology of interrelated processes. This pedagogy is not for the sectarian institution or traditional educator. It requires strict commitment to the liberal, non-definitive, and dialogue based methods, that are outlined by Freire. The process is a long and continuous one for students and teachers for the ultimate goal of revolutionizing the psychological path to leading a life of human freedom. 14
  • 15. V. Instructional Resource: Revolutionary Leadership through the Art Classroom for students grade levels 6-12 Expressing thoughts through collage. Student, 2010 History Revolutionizing a classroom to be student centered for an oppressed environment is a process that takes several weeks to establish. With modification in the teacher's role, the overall intention is to practice the method of students and teacher symbiotically learning and teaching each other in order to achieve the cultural synthesis and consciousness of individual identity. Cultural Synthesis is a process that is married to the same philosophy in the art classroom. By allowing the students to be free with their own identities and processes in the creative productions, they will then become interested in exploring others ideas. The teacher becomes the observer, acknowledges students abilities, and discovers with the students, a manner in which they can cognitively, creatively, and effectively have a productive unity. Several classes are needed to set-up and build a comfort zone for students. As dialogue grows, students become more vocal about taking leadership in how they wanted to learn about art. In adapting to their needs or 15
  • 16. desires, one student initiated modification leads to another. More students begin to become involved in learning the process of being the independent initiator of their creativity. This pedagogy is not for every teacher, is specifically designed for victims of social injustices or oppressions, and is a radical, dialogical method that requires both student and teacher commitments. Goal: Create works of art through mutual learning. Essential Question: Can revolutionary or liberal learning be applied in the art room? Studio Application: The students productively create art in a mutual learning environment between teacher and student. In the creative freedom that the students use to progress, the art class teacher can still met the educational standards for art and humanities with the inclusion of multidisciplinary applications. Initially, provide small activities that can be produced while engaging in dialogue regarding various issues, initiated by students. There should be plenty of dialogue between the teacher and student and a sharing of ideas and interests. Begin with an absence of historic documentation or visuals. Gradually introduce visuals related to topics of discussions and activities. After several studio sessions and activities, students and teacher create a comfort zone by engaging in dialogue. When students' independent thought processes begin, they will then decide on the style of art they would like to produce. They create through voluntary decision making in an involuntary situation. Students take ownership of their ability to learn how to improve skills in craftsmanship, processing ideas, and applying creative elements with a desire to learn more. The result is production of artwork in a student-centered classroom that is motivating for students suffering from having limited interests. Objectives: Students will: • Improve cognitive skills by engaging in dialogue • Develop cognitive skills by independently selecting projects • Develop motor skills through unrehearsed applications of materials • Improve psycho-motor skills by exploring stages of evolution in ideas and processes • Create a work of art 16
  • 17. Procedure: 1. Upon first meeting students, introduce project that is slightly goal specific with plenty of room for modification. Give students the option to participate. 2. Begin dialogue with students.(sit with them, participate, answer their questions, compliment them). 3. Discuss students' histories, achievements, knowledge, and interests. 4. Repeat in each class until students begin to reveal their interests and take leadership in what they want to learn and choose a project. 5. Introduce materials and related resources for selected project. Introduce materials that may somehow relate to the topic or idea that was selected. 6. Offer students opportunity to be leaders of tasks: e.g. overseers of equipment or materials 7. Let students choose what direction they want to go with their projects and processes in conjunction with the available materials, clay or plaster, scissors, etc. Suggested Materials and Resources:  Recycled materials: lids, cartons, tins  Wallpaper books, Assorted papers: card stock, construction, foam  Assorted materials: beads, sequins, wiggle eyes, etc.  Glue: Elmer's, Tacky  Scissors  Colored pencils, Colored Markers, Paint and brushes  Visual references, Tactile examples of cultural art pieces Assessment Suggestions: *Rubrics with behavioral modifications and adaptive methods -Participation in discussion, Individualized creative process Safety concerns: Exacto blades Time : 50 minutes per class, 16 weeks 17
  • 18. VI. References: Freire, P. (1970). The pedagogy of the oppressed (M. Ramos, Trans.) .New York: Seabury Press. Smith, M. K. (1997, 2002) 'Paulo Freire and informal education'. The encyclopedia of informal education. Retrieved March 1,2010 from http://www.infed.org/thinkers/et-freir.html Paulo Freire Institute UCLA (2010). Retrieved from http://www.paulofreireinstitute.org/ *Special Thanks to the staff and students at St. Mary's Villa for Children 18