self-awareness and leadership through art in low-income societies

1. 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 of 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 want to learn about art. In adapting to their needs or
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2. 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
meet 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, who are 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
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3. 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
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4. 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
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