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Counternarratives from Asian American Art Educators: Identities, Pedagogies, and Practice beyond the Western Paradigm collects and explores the professional and pedagogical narratives of Asian art educators and researchers in North America. Few studies published since the substantial immigration of Asian art educators to the United States in the 1990s have addressed their professional identities in higher education, K-12, and museum contexts. By foregrounding narratives from Asian American arts educators within these settings, this edited volume enacts a critical shift from Western, Eurocentric perspectives to the unique contributions of Asian American practitioners. Enhanced by the application of the AsianCrit framework and theories of intersectionality, positionality, decolonization, and allyship, these original contributor counternarratives focus on professional and pedagogical discourses and practices that support Asian American identity development and practice. A significant contribution to the field of art education, this book highlights the voices and experiences of Asian art educators and serves as an ideal scholarly resource for exploring their identity formation, construction, and development of a historically underrepresented minoritized group in North America.
This textbook equips students and educators committed to understanding how art and creative practice work as powerful communicative tools and have a substantial role in advancing civic participation. Alongside promoting educational practices with learners’ civic engagement in mind, this book is a call to action, inviting creative educators to explore the potential of art for developing critical perspectives, articulating voices and diverse points of view, and engaging in dialogue across difference. Chapters assist students and educators in understanding critical concepts ranging from the protections afforded art under the constitution, to the role of civic institutions such as museums, community arts centers, and schools in advancing civic participation. They also present the relationship between art, education, and civic engagement using watershed political moments such as voter suppression initiatives, xenophobic reactions to the COVID-19 pandemic, and widespread national Black Lives Matter protests. Readers are guided throughout with a series of key questions at the onset of each chapter and encouraged to investigate further the issues discussed through exploration of the many resources embedded in each chapter. Coursework and participatory learning experiences that orient future and current art educators to the relationship of the arts and culture to democracy are also featured. This book will be ideal for students in art education in both upper division undergraduate and graduate levels, with cross-curricular appeal for students of political science, social studies, sociology, public history, public anthropology, heritage studies, and public humanities. As well as this, it will be a must read for educators who are asked to respond to challenges within the political sphere, and how these political challenges are influencing educational environments.
Killing the Model Minority Stereotype comprehensively explores the complex permutations of the Asian model minority myth, exposing the ways in which stereotypes of Asian/Americans operate in the service of racism. Chapters include counter-narratives, critical analyses, and transnational perspectives. This volume connects to overarching projects of decolonization, which social justice educators and practitioners will find useful for understanding how the model minority myth functions to uphold white supremacy and how complicity has a damaging impact in its perpetuation. The book adds a timely contribution to the model minority discourse. “The contributors to this book demonstrate that the insidious model minority stereotype is alive and well. At the same time, the chapters carefully and powerfully examine ways to deconstruct and speak back to these misconceptions of Asian Americans. Hartlep and Porfilio pull together an important volume for anyone interested in how racial and ethnic stereotypes play out in the lives of people of color across various contexts.” - Vichet Chhuon, University of Minnesota Twin Cities “This volume presents valuable additions to the model minority literature exploring narratives challenging stereotypes in a wide range of settings and providing helpful considerations for research and practice.” - David W. Chih, University of Illinois at Urbana-Champaign “Asian Pacific Islander adolescents and young adults are especially impacted by the model minority stereotype, and this volume details the real-life consequences for them and for all communities of color. The contributors provide a wide-ranging critique and deconstruction of the stereotype by uncovering many of its manifestations, and they also take the additional step of outlining clear strategies to undo the stereotype and prevent its deleterious effects on API youth. Killing the Model Minority Stereotype: Asian American Counterstories and Complicity is an essential read for human service professionals, educators, therapists, and all allies of communities of color.” - Joseph R. Mills, LICSW, Asian Counseling and Referral Service, Seattle WA
This comprehensive volume highlights and centers untold histories of education at the Museum of Modern Art (MoMA) from 1937 to 2020, using the critical voices of artists, scholars, designers, and educators. Exploring these histories as transformative and paradigm-shifting in museum education, it elevates MoMA educators as vocal advocates for harnessing the educational power that museums inherently possess. Divided into three interlinked parts, the first sheds light on the early educational endeavors of the museum while analyzing the context of art education in the United States. The second part focuses on the tenures of Victor D’Amico and Betty Blayton, utilizing the MoMA archives as a primary resource. It includes essays by Ellen Winner, Luis Camnitzer, Susan E. Cahan, Michelle Millar Fisher, HECTOR (Jae Shin & Damon Rich), Gregory Sholette, Carol Duncan, Moreen Maser, Nana Adusei-Poku, Carmen Mörsch, Rika Burnham, Donna M. Jones, and José Ortiz. The third part presents the perspectives of William Burback, Philip Yenawine, Patterson Sims, Deborah F. Schwartz, and Wendy Woon as former MoMA Directors of Education in their own words and considers the forces that shaped their work. This timely and unique exploration ultimately aims to trace and understand the fundamental and evolving concerns of a seemingly underexamined profession constantly striving to maintain relevance in an environment marked by institutional, social, and political uncertainty. Exploring the radical acts undertaken to keep the museum true to its original promise, it delineates the paradox whereby education is both central and invisible to the identity of MoMA and museums more broadly and re-centers the conception of the museum as an educational institution. It is designed for scholars, researchers, and post-graduate students interested in arts education, visual literacy, museum studies, and communication studies.
This volume explores art as a means of engendering youth civic engagement and draws on research conducted with young people in the United States to develop a unique curriculum model for civically engaged art education (CEAE). Combining concepts from civics and arts education, chapters posit that artistic thinking, making, and acting form the basis for creative research into social and political issues which affect young people and are key to promoting civic participation. Focusing on critical, creative, and dynamic forms of youth cultural production inspired by local people, places, and events, the text demonstrates how educators’ curricular choices can engage students in researching social movements and arts-based activism. The authors draw from well-established areas such as arts-based research, civic engagement, and maker-centered learning to present their educational model through illustrative examples. Offering a timely consideration of the relationship between art education and civics education, this book will appeal to scholars and students of the sociology of education, as well as arts and teacher research, and pre-service teacher education.
This timely and compelling volume furthers understandings of contemporary art education in international contexts and the position of alternative art colleges in relation to the neoliberal academy and arts economy. Defining the concept of ‘co-operative education’ and articulating its centrality and relevance to the so-called alternative or autonomous art schools it examines, the book presents innovative explorations of its central topics such as art educator identities, the non-profitisation of arts studios, and the Anthropocene while drawing these into relation with important contemporary political and academic concerns such as decolonisation, feminism, and neoliberalism. Chapters showcase a range of international viewpoints, dialogues, and empirical research contributions from notable scholars, renowned artists, and experienced educators. This book will be of use to scholars, researchers, and postgraduate students in education policy and politics, arts education, and higher education. Members of professional bodies such as art historians, critics, and curators may also find the volume of interest.
This book undertakes a deep examination of mentor and disciple relationships in the development of artists. It draws upon a variety of relationships and models, including an in-person mentor, a mentor or apprentice scenario, and non-physical mentors such as historical figures, in order to investigate their history and philosophy. This volume specifically addresses the role of mentoring in the lives of contemporary aspiring artists, asking if and how mentoring can be considered a form of human nurturance. Deep historical inspections and philosophical inquiries are combined with analyses of interviews with contemporary artists ranging from 35 to 101 years old. These holistic insights present the subject of mentoring in the arts from the multiple angles of art history and relevant ideas about the benefits of nurturance and acceptance in human development. Using artists’ biographies and discussions of their work, this book sheds light on the role that mentoring has played in their development and can play in contemporary education. It will appeal to artists, art history teachers, educators, art students, and art scholars.
This book explores how we can better understand and support children’s learning identity as artists. It discusses an innovative pedagogical approach that outlines parents’ and educators’ roles in developing and supporting children as artists. Drawing on original research, the book discusses rich case study examples and vignettes to give new insights into children’s learning and developing identities as artists. It identifies the key characteristics of children’s creative learning and outlines a creative and reflective pedagogy while highlighting the role of adults in the process. The chapters discuss topics such as curiosity, creative skills, self-directed learning, real-life contexts for learning and ways of engaging creative learning and imagination. The book provides a new model for children’s art education and will be essential reading for academics, researchers, and students in the fields of arts education, creativity, and learning. It will also appeal to specialist art educators and policy makers within the arts and arts education.
Silence pervades Asian American history (Okihiro, 1994). The historical record of education makes no exception, having long ignored the personal and professional lives of Asian American teachers (Kang, 2008). Their contributions and their experiences of prejudice, change and difference remained relatively unknown until recently, when oral historians began recording their previously excluded voices (Kang, 2008). Such work furthers the larger goal of collectively forging a multicultural society based on equity and understanding in part through understanding the lives and lived experiences of all Americans. Using Dewey's notion that examining life experiences is also studying education, this dissertation study uses narrative inquiry to examine, the life experiences of twenty retired Asian American educators. Through exploring these personal and professional experiences of San Francisco Bay Area educators, their experiences contribute to a deeper understanding of generational and place based influences of their culturally relevant teaching. By documenting their lives I present counterstories to the oppressive identity narratives surrounding Asian Americans, and these new narratives contribute to both Asian American history and educational practice.
Drawing on in-depth interviews, this text examines how Asian American teachers in the US have adapted, persisted, and resisted racial stereotyping and systematic marginalization throughout their educational and professional pathways. Utilizing critical perspectives combined with tenets of Asian Critical Race Theory, Kim and Hsieh structure their findings through chapters focused on issues relating to anti-essentialism, intersectionality, and the broader social and historical positioning of Asians in the US. Applying a critical theoretical lens to the study of Asian American teachers demonstrates the importance of this framework in understanding educators' experiences during schooling, training, and teaching, and in doing so, the book highlights the need to ensure visibility for a community so often overlooked as a "model minority", and yet one of the fastest growing racial groups in the US. This text will benefit researchers, academics, and educators with an interest in the sociology of education, multicultural education, and teachers and teacher education more broadly. Those specifically interested in Asian American history and the study of race and ethics within Asian studies will also benefit from this book.