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

1

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

2

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

3

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

4