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Full-Text Articles in Education
Maya Paintings As Teachers Of Justice: Art Making The Impossible Possible, Kryssi Staikidis
Maya Paintings As Teachers Of Justice: Art Making The Impossible Possible, Kryssi Staikidis
Journal of Social Theory in Art Education
This article examines Maya paintings as historical documents, political platforms and conduits for cultural transmission in two local Maya communities. Particular attention is paid to the recent history of genocide of Maya peoples in Guatemala and the production of paintings as visual reminders of cultural loss and regeneration, as well as visual means to protect Maya future generations. Collaborative ethnography and decolonizing methodologies (Lassiter, 1998; Tuhiwai-Smith, 1999) are used in this study; thus, Maya artists speak through written dialogues and interviews in first voice regarding massacres that were kept clandestine for three decades. This paper addresses the potential and capacity …
Antiques Roadshow: The Object Of Learning, Laura Felleman Fattal
Antiques Roadshow: The Object Of Learning, Laura Felleman Fattal
Journal of Social Theory in Art Education
Even as school administrators were cutting the unique feature of museum Educators from the school district budget, museum directors in Philadelphia were calling teaching through objects, 'lightning in a bottle.’ Educating through objects that have been crafted by talented artisans, owned by famous people, cherished by their association with loved ones, or inanimate witnesses to important historical moments is a recognized and immediate path to learning in the arts. In the search for the authentic, while simultaneously embracing the virtual, Americans participate in shaping a broad understanding of popular culture and accumulated history. Americans are having a love affair with …
Heads Above The Grass, Edgar Heap Of Birds
Heads Above The Grass, Edgar Heap Of Birds
Journal of Social Theory in Art Education
Today it is imperative that we acknowledge the brutality, intolerance and biased actions of the past. Thus by lifting our heads above the tall grass we can move forward to personal affirmation and progress. This progress can be represented by the educational and artistic exploration of complex issues of our society. In the field of art education we can articulate the progress by welcoming the creative activities of all vectors of youthful life and culture. Through this acceptance a wealth of experiences can be deposited to actually create more understanding and an enriched learning atmosphere. Once the multi-form stories of …
1990, Amy Brook Snider
1990, Amy Brook Snider
Journal of Social Theory in Art Education
Because this is our tenth anniversary year or because we are prescient or because we are in a perpetual state of healthy doubt, the Caucus began the task of self-definition al the last conference. Our newsletter, published three times this year, has featured a chain of letters in which eight of our 122 members have reflected upon what the term “social” in Social Theory means. Two of the sessions on this year's (conference) program continue that dialogue.
Origins, Bob Bersson
Origins, Bob Bersson
Journal of Social Theory in Art Education
An organization is frequently founded when Iike-minded people come together around issues and goals they feel strongly about. That is exactly how The Social Theory Caucus came about. We, as socially progressive, critically minded individuals, found each other so we could form an organizational home and agency of change within the National Art Education Association. Needless to say, no other organization within the art education profession was fulfilling those two functions for us.
1986-89, Elleda Katan
1986-89, Elleda Katan
Journal of Social Theory in Art Education
Reflecting upon the Caucus is for me a bit like reflecting upon an event like giving birth. Your work/body is taken over by larger forces. Your biography divides itself into pre and post. You can never again be who you were. And yet what is the Caucus on Social Theory? What's to be learned about it from that short period of "history" during which I worked as Coordinator {1986-89}?
Dr. Nancy R. Johnson, Karen A. Hamblen
Dr. Nancy R. Johnson, Karen A. Hamblen
Journal of Social Theory in Art Education
Dr. Nancy R. Johnson served as the Coordinator of the Caucus from 1983 to 1987. In that sense, she is a factual part of the history of the Caucus, and she needs to be mentioned in any discussion of how the Caucus was founded and how it developed. I believe, however, that Nancy's career and her association with the Caucus are more significant than the facts of the matter or even what she accomplished as Coordinator; rather, her career and what she valued are paradigmatic in many ways of why the Caucus was formed and why it continued to include …
Commentary, Nick Webb
Commentary, Nick Webb
Journal of Social Theory in Art Education
These remarks are adapted from part of the session at the 1990 NAEA conference in Kansas City that debated the proposition: “The Caucus on Social Theory is Neither Social nor Theoretical.” Webb subtitled his statement: "As the imaginary wine bottles said to the vintner - we're with you in theory but you can't cork us."
The Humanism Of Herbert Read, Charles G. Wieder
The Humanism Of Herbert Read, Charles G. Wieder
Journal of Social Theory in Art Education
As readers of the Social Theory Caucus Bulletin, you are probably, by and large, more familiar with Herbert Read's views on art education than others in our field. One would expect that you are also generally more sympathetic with his theoretical orientation as well as more aware of the relevance of his work to current educational concerns. This essay will focus on the historical basis of Read's moral ideas, and their implications for the work that lies ahead for this group of socially concerned art educators.
Design: A Critique Of A Metaphor, Nancy R. Johnson
Design: A Critique Of A Metaphor, Nancy R. Johnson
Journal of Social Theory in Art Education
Teaching art is basically a process of sharing socially derived knowledge about art with other persons. In order to communicate the cognitive configuration of art as it appears in our culture, it is necessary to use language. In art education, the visual arts are often thought of as a non-verbal symbol system for encoding experience. For this symbol system to be socially known about, however, it must be codified in language. As Hertzler has pointed out, "The key and basic symbolism of man is language. All the other symbol systems can be interpreted only be means of language?". Language is …