This companion demonstrates how art, craft, and visual culture education activate social imagination and action that is equity- and justice-driven. Specifically, this book provides arts-engaged, intersectional understandings of decolonization in the contemporary art world that cross disciplinary lines.
Visual and traditional essays in this book combine current scholarship with pragmatic strategies and insights grounded in the reality of socio-cultural, political, and economic communities across the globe. Across three sections (creative shorts, enacted encounters, and ruminative research), a diverse group of authors address themes of histories, space and land, mind and body, and the digital realm. Chapters highlight and illustrate how artists, educators, and researchers grapple with decolonial methods, theories, and strategiesin research, artmaking, and pedagogical practice. Each chapter includes discursive questions and resources for further engagement with the topics at hand.
The book is targeted towards scholars and practitioners of art education, studio art, and art history, K-12 art teachers, as well as artist educators and teaching artists in museums and communities.
Arvustused
"This book is for those that are searching for theory, curriculum, and pedagogy through the lens of self-determination. It is divided into three sections. The authors include engaging questions at the end of the chapters that assist in providing self-reflection. Incredible!" Christine Ballengee-Morris, The Ohio State University, USA
"This remarkable book centers art and art education as a powerful force for postcolonialism and decolonization. With a tremendous range of diverse international voices taking up an exciting range of scholarship, the book is truly one of a kind. It is magnificently unique in its embrace of decolonization as a focus for rethinking the structures and content of education and as a rebellious text that questions the colonized norms of scholarship by offering an array of artful, reflexive, and performative texts. An utterly powerful book that all art educators must read!" Rita L. Irwin, The University of British Columbia, Canada
"Art as a concept is not currently built upon a foundation by which diverse humans demonstrate their self-determined creative, aesthetic and meaning-making capacity. Instead, systems of colonization continue to largely limit the engagement of our imaginations across worldviews. This book is one embarkation for building the creative consciousness necessary for diverse humans finally to breathe life into art and the world." Cristóbal Martinez, Professor, Arizona State University, USA
Introduction PART I Creative Shorts
1. A Is For Alphabet: Reimagining
Language And Mastery As A Creative Meandering
2. Critical Reflections on
Teaching as a Decolonial Practice
3. Angrez chale gaye, Angrezi chod gaye:
Post-coloniality of Language
4. Mind the sky (or forgetting and the imposed
futurity of the present): A poem
5. Assembling Desire
6. lutruwita/Tasmanias
Fauna: Artistic Imaginings With Native Wildlife
7. Reclaiming Dreams of our
Shared Future: Decolonizing Metanarratives Around What Can/Should/Will Be
Through Imaginative Diegesis
8. A Palimpsest of Pulverization in Occupied Palestine: Artistic
Intervention as Counter-Representation on the Mediterranean Coast
9. Time to
Trespass: Annotations to 13 Appearances
10. From Art to Artifact: A Sestina
on Public Art Policy in Confederate Monument Removal Case Law
11. Co-Creating
Fine Arts Learning: Decolonial & Intersectional Strategies
12. Hilando
Historias y Territorios: Textile Cartography of Contemporary Indigenous
Communities PART II Enacted Encounters
13. In Fontaines Footsteps: Students
Visual Essays Tackle the Difficult History of Canadas Indian Residential
Schools
14. Unsettling Colonial Narratives in the Art Museum
15. Transborder
Provocaciones through Lozano-Hemmer's Border Tuner | Sintonizador Fronterizo
Public Art Installation
16. Creating Máscar(a/illa)s: A Decolonizing Us-ing
17. Decolonization of Theater Education: An Examination of the Collective
Creative Process Through Culturally Relevant Pedagogy
18. Cultural
Networking, Storytelling and Zoom during the Covid-19 Pandemic: Conversations
with African-Caribbeans on using a Decolonized Digital Arts-based Educational
Platform
19. Art as a Bridge for Decolonizing Grief and Accessing My
Neuroqueer Spirit
20. Transgressive Enactments: Research-Creation as
Anti-Colonial Praxis
21. Outside the Classroom & Outside the Books: Extending
the Classroom for Antiessentialist Curriculum
22. Explorations for
Decolonizing the Curriculum Regarding Technology
23. Activating Curiosity,
Heart, and Artistic Identity to Engage Ecojustice
24. Imagining our
Neighborhood of Nonhuman Residents: Sensorial Attunement as Ecological
Aesthetic Inquiry
25. Root A/r/tography from Native Seeds PART III Ruminative
Research
26. Artistic Practice as Land Acknowledgement
27. Beyond the Veneer
of Modernism: Aesthetics, Post-Africanity and the Multiversum Narrative
28.
Exorcising the Colonialist: The Cuna Figures of the San Blas Islands and
other Forms of Mimesis and Mimicry
29. A Critique of Grand Hegemony: Disrupting Historical Valuations of Public
Space
Through Pervasive Gaming 30.Art Education and entangled knowledge in the
digital age: Learning from Tabita Rezaires Premium Connect
31. Raranga and
Tikanga P Harakeke An Indigenous Model of Socially Engaged Art and
Education
32. Decolonization and the Degeneralization of Time in Art
Education Historiography
33. Nepantlando: A Borderlands Approach to Curating,
Art Practice, and Teaching
34. Crafting Criticality Into My Wayfaring Jewish
Ancestors Colonial Trade Connections
35. Decolonizing Blood, Body and Brain:
From the Visual Practices of Jonathan Kim
36. Decolonizing Formal Art
Education in Germany
37. Towards Frontiers of Decolonization in Contemporary
Nigerian Art Markets
38. Histories and Pedagogics from the Underside(s) of
Modernity Afterword
Manisha Sharma is Professor and Chair of Art Education at the University of North Texas, Denton, USA. She is an arts educator, artist, and researcher focused on how perceptions of culture and community are formed, internalized, and acted out within various communities, through the production and consumption of art and visual culture artefacts.
Amanda Alexander is Professor and Chair of the Art Department at Miami University of Ohio, Oxford, USA. She is a community-engaged arts researcher who connects with sites of cultural and artistic (re)production including schools, museums, community arts organizations, and international cooperative groups. Dr. Alexander is centrally concerned with art education students ability to be more civically engaged individuals, see art as a means to make meaning, and have an interdisciplinary, global perspective.
