Notes on: Sions, H., Wolfgang, (2021).
Looking Back, Looking Forward: Resisting the White
Gaze in Historical Narratives and Future
Possibilities of Art Education The Journal of
Social Theory in Art Education 41
They find them selves unable to situate themselves
in art education in the past because the histories
and narratives of art education and the curricula
are those 'of the victor' (82), inside 'the margin
of the White supremacist patriarchy'. They want to
resist 'the White gaze' they begin with CRT and
use it to criticise multicultural efforts in art
education and provide examples of artists who have
resisted the White gaze and possibilities of
resisting it.
In 2020 there was a lot of antiracist material on
social media, including work on allyship by
BIPOC toward Black people. The authors are
situated in southern USA and were encouraged by
this public reckoning with systemic racism. They
are not encouraged by art education, its past and
curricula. They acknowledge their own
subjectivities — there are a 'cisgendered
heterosexual Asian, neurodivergent woman of
colour' and a 'cis gender, gay/queer White woman'
respectively. They have no direct experience of
antiBlack racism but they can see that antiracist
pedagogy is important.
CRT shows the connection between racism and other
forms of White supremacy like class, patriarch,
homophobia, it shows its roots in the American
legal system. They acknowledge that race is
socially defined, that it operates through
micro-aggressions as well as overt forms, that it
is ubiquitous, that CRT is interdisciplinary,
emphasises counter narratives in qualitative
research and wants to disrupt the notion of
objectivity. Apparently it 'pragmatically
recognises that the fight against racial
inequalities must be in alignment with White
interest' (84) [rather pragmatic interpretation of
convergence], that dismantling racism has to be
tolerable to Whiteness, [so this flawed
misunderstanding led to?] hence multicultural
efforts in education.
Multicultural education credits African-American
scholars including Dubois and others and help make
them visible. Intergroup education emerged partly
after World War II. New cities produced racial
tensions and eventual riots with intergroup
education as an answer, but it was only seen as
important in racially diverse schools. Civil
rights tried to get implemented in all schools.
There are demands for more Black teachers,
positive representations of Black life in
curriculum and textbooks, some response to Black
underachievement. All this led to multicultural
education, but 'from the beginning, however,
Whiteness derailed the efficiency of multicultural
education' (85) and the existing curriculum is not
changed, but only had multicultural content added
to it. There is still a framework of Whiteness.
In multicultural art multicultural texts were
analysed, focusing on teaching the culturally
different, looking at human relations or
particular groups, Social Reconstructionist
education [and others I don't recognise].
particular frameworks are discussed. Some seem to
have had in mind acculturation or assimilation,
bicultural educational cross-cultural research,
cultural separatism, social reconstruction,
multicultural education, cultural understanding.
All these centred Whiteness and did not address
inequities or discrimination. They were
colourblind and avoided discussing race
explicitly. Early critics emphasised the gap
between BIPOC students and White teachers.
Banks [who does a lot of work] argued for more
radical change, more thorough integration of
different cultures throughout the curricula,
understanding how cultures influence knowledge,
the identification of racial biases and the
importance of inequitable social structures, and
providing diverse teaching practices. Ladson
Billings talked about 'Culturally Relevant
Pedagogy' changing the emphasis on BIPOC students
from deficits to making valuable diverse
contributions. Art education did not seem to
follow this challenge and remained with
multicultural art practices 'that simplified
cultures… Misinterpreted artwork through a western
lens' (86). Critique led to more of an interest in
social justice and a suitable pedagogy that
recognised marginalisation and inequality, and
focused on intersectionality.
Antiracist education by contrast recognise the
social effects of race and understood it as an
intersectional matter; challenged White power and
privilege; discussed marginalisation and how it
was perpetuated; demanded that education should be
holistic covering social cultural political and
spiritual aspects, focusing on identity; should
identify and confront challenges to diversity and
show how education marginalises and dismisses
students. Finally, it should 'connect and
contextualise students lived experiences into
curriculum, as their lives cannot be separated
from the education' [all based on Dei 1996] (87).
Existing curriculum was seen as particularly
impressive and exclusionary. Education had to
positively centre antiracism as a goal
However, that would require 'honest conversations
about (systemic) racism' according to Kendi (88)
[well a bit of thorough analysis would be useful
first]. 'Many practitioners… Seem stuck in a very
limited and superficial notions [sic] of culture"'
[Ladson Billings 2014] [couldn't agree more] and
Crenshaw also complains that intersectionality has
not been properly understood.
[Nevertheless] the BLM movement in 2020 focused on
antiracist education and how to educate White
individuals and this inspired the authors to see
how popular antiracism still took the centre of
the debate, often in the form of wokeness and
White experiences of it. They saw few implications
for art education. CRT argues that 'change cannot
happen without White individuals intentionally
giving up their power' [which seems to contradict
what they said before about convergence], which is
more than just an abstract agreement. In
particular they need to commit to unlearning
pedagogy is and curricula and building new
knowledge that will go towards justice in teaching
and learning, to undo racism in art education.
[Then they switch to a short counter narrative]
Sions saw few conversations about antiracism,
while the media perpetuated the false narrative
that BLM was decelerating. Wolfgang wanted to
investigate her own past and current complicity in
systems that upheld White supremacy.
They conclude that they must incorporate futures
that centre historically relegated voices and that
there is now a new (art ed) journal to do so. It
covered teaching after BLM, discussed new methods
of assessment and 'an empathetic curriculum that
allows student reflection' specifically engaged
art, a proposal involving 'reimagining art
education through an Afrofuturistic lens, giving
"Black students the agency to actively create
their existence in futures"', to counter the 'mass
erasure of Black experience' (89). Other journals
have explored the role of Whiteness and its power
and influence.
Toni Morrison has spent her life making sure the
White gaze was not dominant in her books, which
seems to mean making 'the assumption that the
reader or audience isn't (primarily) White' (90).
This turns on how we teach, 'to unlearn teaching
for the White gaze'. Wolfgang has witnessed people
at her university talking about decolonisation and
she attended a workshop, although there was work
intensification, partly due to Covid and related
budget cuts. This shifted decolonisation to
teaching faculty, without acknowledging an
institutional role, raising suspicions that
decolonisation is only a metaphor, indeed, '"an
empty signifier"'. [There is also something called
'abolitionist teaching' which seems to be
something to do with 'boycotting and protesting;
calling out racism, homophobia and Islamophobia;
centring Black joy and love in pedagogy']. The
authors think this is tokenism, at best an initial
way of dislocating the White gaze.
They mean instead systems that uphold power
structures that benefit White students, assuming a
White audience when developing pedagogies and
epistemologies which preserves White supremacy and
damage all students especially BIPOC ones. Wolfgang
acknowledges that preparation to become a teacher
'did not include perspectives that decentred White
experience' nor has her personal experience, so
she realises that they have a particular duty to
audit their materials and teaching practices.
This should lead them to reconsider the content of
curricula, but not go for multicultural ones which
Whitewash diverse cultures. Instead they should
encourage 'deep personal engagement'. Popular
culture often offers good examples, including
songs like those by Solange Knowles, Lizzo or
Beyoncé [lyrics quoted]:
Knowles:
“[I]FUBU Imade this
song to make it all y’alls turn / for us, this
shit is from us / get so much from us / then
forget us.” Her most recent album, When I
Get Home, continues her message of Black
solidarity through her lyrics: “Black skin,
Black braids / Black waves, Black days / Black
baes, Black things / these are Blackowned things
/ Black faith still can’t be washed away”
(2019).
Lizzo
“I was born like this, don’t
even gotta try / I’m like chardonnay, get better
over time / heard you say I’m not the baddest,
bitch, you lied.”
Beyonce
“Brown skin girl / your skin
just like pearls / the best thing in the world /
never trade you for anybody else.”
There is Black Panther, which 'highlights African
cultures to imagine a world without Settler
colonisation', while 'Nalgona Positivity Pride is
rooted in Xicana Indigenous feminism and DIY punk
culture'.
Wolfgang says that students need White teachers to
say that they value BIPOC artists and their
narratives, and acknowledge Whiteness in their own
education, try to 'actively unlearn harmful norms'
and introduce artists who 'push back on norms of
Whiteness, Eurocentrism, heterocentrism, able-ism
and other systems of oppression' and to include
those topics in art education. They suggest some
artists to include — Simon Leigh, Kerry James
Marshall, Osborne Macharia, Zaneli Muholi, Wendy
Red Star, a member of the Crow tribe, Richard
Bell, an aboriginal Australian multimedia artist
and activist. There are also criticisms of Beyoncé
as avoiding disruption of Whiteness, or the
Broadway hit Hamilton which did not
address the history of Alexander Hamilton as a
slaver.
They recommend involving collaborative syllabus
writing and contract grading [especially Wolfgang]
because this disrupts methods that privilege White
values and top-down rules. She likes participate
are conduct codes and welcomes frequent feedback
including an anonymous online survey. Sions also
made 'modality adjustments within reason' (93).
Generally, there is always a power dynamic between
teachers and students this has to be acknowledged
and mitigated. Wolfgang encourages teachers to
'practice transparency and humility with their
students' not claiming to know everything, not
grounding everything on 'White centred
experience'. There might even be a role for
contracts of expectation signed by instructors as
well as students. Generally we should operate with
transparency and fairness as far as possible.
Generally flexibility is a good idea, assignments
can be modified, have flexible due dates, we can
respond to student feedback and we can rethink
penalties for late work, drawing on Foucault
reminding us that power disguises itself an
institutional language — Wolfgang challenges
imperatives for penalising late work, for example,
while Sions is very generous with extenuating
circumstances.
They have both reconsidered the model of the good
student, for example why attendance or being on
time is important, whether multiple modes of
engagement are to be encouraged, why Black and
brown students might experience them as violence.
The goal is a more meaningful and just arts
education, and dislocating the White gaze is a
step towards this, so we need to consider which
pedagogical practices are most affected by Whites
cultural expectations.
They still believe that racism is not
indestructible, and the election of Biden is an
example that mitigated some of the fears and
encouraged hopes that 'the horizon burns bright
with justice. And that art educators will take up
the mantle of radical justice moving forward' (95)
[Absolutely massive list of references]
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