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Effects of racial discrimination in education
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The purpose of this study is to analyze the epistemology of ignorance toward Black women art educators and their experiences of teaching in a K-12 Black environment in a predominately White woman’s field from a Black feminist perspective As a former high school art teacher, I engaged in many situations where my race and gender was a factor and not my teaching ability. The #SayHerName awakens an entry point for me to think about a space to address the injustices against Black women and the non-existence of their presence (Butler, 2017). While the start of the SayHerName# was an outcry from police brutality, and how Black women are treated differently, ignored, and marginalized; this discussion of the erasure of Black women’s experiences translates to many other subject areas. Black women art educators in art education can date back to Frances …show more content…
Several scholars produced literature on feminist perspectives for art education to counter Western male-dominated art pedagogy (Keifer-Boyd, 2014; Amendt, 1998; Zimmerman, 1990). Other studies by Drs. Wanda Knight (2006) and Jessie Whitehead (2008) discuss the importance of including a Black feminist and a woman of color perspective in art education curriculum. Sheng Kuan Chung examines how to address stereotypes with children in the K-12 art classroom. In addition, there are articles on pre-service teachers concerning race in predominately White academic institutions (Najuna, 2013; Kraehe, 2015). While these studies add value and insight to the continuous need for the discussion on diversity, race, and feminism in art education, fewer studies have examined the impact of race and gender of Black woman K-12 art teacher teaching environment and how those experiences may or may not affect her teaching. The majority of literature written on women in art education is written from a White privileged perspective often lacking a Black feminist
As both Tracey Reynolds and Audre Lorde have emphasized, Black women are not perpetually passive victims, but active agents. It is totally possible for Black women to seize a form of empowerment, whether that be alternative education, or the creation of organizations that weren’t situated in either the Civil Rights movement or Women’s
Brown stresses the importance of recognizing that being a woman is not extractable from the context in which one is a woman. She examines how both black and white women’s lives are shaped by race and gender, and how these affect life choices. Historically, women of color have filled roles previously attributed to white women
How does one embrace the message and soul of artwork when you can’t get passed the color of skin in the portraits? Two barrier breaking retrospective artists born with more than 2,899 miles between them have beat down the walls in the art world opening up endless opportunities for female artist today. Carrie Mae Weems and Lorna Simpson specialize in catching the viewer’s eye and penetrating their feelings towards issues of culture, politics, equality, and feminism. It is well established that these woman specialize in identifying problems in their artwork, both artists seem to struggle with not being able to avoid the ignorant eye of stereotyping because they use African American Models in their artwork. Carrie Mae Weems doesn’t see her artwork
The preconceived notions we tend to burden can have a snowball effect, ingraining the same potentially damaging ideas into our children, grandchildren, and so on, especially because there is likely no recognition of an issue present in the first place. The white guy habit we carry in our mind, generally unbeknownst to us, impairs the learning environment and too easily discredits qualified professionals that are women or of color. The bias we have towards white men in the classroom only contributes to the structural gender disparity that is apparent in the world, and particularly in the United States. Messner points out that nonwhite male professors are not only judged by students comparatively worse, but that judgements of white male professors are simultaneously boosted up in the student’s mind without their awareness.
During the late 19th and 20th centuries Blacks in America were debating on the proper way to define and present the Negro to America. Leaders such as Alain Lock, W.E.B. Dubois, Marcus Garvey, and Tuskegee University founder Booker T. Washington all had ideas of a New Negros who was intellectually smart, politically astute, and contributors to society in trade work. All four influential leaders wrote essays to this point of the new Negro and their representations in art and life. In “Art or Propaganda”, Locke pleas not for corrupt or overly cultured art but for art free to serve its own ends, free to choose either "group expression" or "individualistic expression.” (National Humanities Center) In W.E.B. Du Bois speech "Criteria for Negro Art" to the 1926 Conference of the NAACP in Chicago, he argues not for narrow literature that bashes the reader with a social message but for art that works on behalf of racial advancement, organizing "Truth" to promote "universal understanding" and "Goodness" to produce "sympathy and human interest." (National Humanities Center)
The book Revealing the Invisible was written by Sherry Marx, a formal teacher, who went in-depth to explore the racist beliefs of white female teacher education students. The book began with Marx talking about pre service teachers that focused on English-language learning school children (ELLs). During this course she discovered just how low the expectations her students had for ELLs students. Throughout her interviews she will explore more beliefs of white females and their thoughts about race, racism, whiteness, and the children they tutored.
Visceral. Raw. Controversial. Powerful. The works which Kara Walker creates have elicited strong and diametric responses from members of the art community. She manipulates the style of antebellum era silhouettes, intended to create simple, idealistic images, and instead creates commentaries on race, gender, and power within the specific history of the United States. She has also been accused of reconfirming the negative stereotypes of black people, especially black women, that the viewer and that the white, male dominated art world may hold. This perspective implies that both her subjects and her artworks are passive when confronted with their viewers. Personally, I believe that more than anything, Walker’s work deals in power -- specifically, the slim examples of power black individuals have over their
Data proves that America does not have enough African American males teaching in today’s schools. As a matter of fact, only 2% of America’s nearly five million teachers are black men (Bryan 1). In our American society, more and more African American females are fiercely taking over both public and private classrooms. Although this might be a great accomplishment, school officials believes that if more black males teach, it would reduce the numbers of minority achievement gaps and dropout rates. According to the Bureau of Labor Statistics, about 44% of students nationwide are minorities, but nearly 90% of teachers are white. Polls and surveys further read that if there were more African American male teachers, the dropout rate would decrease while the graduation rate increases. In urban societies most African American teens would be more likely to succeed if there were more black males instructing secondary classrooms.
Overarching research on women of color (African American, Native American, Latina/Hispanic, Pacific Islander American, and Asian American) and the impact of racism and sexism as interrelated constructs on their academic aspirations is limited. A few scholarly pieces that explore racism and sexism as intersecting constructs, primarily focus on understanding the relationship between these isms and the mental health of women of color (DeBlaere & Bertsch, 2013; DeBlaere, Brewster, Bertsch, DeCarlo, Kegel, & Presseau, 2013;Martin, Boadi, Fernandes,Watt, & Robinson-Wood, 2013).More specifically, extant literature suggests one of the major consequences women of color experience in relation to racist and sexist events is psychological distress, which can be understood as concerns including depression, low self-esteem, and self-hatred, among others (King, 2003; Hipolito-Delgado, 2010).
By reflecting on my experience as a child, I was able to clearly ask myself, “Does this teaching method affect the oppressed students in my classroom, and if so, how?” As mentioned before, I had a student that struggled with math and writing. This student, along with about 3 other students in her class, was a Black female. Most of their writing prompts consisted of content that was all about a Caucasian male that went into space, or did something with his wealthy, loving family. Besides the fact that these girls cannot relate to these types of prompts, it also leads them to believe that women don’t often do big things like going into space or become wealthy with loving families. Although I never had the chance to teach a full class in an anti-oppressive way, I have made sure that I take every student’s culture, ethnicity, ability, class, and language into consideration when teaching/mentoring.
Women in general faced many hardships in the past and especially during the black arts movement. Women were disvalued and were the lowest in the society. They had some of the toughest jobs and worked very hard to provide for their kids. Throughout this essay there are three sources to support and display what women went through during the black arts movement. These sources are, “The Negro Woman in American Literature,” “Woman Poem,” and “Wine in the Wilderness.” All of these sources add critical information to help support the thoughts on how women were treated during the black arts movement and what they faced on a daily basis. Overall during the black arts movement women were involved in lots of art to display their sexual characteristics. Women faced many issues like being disrespected and not being given an equal opportunity. Lastly, the black arts movement really brought out the way that women were treated and displayed the terrible things that artists did to them in society, which caused more problems in their
Art is intended for all to enjoy and learn from. Through an art curriculum; phonics, mathematics, and readiness skills to name a few can be learned through an art curriculum. With this curriculum a teacher can adapt that centers to teach those with diverse abilities such as emotional and intellectual challenges, visual impairments, hearing impairments, and orthopedic impairments.
I reside here in the United States of America. Currently, I am in Montgomery, Alabama, at a predominately white institute. I sit in a room full of white faces. I find myself intrigued, yet out of place as on the first day, my teacher transforms what I thought to be a typical literature class into a discussion of black women’s rights. I look around observing my peers’ faces as I begin to feel uneasy as the professors indulges into the lecture. I question myself as to why do I feel uncomfortable, as if my professor has revealed secret, government information. Why is it that being taught of black significance seem to compel an uproar within me, yet all of my life I have learned of astonishing white individuals while black excellence was only to be explored within the shortest month of the year? I find it so peculiar how my politics of location has caused me to be reluctant of speaking of black history or anything black in the presence of non-colored individuals.
The Black Arts movement refers to a period of “furious flowering” of African American creativity beginning in the mid-1960’s and continuing through much of the 1970’s (Perceptions of Black). Linked both chronologically and ideologically with the Black Power Movement, The BAM recognized the idea of two cultural Americas: one black and one white. The BAM pressed for the creation of a distinctive Black Aesthetic in which black artists created for black audiences. The movement saw artistic production as the key to revising Black American’s perceptions of themselves, thus the Black Aesthetic was believed to be an integral component of the economic, political, and cultural empowerment of the Black community. The concepts of Black Power, Nationalism, Community, and Performance all influenced the formation of this national movement, and it proliferated through community institutions, theatrical performance, literature, and music.
The National Center for Education Statistics (NCES, 2004) reported that Black students continue to trail White students with respect to educational access, achievement and attainment. Research on the effectiveness of teachers of Black students emphasizes that the teachers’ belief about the Black students’ potential greatly impacts their learning. Teachers tend to teach black students from a deficit perspective (King, 1994; Ladson-Billings, 1994; Mitchell, 1998). White teachers often aim at compensating for what they assume is missing from a Black student’s background (Foorman, Francis & Fletcher, 1998). The deficit model of instruction attempts to force students into the existing system of teaching and learning and doesn’t build on strengths of cultural characteristics or preferences in learning (Lewis, Hancock...