Social justice art

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Social justice art, and arts for social justice, encompasses a wide range of visual and performing art that aim to raise critical consciousness, build community, and motivate individuals to promote social change. [1] Art has been used as a means to record history, shape culture, cultivate imagination, and harness individual and social transformation. It can not only be a means to generate awareness, but it can also be a catalyst to engage community members to take action around a social issue.

Contents

Social justice art allows people to develop agency to interrupt and alter oppressive systemic patterns or individual behaviors. [2] The processes by which people create and engage with art equips them with analytic tools to understand and challenge social injustices through social justice education (teaching for social justice), community building, and social activism/social movements. [3] Examples of visual and performing social justice art includes: drawing, painting, sculpture, murals, graffiti, film, theater, music, dance, spoken word, etc.

Background

Art has played a role in social justice education, community building, and social activism/social movements. It provides a universal language that gives voice to individuals and communities and is accessible across social boundaries. These examples can overlap and are not strictly confined to one specific category.

History

Two well-known art movements that have utilized art as a means to work towards social justice are the Black Arts Movement and Chicano art movement. Both movements began to enter into public consciousness during the 1960s. The Civil Rights Movement in combination with the Black Power Movement helped to propel the Black Arts Movement. One of the main goals of this movement was to support Black Nationalism and mobilize the community towards social action. This period produced an increase in Black poetry, literature, and music. A few key figures of the movement were; author Marcus Garvey, author and artist Charles S. Johnson, revolutionary artist Emory Douglas, and social dancer and choreographer Katrina Hazzard-Gordon. [4] The efforts to incorporate post-Mexican Revolution notions with current Mexican American social, political, and cultural issues drove the Chicana/Chicano Arts Movement. Murals are a form of visual art that experienced a rise in popularity during this movement. Chicana/Chicano mural art became a means of working towards political goals, challenging stereotypes, as well as a way for community members to play an active role in creating community memoirs. Diego Rivera was one prominent figure who helped to establish Mexican muralism. [5]

Diego Rivera - Detroit Industry Murals Diego Rivera - Detroit Industry Murals.jpg
Diego Rivera - Detroit Industry Murals

Social justice education

Social justice education is an educational approach that focuses on fostering awareness of social injustices and how inequalities impact youth. [6] Social justice education saw its roots in the ideas of Paulo Freire, author of Pedagogy of the Oppressed. In his work, Freire highlights the theoretical ideas of critical pedagogy, which is an approach that combines education and critical theory. This approach is relevant to social justice art education because it combines the critique of social injustices and the use of art as a mechanism to engage with social issues. [7]

Culturally relevant arts education

Culturally relevant arts education (CRAE) is an education model that emerged from the Tubman Theater Project, a culturally relevant drama program in which African American middle and high school students examine their internalized oppression and work to create positive racial identities. The program gives them the opportunity to learn from rehearsing and performing plays based on their lived experiences. This framework incorporates six different pedagogies. Three of these are art related; arts production, aesthetics, and arts integration as well as three non-art related; multicultural education, critical pedagogy, and contextual teaching and learning. CRAE engages both students and educators in a process in which they reflect on their social position in societal liberation and subjugation. [8]

In higher education

Several universities have introduced social justice arts programs:

Community building

Sense of community is built through bridging geographic or interest-driven relationships. Building community helps individuals come together to challenge inner oppressive dynamics that have been imposed by institutions, structures and bodies. These inner oppressive dynamics have been termed “social ghosts” have been referenced in dance literature and function as a key theme within many community building art projects. Art for community building is a collective effort in which the art making process strengthens community ties. [12]

Social activism/social movements

Related Research Articles

Chicano Subculture, chosen identity of some Mexican Americans in the United States

Chicano or Chicana is a chosen identity for many Mexican Americans in the United States. The label Chicano is sometimes used interchangeably with Mexican American, although the terms have different meanings. While Mexican-American identity emerged to encourage assimilation into White American society and separate the community from African-American political struggle, Chicano identity emerged among anti-assimilationist youth, some of whom belonged to the Pachuco subculture, who claimed the term. Chicano was widely reclaimed in the 1960s and 1970s to express political empowerment, ethnic solidarity, and pride in being of Indigenous descent, diverging from the more assimilationist Mexican American identity. Chicano Movement leaders collaborated with Black Power movement. Chicano youth in barrios rejected cultural assimilation into whiteness and embraced their identity and worldview as a form of empowerment and resistance.

El Plan de Santa Bárbara: A Chicano Plan for Higher Education is a 155-page document, which was written in 1969 by the Chicano Coordinating Council on Higher Education. Drafted at the University of California Santa Barbara, it is a blueprint for the inception of Chicana/o studies programs in colleges and universities throughout the US. The Chicano Coordinating Council expresses political mobilization to be dependent upon political consciousness, thus the institution of education is targeted as the platform to raise political conscious amongst Chicanos and spur higher learning to political action. The Plan proposes a curriculum in Chicano studies, the role of community control in Chicano education and the necessity of Chicano political independence. The document was a framework for educational and curriculum goals for the Chicano movements within the institution of education, while being the foundation for the Chicano student group Movimiento Estudiantil Chicano de Aztlán (MEChA).

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Chicano Movement Social and political movement combating racism in the United States

The Chicano Movement, also referred to as El Movimiento, was a social and political movement in the United States inspired by prior acts of resistance among people of Mexican descent, especially of Pachucos in the 1940s and 1950s, and the Black Power movement, that worked to embrace a Chicano/a identity and worldview that combated structural racism, encouraged cultural revitalization, and achieved community empowerment by rejecting assimilation. Before this, Chicano/a had been a term of derision, adopted by some Pachucos as an expression of defiance to Anglo-American society. With the rise of Chicanismo, Chicano/a became a reclaimed term in the 1960s and 1970s, used to express political autonomy, ethnic and cultural solidarity, and pride in being of Indigenous descent, diverging from the assimilationist Mexican-American identity. Chicanos also expressed solidarity and defined their culture through the development of Chicano art during El Movimiento, and stood firm in preserving their religion.

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The Centro Cultural de la Raza is a non-profit organization with the specific mission to create, preserve, promote and educate about Chicano, Mexicano, Native American and Latino art and culture. It is located in Balboa Park in San Diego, California.The cultural center supports and encourages the creative expression “of the indigenous cultures of the Americas.” It is currently a member of the American Alliance of Museums.

Chicana feminism is a sociopolitical movement in the United States that analyzes the historical, cultural, spiritual, educational, and economic intersections of women that identify as Chicana. Chicana feminism empowers women and insist that they challenge the stereotypes and boundaries that Chicanas face across lines of gender, ethnicity, race, class, and sexuality. Most importantly, Chicana feminism is a movement. It is also a theory and praxis that helps women reclaim their existence between and among the Chicano Movement and American feminist movements.

Precita Eyes

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References

  1. ↑ Bell, Lee; Desai Dipti (August 10, 2011). "Imagining Otherwise: Connecting the Arts and Social Justice to Envision an Act for Change: Special Issue Introduction". Equity and Excellence in Education. 44 (3): 287–295. doi:10.1080/10665684.2011.591672. S2CID   143144889.
  2. ↑ Hanley, Mary (August 10, 2011). "You Better Recognize!: The Arts as Social Justice for African American Students". Equity & Excellence in Education. 44 (3): 420–444. doi:10.1080/10665684.2011.589763. S2CID   143685912.
  3. ↑ Roberts, Rosemarie (August 10, 2011). "Facing and Transforming Hauntings of Race Through the Arts". Equity and Excellence in Education. 44 (3): 330–347. doi:10.1080/10665684.2011.591260. S2CID   144645792.
  4. ↑ Martin, Tony (1983). Literary Garveyism: Garvey, Black Arts, and the Harlem Renaissance. Dover, Massachusetts: The Majority Press. pp. 1–8. ISBN   0-912469-00-5.
  5. ↑ "Chicanoart.org The Road to Mictlan". Webpage. Retrieved 13 March 2014.
  6. ↑ Frank, Curkovic. "Art and Social Justice Education Part 1". blog. Retrieved February 20, 2014.
  7. ↑ Garber, Elizabeth (2004). "Social Justice and Art Education". Visual Arts Research. 59. 30 (2): 4–22.
  8. ↑ Hanley, Mary (August 10, 2011). "You Better Recognize!: The Arts as Social Justice for African American Students". Equity & Excellence in Education. 44 (3): 420–444. doi:10.1080/10665684.2011.589763. S2CID   143685912.
  9. ↑ "CAS - Performing Arts - Performing Arts & Social Justice Major - Academic Program". 27 July 2015.
  10. ↑ "Arts for Social Justice | SCU Presents".
  11. ↑ "Prison Creative Arts Project | U-M LSA Prison Creative Arts Project".
  12. ↑ Lawton, Pamela (November 2010). "Hand-in Hand, Building Community on Common Ground". Art Education. 63 (6): 6–12. doi:10.1080/00043125.2010.11519096. S2CID   150733070.

Dewhurst, Marit. "Where Is the Action? Three Lenses to Analyze Social Justice Art Education." Equity & Excellence In Education, vol. 44, no. 3, 1 Jul. 2011, pp. 364 - 378. Buller, Rachel Epp. "Activism, Art, and Design: Bringing Social Justice to Life In the Higher Education Curriculum." Art Education, vol. 74, no. 1, 1 Jan. 2021, pp. 31 - 37.

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