This paper explores the question of why it is important to apply culturally responsive teaching within the classroom, through creativity. Teaching diversity exposes students to a variety of cultural and social groups. This educational experience prepares students to become better citizens, within their communities. Through the creative process, students will examine topics which, both, encompass and promote diversity. Additionally, students will be able to construct their own independent, inclusive environment, through art making; this increase in diversity education relates not only to the race and ethnicity of our students, it also includes religion, economic status, gender identity, language background, and more. Adopting inclusion and awareness around multicultural education and taking a culturally responsive approach to teaching is a benefit to both students and instructors. Not only does creating a better multicultural awareness and inclusive environment help students with different backgrounds and needs succeed, but it encourages acceptance and helps prepare students to thrive in a diverse world.
Keywords: cultural diversity, curriculum, teaching, art, social reconstructionism
Empathy is an essential aspect for all facets of an educational system, specifically in art classrooms. Lack of empathy and collaborative skills can cause issues in relations and classroom management throughout the school year. Utilizing resources such as group lessons, community activities, and classroom reflections can allow for the kind of collaboration needed for students, teachers, and all those involved in a school system to succeed in their endeavors.
The education field has historically underrepresented teachers based on gender, race, and sexual orientation. This has led to a severe lack of diversity in the field. By utilizing professional workshops, educators will have greater awareness of barriers that have caused such underrepresentation. Educators will be given tools to reflect on how this facet of the educational system can be improved.
In the 1960"s and 1970', when most of these unfinished essays were written, I was a free thinking architecture student who perceived a fundamental disconnect within diverse institutions, including Architecture and Education and Money - Banking. I had an intuitive feeling that architecture is more than a visual aesthetic, rather a holistic social experience. The everyday objects with which we interact are an integral part of our social disposition and social wellbeing. The attempt is to develop a method for understanding some previously largely ignored aspects of environmental design – the role of Common Objects as a communication facilitator.- Eric M. Lee
The Workshop is an online platform where members of the public offer their own responses to artworks and other content included in the exhibition Hank Willis Thomas: All Things Being Equal... Many of the voices in the Workshop belong to Greater Cincinnatians who are Black, Indigenous, or people of color. Responses will accumulate throughout the run of the exhibition, and will remain online after the exhibition closes.
The explanatory texts that appear on the walls of the museum are customarily written by curators, who balance factors including the artist’s point of view, institutional expectations, their own training and perspective, and the need to communicate with members of the public. Most but not all of the curators who wrote the explanatory texts in Hank Willis Thomas: All Things Being Equal... were trained in practices of social critique similar to those used by the artist, and are White. The purpose of the Workshop is to create space for more voices, views and ways of speaking about art to be heard.
