COMMUNITY-BASED ART EDUCATION’S ARC INTO SOCIAL JUSTICE ART 1

Community-Based Art Education’s Arc into Social Justice Art

Rachel Solis
ARE 6049: History of Teaching Art
February 22, 2021
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Abstract
The purpose of this paper is to look at the histories of community-based art and social justice art

and the influence both movements have to art education in schools. It chronicles the impact these

movements have on young people and specifies some key learnings and contributions.

Highlighted in this paper are significant people and organizations that are part of the community-

based social justice art movement. This paper concludes with an outline of ways to begin

implementing a culturally relevant teaching curriculum. I argue that it is crucial we implement

multicultural perspectives and social justice work into our art programs.

Keywords: community-based art education, social justice art, culturally relevant teaching,

multiculturalism
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Introduction
Art has been an integral part of society going back as far as we can trace through

storytelling and legacies left behind. When we look at community-based art programs we see

different tendrils spanning out in multiple directions. There is so much potential when we come

together as a community to brainstorm, create, and provide a mutual exchange of ideas, services,

and art. I will connect the history of community-based art programs to social justice art and delve

into the reasons it’s so important for art educators to bring these principles into the education

system. “Art education practice provides a significant opportunity for students to engage in a

substantial relationship to their surroundings,” (Washington, 2011, p.270). As I dove into

research about movements and people with ties to community and social justice art, I found

myself being pulled in many directions. Ultimately, there are numerous paths into this work and

it’s vital that we connect young people to issues they value and to their communities.

I focused on movements and work specifically from the United States, starting in the

early 1900s, to showcase a range of folks doing this work. I started with John Dewey, an art

educator who was prominent in the Progressive Education movement, and ended with a youth-

based, advocacy theater company called Rising Youth Theatre. People use art to make their

voices heard and you’ll see that these movements have had a lasting impact decades later.

Finally, I’ll examine the Culturally Responsive Teaching (CRT) curriculum to show that the

foundations have been laid in our education system for this work to continue. “Students learn to

think of diversity as a strength, and that no one way of being is the norm,” (Garber, 2004, p.9).

By offering students opportunities to explore their ideas and positions on race and other social

justice issues through historical, cultural, and social practices in art, they will begin to recognize

and take the steps to dismantle systems of oppression.

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History of Community-Based Art Programs

Community-based art is an accumulation of many ideas that range from organized

community art programs that improve art skills, promotion of contextual learning about local art

and culture, and outreach programs to empower different groups of people. “This work often

shares a commitment to create art that draws attention to, mobilizes action towards, or attempts

to intervene in systems of inequality or injustice,” (Dewhurst, 2010, p.7). Community-based art

programs, with a focus on education, first emerged in the United States at the beginning of the

twentieth century to assist new immigrants in building marketable skills (Davis, 2010). Skill-

based arts learning continued in art centers and was actually seen in local Massachusetts public

schools as early as the 1860s (Stankiewicz, 2001). Davis (2010) states that, “From theater

programs designed to expand the horizons of young people who have been incarcerated to

intercultural mural making aimed at social reconciliation, these centers identify and serve

changing community needs,” (p.85). The progressive movement at the turn of the twentieth

century had a major impact on art education because school systems were being criticized for

their rigidity, rules, and routines. Art educators, inspired by this movement, adapted their

curriculums to be less rigid. There were varying paths in this movement with some educators

wanting to give total freedom to their students, others wanting more community focused

curriculums, and some wanting a more child-centered approach (Stankiewicz, 2001). “John

Dewey argued that schools should be social centers where groups of children explored subject

matter selected with their interests and local community needs in mind,” (Stankiewicz, 2001,

p.33). During the 1960s, cutbacks in arts education in schools led to artists creating centers to

focus on learning and the well-being of young people.

Contributions and Learnings

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Community-based art programs serve the needs of multiple populations and foster

cognitive goals, like increasing skills in making and appreciating arts, enhancing creative

thinking, focus, and self-discipline. They foster personal and interpersonal goals that help create

self-awareness, self-expression, respect for others, and the ability to communicate and work

together. “Researchers studying these sites have found that they offer younger children and teens

authentic entrepreneurial encounters, opportunities for work that they see having a positive

impact on their communities, and the chance to meet high expectations and experience deep

engagement,” (Davis, 2010, p.85). They provide knowledge of one’s heritage and highlight the

importance of intergenerational communication to learn about many cultures, as well as address

the intersection of arts-learning and community engagement by interacting with and performing

for the public. Davis (2010) highlighted that young people can grow a strong sense of personal

agency and social reconciliation through these programs.

These community-based art programs and artists are concerned with the ways art can

function and be accessible in different avenues like community development, education, the

environment, healthcare, politics, and disability, to name a few. There is an openness to work

with all media, disciplines, and locations from prisons, outdoors, juvenile halls and public

schools (deNobriga and Schwarzman, 1999). Art teachers who integrate understanding of their

local communities into the curriculum give motivation to work towards community-based

program goals. Students are more invested in the learning process and in projects that investigate

and tackle issues that concern them and their communities. “Through collective identification of

generative themes, teachers can draw all students into personal engagement with the curriculum

content because learning new skills becomes an important skill for exploring significant life
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issues,” (Gude, 2007, p.8). By studying local cultures, young people develop a basis for

understanding cultures beyond their local communities.

Arts-Based Service-Learning
The progressive education movement produced a service-learning effort that gained

widespread interest, in the 1990s, as a way to engage and inform citizens through direct

participation in educational settings (Krensky and Steffen, 2008). Arts-based service-learning

acts as a tool to bring people together, to support collective action and change the physical

landscape of a community in a mutually empowering way. “Given the power of art to transform

and the power of service learning to engage, art educators in the academy have a moral

obligation to employ pedagogies such as arts-based service-learning in response to the

community crisis in civic engagement,” (Krensky and Steffen, 2008, p.18). By exploring social

issues and meeting a community-identified need, we can create a community-based art education

program that is also arts-based service-learning.

History of Social Justice Arts

Art for social change has been around for many centuries and encompasses a wide range

of visual and performing art that aims to raise critical consciousness, builds community, and

motivates people to promote social change. Naidus (2005) writes, “In my mind, it begins in the

fifteenth century with the invention of the printing press,” (p.169). During this time, illustrated

newspapers were created and circulated to speak about the injustices experienced by poor people

at the hands of the mediaeval lords and Church establishment (Naidus, 2005). There are

examples of socially engaged art in many forms over the centuries that can be seen in songs,

satirical theater pieces, and visual art. To trace social justice and community-based art through

the public and educational spheres we need to look at critical theory and its influence in the
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United States, starting in the 1960s. European neo-Marxist theory and Brazilian educator Paulo

Freiere’s theory were vehicles for responding to political and economic oppression (Freedman,

2000). As a result of fears of authoritarianism and anti-Communism these theories were a

response to the desire for extreme individualism. “By the 1970s, the U.S. version of neo-Marxist

theory and Freire's "pedagogy of the oppressed" became entangled in education with feminist

and cultural theory related to civil rights,” (Freedman, 2000, p.320). By the 1980s, critical

theory, no matter which line you went down, referred to critical reflection at a social level and

became part of the discourse of art education which perpetuated the growth of social viewpoints

in the field. Art educators, who had grown up in the 1950s and 1960s and been a part of the civil

rights marches and protests again the Vietnam War, were the ones pushing these social

viewpoints. Freedman (2000) writes, “Their convictions about the relationship between aesthetic

meaning, civil rights, and social justice were long held and strongly felt,” (p.321). Profound

changes have happened in the visual art world and art educators are responsible for representing

that these changes are social in character.

Contributions and Learnings

Social justice art education does not have to be based on controversial or overtly political

issues such as race and violence. As Dewhurst (2010) writes, “as long as the process of making

arts offers participants a way to construct knowledge, critically analyze an idea, and take action

in the world, then they are engaged in a practice of social justice artmaking,” (p.8). Socially

engaged art provokes thought, creates dialogue between groups in conflict, empowers, heals,

educates, enlightens, transforms, and makes invisible groups more visible. Naidus (2005) gives

examples of activist art over the last several decades including protest art during the Vietnam

War era, pre-McCarthy era socially engaged art, art about the AIDS crisis, early feminist art, and
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contemporary work that embraces women’s issues (p.179). It has also been argued that art is a

public good, a human right, cultural history, and a means to heightened experiences. “Many

theorists and practitioners have called for an arts education that clearly links the arts to social

change," (Quinn, 2010, p. 227), drawing from social reconstructionist, multicultural, and critical

art education (Beyerback, 2011, p.9-10).

Multiculturalism in Art Education

Multicultural education was conceived during the Civil Rights movement and its goal

was to provide students an equal opportunity to learn about experiences, histories, cultures, and

perspectives of people of color (Acuff and Kraehe, 2013). It’s about providing young people

with an authentic truth about the many contributions and stories that have been left out of history

books, but make up America. It’s also a way to show how we interrelate and how our paths are

intimately tied together (Delacruz, 1995). In order to gain a more realistic perspective on how

our country was developed everyone needs to hear these reconstructed histories (Delacruz,

1995). Accuff and Kraehe (2013) write that, “critical multiculturalism provides the best means

by which to integrate and advance various theoretical threads that address power relations and

are potentially transformative even outside of the traditional classroom,” (p.300). These

curriculums help us see the world through the eyes of other people by looking at the complex

aesthetic, social, and historical contexts of the artwork from which they emerge in terms of

shared and unique meanings and purposes. Gude (2007) writes that it’s better to introduce

students to fewer artworks and cultures in depth than to present many pieces with little to no

context. “Multicultural art education teaches students and teachers that art is purposeful,

intentional, situational, and multidimensional,” (Delacruz, 1995, p.60). Reformation of education

is slow but notions central to multiculturalism should be a guiding force in order to

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reconceptualize who we are, what kind of people we want to be, and what we want to teach our

young people. Delacruz (1995) sums it up by saying, “Our views of our art, our culture, and our

children, along with our notions of what knowledge is and how it is influenced by educational

institutions, shape reform efforts,” (p.61).

Influential People and Organizations in Community-Based-Social-Justice Arts Education

John Dewey was a major player in the advancement of the progressive education

movement. At the end of the nineteenth century we saw growth of a new middle-class

professionalism in America following the Gilded Age, which allowed for mass urbanization

(Hopkins, 2017). Hopkins (2017) writes about the desire to move away from traditional,

literature-based education into a curriculum that could meet the public needs, function in the

modern and daily life, and was reflective of the current political and industrial life. Dewey

wanted course instruction to revolve around projects, field work, and questioning instead of

recitation. “Dewey saw the university function as a way to improve the democratic community

by effectively using academic freedom against the power of convention,” (Hopkins, 2017, p.62).

The National Association for the Advancement of Colored People (N.A.A.C.P.) is a

United States civil rights organization formed in 1909 as an interracial endeavor to advance

justice for African Americans by a group. Some prominent members of this group included

W.E.B. Du Bois, Mary White Ovington, Moorfield Storey, and Ida B. Wells (Tuttle, 1999).

Between 1920 and 1938, the N.A.A.C.P. marked lynchings by flying a black and white flag from

the window of its New York headquarters on Fifth Avenue. The banner read, “A Man Was

Lynched Yesterday”, confronting residents with the horrifying regularity of these murders. The

N.A.A.C.P. stopped flying the flag when their landlord threatened to evict them if it was not

removed. In 2015, artist Dread Scott was compelled to recreate this flag after witnessing the
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video of Walter Scott who was stalked and murdered by Michael Slager, a North Charleston

police officer, as he fled for his life (Scott, 2020). He updated the text to read “A Man Was

Lynched by Police Yesterday” and the flag was displayed on the façade of the Jack Shainman

Gallery in New York during a 2016 exhibition organized by the artist-run political action group,

For Freedoms. Scott (2020) talks about his work, “My art often looks at how the past sets the

stage for the present but also exists in the present in new form. This artwork is an unfortunately

necessary update to address a horror from the past that is haunting us in the present.” The gallery

removed the flag to a display indoors following pressure from their building owner.

AIDS Coalition to Unleash Power (Act Up) was officially formed in 1987 after six men

in New York City – Avram Finkelstein, Brian Howard, Oliver Johnston, Charles Kreloff, Chris

Lione, and Jorge Socarrás – began meeting to share their experiences of AIDS related loss. The

government and mainstream media had ignored the AIDS epidemic in the early years and it

wasn’t until 1985 that President Reagan finally uttered the word “AIDS”, after 12,000

Americans had already died (Bennington-Castro, 2020). Before Act Up became official, their

conversations turned political and inspired by posters from the Art Workers Coalition and the

Guerrilla Girls they took six months to settle on the Silence=Death design (Finkelstein, 2013).

The poster shows a hot pink triangle, an inverted version of the symbol Nazis used to label gay

men, on a black background above the words “Silence=Death”. In February of 1987, they began

wheat pasting the poster all over the city (Finkelstein, 2013). “We hoped the poster might

stimulate some kind of collective action. But we were unprepared for what was actually

coming,” (Finkelstein, 2013). This poster became the most enduring icon of H.I.V./AIDS related

activism and was the catalyst for the formation of Act Up. Later that year, April 15, 1987, Act

Up stormed the city’s General Post Office carrying copies of the poster to an audience of people
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filing last minute tax returns. This act gave them media coverage since television media routinely

did stories about last minute tax return filers (Crimp, 1990).

Project Row Houses is a community platform that enriches lives through art with an

emphasis on cultural identity and its impact on the urban landscape. They work in a collective

creative action with neighbors, artists, and enterprises to help create sustainable opportunities in

marginalized communities (Project Row Houses, 2020). In 1992, Rick Lowe had been living in

Houston for seven years when a few high school students visited him at his studio while he was

making large-scale paintings and sculptures inspired by the poverty and inequality he saw around

him in the city’s Third Ward. He was inspired to create Project Row Houses when one of the

kids asked him, “If you’re an artist, why don’t you come up with a creative solution to the

problem?” Lowe and a group of collaborators raised money to buy 22 shotgun houses, and

renovated them for artists’ residencies and community use. On the Project Row House website

they state, “The organization brought together groups and pooled resources to materialize

sustainable opportunities for artists, young mothers, small businesses, and Third Ward

Residents”. This project began to shift the understanding of art from a traditional studio practice

to a more conceptual base that transformed the social environment. They have helped cultivate

independent change by supporting people and their ideas and providing them with the tools and

capacity to do the same for others.

Groundswell is an organization that engages youth in the creative process at the intersection of

arts education, youth development, and social justice to inspire community engagement and social

change. The organization was founded in 1996 by a group of New York City artists, educators, and

activists who believed that collaborative art-making combines personal expression with the

strength of community activism in order to produce unique and powerful outcomes

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(Groundswell, 2020). Since their foundation, Groundswell has completed over 500 murals while

working with youth and teaching artists in collaboration with hundreds of community-based

organizations, neighborhood groups, and government agencies throughout New York City.

These murals are the end product of a comprehensive youth, community, and artistic

collaboration. They strive to infuse this collaboration process with elements of social justice and

activism to amplify and lift up the people they interact with daily. The collaborative process

behind these compelling artworks demonstrate our enduring belief that art creates community

and community creates change (Groundswell, 2020).

Rising Youth Theatre was founded in 2011, in Phoenix, Arizona, and their mission is to

imagine and build the world we want to live in through youth-driven, multigenerational

collaboration, and a justice-centered artistic process and performance that generates reflection,

connection, and action (Rising Youth Theatre, 2020). The company works with young people

and professional adult artists to create socially relevant, original plays that have a positive impact

on their community. Young people work alongside adults in creating original plays, develop

social emotional skills through arts education in their schools, and grow into community leaders

through strong relationships and arts learning. Young people work in leadership spaces across all

levels of the organization, including the staff, board, and creative spaces using the arts as

powerful tools with which they can stand up and advocate for themselves and their peers.

Ways to Implement Activist Art Learning in Classrooms

Culturally Responsive Teaching (CRT) makes meaningful connections between what young

people learn in school and their cultures, languages, values, and experiences. In the early 1990s, Dr.

Gloria Ladson-Billings made “culturally relevant pedagogy”, which has evolved into CRT, popular and

provided clarification between critical and culturally relevant pedagogy (Gay, 2010). She said the
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difference being that culturally relevant pedagogy urges collective action grounded in cultural

understanding, experiences, and ways of knowing the world (Ladson-Billings, 1992). “This model

acknowledges that culture is fundamental to learning and in order for learning to be meaningful,

the central facets of culture should be embraced, not just as a passing fad but with deeper

meaning that gets to the core of who students are and encompasses from where they came,”

(Hunter-Doniger, Howard, Harris, Hall, 2018, p.47). Students are better able and more willing to

invest in the learning process if they have a personal investment in what is being taught. When

teachers acknowledge and value the different lived experiences of their students they are able to

get young people to actively participate in lessons and become part of the process (Hunter-

Doniger, 2018).

A key component of this curriculum is teacher training and preparation. “More

contemporary discussions of which multicultural components should be included in teacher

preparation reinforce the need for teachers to have a culturally sensitive educational ideology,

ethnic and cultural literacy, and skills in culturally centered pedagogy,” (Gay, 1997, p.163). Gay

(1997) writes that teachers cannot implement multicultural education effectively if they have

received minimal exposure to cultural diversity in professional and personal development. She

also highlights that infrequent, scattered, and surface level exposure to cultural diversity does not

constitute sufficient preparation (Gay, 1997). “Most proponents of multicultural education agree

that preparing teachers to work effectively with ethnically and culturally diverse populations and

content is a multidimensional process,” (Gay, 1997, p.161). This work is ongoing and will not

happen overnight but it’s crucial to use the art educator platform to center a culturally responsive

teaching standpoint.
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The following strategies to implement Culturally Responsive Teaching come from

Dewhurst’s (2010) article AN INEVITABLE QUESTION: Exploring the Defining Features of

Social Justice Art Education:

Student Driven Projects allow young people to select their own topics for exploration

and respond with activities and lessons that move them into a deeper analysis. By allowing them

to maintain control over the direction of their projects, with guidance and prompts as necessary,

they are encouraged to articulate their intentions for their artwork and share with others. “In

social justice education, students' interests, voices, and lives are now understood as part of

curriculum,” (Garber, 2004, p.6). This process empowers young people by reclaiming their

voices and learning to resist oppressive power that exploits themselves and others (Garber,

2004). It’s important for students to see teachers as intellectuals “rather than as technicians

implementing prepackaged content and instructional procedures,” (Garber, 2004, p.8). When

teachers are empowered as leaders who are capable of promoting and implementing social

change and social justice this will provide the foundation for students to believe that social

justice is possible.

Relevant Reflection should be encouraged so learners can reflect on their own identities,

experiences, and interests to help them identify project topics that are meaningful and rooted in

their own lives (Dewhurst, 2010). An anti-racist education offers students opportunities to

explore their positions on race and other types of discrimination, with time to reflect, talk

through their discoveries, and begin to ask critical questions. This web of connections will help

educators implement, “questioning as a tool to prompt learners to delve into a study of their

topics,” (Dewhurst, 2010, p.12).

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A Tactical Balance should be “encouraged to balance both their activist intentions and

their aesthetic aims – sacrificing neither one for the other,” (Dewhurst, 2010, p.12). As students

narrow in on the specific strategies they want to use to create their art, they begin the process of

translating their ideas into objects or actions that will affect injustice. “Art that is created to

challenge or change injustices must be allowed to leave the confines of the room in which it was

made in order to reach the intended impacts of the artist,” (Dewhurst, 2010, p.12). Students work

should be brought to a public audience. Although there are risks to opening up art to the public,

by locking it up there is no way for the work to influence inequality and change and has no

chance of becoming activist art.

Conclusion
With the advancement of technology, young people have access to more information than

ever before. In my work with young people I have been surprised by how much they know and

recognize about what’s going on in the world around them. It’s important to engage them on

topics and issues that they personally feel connected to, which means we as educators need to

keep up on the trends. It’s also important to have conversations and be open to communication

about our students’ individual needs and desires. There has always been community art and there

have always been social justice movements but now these movements and conversations are

everywhere, including our classrooms, whether we want them there or not.

Social media has only enhanced the circulation of information including social justice art.

“It is up to us teachers to promote social justice while creating an artistic environment in the

classroom when faced with narrow perspectives created by limited art education and by

museums, galleries, and books dominated by the artwork of White men,” (Hunter-Doniger, 2018,

p.17). We should embrace pop culture and be the leaders young people need us to be. The
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foundations and momentum are already present in our education system. As artists and art

educators we already have the perfect platform to provide students with a safe space to create,

explore, and engage with peers and the community about issues that our world is facing. It’s a

long and arduous process to change, especially going up against a white supremacist system with

ties in every facet of this country, but it is imperative that we try. Every step, no matter how

small, matters.
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