Reflecting on my Teaching Philosophy through Lil’wat Principles

Haiku Poem I wrote on Education

The Lil’wat Nation is an Indigenous community located in Mount Currie, British Columbia. My Inquiry professor, Marie-France Berard, shared the Lil’wat Principles with my Art cohort, which led me to read Indigenous Principles Decolonizing Teacher Education: What We Have Learned.

“Decolonizing Teacher Education.” What does that mean? Education has continuously been derived from a top-down model. Decolonizing education requires the teacher to also be invested and open to learning from/along with students. The teacher is the centre of “expert knowledge” and learning is a process of how well students can retain and repeat the knowledge and thus be rewarded (Sanford et al. 19). I can remember being in elementary and high school. I was a hungry learner and was driven by marks and praise. At what point does this type of self-sufficient motivation stop if it continuously benefits the individual?

I love this idea that Sanford, Williams, Hopper and McGregor put forth: educators need to open up the “third space” (20). As Sanford et. al. suggest, “learning is emergent” (20). This space, especially the classroom space, is where students should feel comfortable to question the content being taught and for educators to be flexible in their approaches to teaching. I can think of many times during my practicum where I needed to take a step back and realize I needed to slow down and really unpack the content I put forth, especially those regarding sometimes difficult knowledge (usually regarding race, class and gender that challenge previous universal truths and beliefs). I’ve invited students to take out their mobile devices to do research on current events to help enrich everyone’s understanding.

When students and teachers learn together, this invokes a sense of community and shared purpose (Sanford et. al. 24). Kamúcwkalha is Lil’wat word and principle that means that the group acknowledges that they each have a role and responsibility in creating a safe space for sharing ideas (Sanford et. al. 24). After I set the groundwork for small partner activities and get to know the students, group work becomes less daunting. In my photo and art classes, I’ve introduced activities where students alter their peer’s work, provide feedback, or work in groups to create a piece. When I observe students teaching others, I can sense their pride (Sanford et al. 29). Yet at the start of group-work, so many of the students are resistant and apprehensive. Where does this discomfort of shared responsibility and putting another’s learning before yours stem from? An education system that has privileged individualism for years.

Stay tuned for tomorrow’s post about Cwélelep; another Lil’wat principle that resonates with my teaching philosophy.

 

Cross Genre Translation

I wanted to share my assignment that I completed for my Literacy Practices and Assessment course. The assingment was:

“Using an academic text of your choosing, you will create a genre translation of the text. In other words, you will translate/transform your text into a different genre or modality, one that is unconventional to your subject area. For example, you might write a poem about polynomials; create a recipe for writing a short story; record a rap song about mitosis; enact a dramatic monologue about algebra; perform yoga asanas to show how to make a bentwood box… the possibilities are endless!”

Chosen Texts:

10 influential people of color throughout art history

20 female artists pushing sculpture forward

Note: I am in the Art cohort and chose to use new texts that would inspire me to create my cross-genre activity. These playlists are a musical translation of the text. Typically, I would use the texts to supplement a PowerPoint presentation showing the “Artist of the Day” to my class. Translating art history to music reflects a certain time period, inspires creative play and echoes the artist’s voice and style. I created a “fake” Artist profile with Photoshop and used Bannersnack to design accompanying album covers. I provided links to Youtube Videos instead of Spotify so all non-Spotify users have access.

Introducing…

Mode – Curated playlists for Creatives

Celebrate Visual Artists through music. You Choose the Artist. You Press Play.

Cover art adapted from Basquiat’s Sabado por la Noche (Saturday Night), 1984.

Playlist:

Kaytranada – Gray Area (ft. Mick Jenkins) – Kaytranada

Charlie Parker – Lover man (Remix)

Miles Davis – So What (Rabon Remix)

Gray (A band Basquiat was a member of) – Sweetness of The New (Free The Robots Remix)

Travis Scott –  Coffee Bean

Cover art adapted from Sher-Gil’s The Little Girl in Blue, 1934.

Playlist:

Jai Wolf – Like It’s Over (Howle Remix)

The F16s – Boudoir

Richard Spaven – Faded (Sandunes Remix ft. Jordan Rakei)

Sepalcure – Fight For Us (ft. Rochelle Jordan)

Peter Cat Recording Co. – Where the Money Flows

Cover art adapted from Yaghmai’s Slide Samples (Lures, Myths), 2018.

Playlist:

Mac DeMarco – Chamber Of Reflection

Kamyar Ring – Break the Distance

BICEP – Glue

Nima Aghiani – Attract Repulse

Beach House – Space Song (Slowed)

Experience of Fear and Pain in Teaching – Susan Walsh

Susan Walsh participated in a collaborative project with 9 teachers in an Artography-like inquiry into the teaching experience. Walsh categorized the collected pieces of poetry, imagery, and text into:

Eyes / Blood / Ears

Eyes: Performance, expectation, stakeholders, panopticon, gaze, surveillance

Blood: Intensity of the experience

Ears: Listening, being present, discomfort with messiness and not knowing

In what ways will I represent and reflect on my teaching experience? It is embodied and expressed through the body, but after I leave the space of the classroom, I always provide an opportunity to revisit my senses. I keep a journal where I draw and write about the events of the day.

My Eyes: Gaze not with authority. Look  with wonder and curiosity, softness and sincerity.

My Blood: I am a body and living, attune and alive.

Ears: I don’t expect to be heard, I want to be listened to. Students need to be listened too. I will listen to the silence or sound.

The Myths about Teachers

Reflecting upon an excerpt from Deborah Britzman’s Practice Makes Practice 

Roland Barthes describes myths as being a “magically” unified commonality, a series of autonomous signs that dismiss the history that gives signs their value. In the excerpt from Britzman’s book, she describes myths surrounding the role of the teacher and knowledge. As a teacher candidate, there exists the constant tension between what is expected of me as an educator. Britzman describes the struggles as “a conflict in and with authority, imagination and flurries of autobiography.” Recently I had a friend ask me about the struggle of maintaining an artist and teacher identity, especially online. What I choose to repress, or in less dramatic terms, not reveal as an artist and aspiring professional educator is a small sacrifice for the future ahead.

Britzman tells the story of balance. How it is a mastery of playing mutliple roles as a teacher and choosing when and when not to show vulnerabilty even in the most difficult of times. Losing control of class, or of emotions, is a loss of power, and a loss of power is not the characteristics of the “expert teacher.”

An interviewer may ask, Why do you want to be a teacher? I feel that many teacher candidates believe exactly what Britzman says: they were somehow called into being or “summoned” into the position. I think that it’s important to retrace the journey of my personal experience to recall the reason that I chose a constantly transformative role.

I’ve always loved learning and being a student. I was alert to feedback on the track when the coach told me to raise my knees higher, I am attentive to my English teacher when he said I needed to write with more clarity (I still write in flowery language, continuing to learn how to get straight to the point.) I also love people. People are walking stories. My favourite work experiences were at restaurants or being a youth program leader, both involving people. I enjoy learning, and I enjoy teaching as another way of doing, thinking or being that I thought was not possible before. I can only hope that there is an exchange of knowledge where the student also shares something to me and whether I have supposedly known the fact before is irrelevant. The person is the walking story, and once they’ve told the story the knowledge is already different.

Which brings me to the last point of knowledge itself, and what it really is. Britzman says “Experience becomes meaningful only after it is thought about.” My experiences are biased and only exist when I remember. What happens to the knowledge I forget, and why do I eliminate certain experiences from my memory? Moments of discomfort and doubt enter the realm of “unmediated knowledge” and probably the most important kind. The long practicum bursted past me. I keep journals and drawings as a way to retrace my steps during one of the most challenging points in my life. Putting theory into practice doesn’t mean that I will get used to the spontaneity of the teaching profession. The practicum allowed me to embrace it, to provide the push and pull the students need to get started and continue, and to step back when they start teaching each other and teaching themselves.

Rules for Art-making and Playing

“1. Respect: ourselves and our feelings, anyone being creative with us today, our tools, and especailly the land that we are on
2. Nothing is for keeps – share any photos with us if you’d like, but everything goes back in the recycling afterwards and gets cleaned up!
3. No expectations! Try something new!”

-ArtStarts Gallery Coordinator and Preparator Kay Slater, illustrator

Local Artist Showcase: Abi Taylor

Abi Taylor working on a mural in Gastown

Yesterday I attended a virtual artist talk by my close friend, Abi Taylor. Her presentation was called “Murals of Gratitude”. From the Dr. Sun Yat-Sen Classical Chinese Garden website:

“Abi Taylor is an artist living and creating in North Vancouver, BC. Her work focuses on the day to day, and highlights seemingly mundane objects with a variety of lines and washes. Negative space is a considerable part of the composition in her work, although in mood and feeling Abi’s work extrudes a warm, positive energy.
Her first mural — a portrait of provincial health officer Bonnie Henry, painted on the boarded-up windows of Kimprints in Vancouver’s Gastown neighbourhood — drew media attention for its implicit message of hope and appreciation during the COVID-19 health crisis.

Abi is currently studying visual arts at Emily Carr, and when she graduates she would like to continue working on the west coast as an illustrator, drawing graphic novels.”

Abi Taylor

The recording of her artist talk should be available soon! Taylor spoke earnestly about her early experiences with art, drawing lots of pictures of three-legged cats. She always had a special relationship with animals and the landscape around her. I believe her observant connection to the world led her to develop a skill for storytelling and documentation. She brings a journal-sized sketchbook with her when she goes out, illustrating her trips on transit to conversations with friends.

Abi’s art, posted on her Instagram account

 In her talk, Taylor humbly credits her art-based job opportunities to chance. I think this is somewhat true. Taylor has a calm presence, she is inquisitive and personable. People who want to work with artists often appreciate a connection, and Taylor establishes connections with people with ease. She’s designed clothing, album covers, illustrated drink sleeves and graphic novels. Taylor is a multi-talented artist with something to say.

You can read an article about her public artwork here (where I also sourced these photographs of Abi working on her piece.)

Until then, please check out her Instagram and website to follow her creative journey!

Documenting Artwork at Home

Today I wanted to share with you three resources on how to document your artwork at home. These instructions are easy to follow and will help students learn how to document art for their portfolio and also help educators assess student work properly, and keep them to use for examples in future classes.

Documenting Artwork at Home by Nick Mahony (PDF)

Nick Mahony is an artist from Perth, Australia and shared this awesome guide on the Facebook group Online Art & Design Studio Instruction in the Age of “Social Distancing.” 

How to photograph artwork in 3 steps by Bryan Lunny (DOC)

Bryan is a friend and fellow UBC Teacher Candidate who created this resource for his students during the switch from in-person to remote learning.

Documenting 2D Artwork with a Smartphone by aftrART (Youtube)

I found this video by just doing a quick search on Youtube. The YouTube (Amanda) has since stopped creating videos, but they are still available to watch!

Plant Walks and Pedagogy

Discover five types of tree or plant around campus that appeal to you on the grounds
they remind you of professional values that you have come to appreciate as important
in the lives of educators. Upon your return, you will be asked to
(a) describe the tree/plant in particular detail, perhaps with a photograph
(b) make connections to the professional value that the tree/plant represents for you
(c) explain the importance of that value to a robust sense of professional life, and
(d) discuss where you have seen (or wish you had seen) this value enacted in your experience as either a teacher or a student.
– Dr. Tim Waddington [Imaginative Education SFU + with Dr. Gillian Judson]
Tree in Tatlow Park

Activity from: imaginED and Professor Marie-France

Forest Snow from McBride Park
Where did I wander first? To familiar nearby places, childhood landmark that I revisit as a clumsy adult. I might find a unique plant from my special place, but they grow everywhere. And that’s how I remember that I am connected. And maybe not that special. Why do we pull out grass, and why does it grow back?

 

Recreating an Artwork!

This week your challenge is to find a PORTRAIT from art history and re-create it from objects and people in your home!

Step 1: Read this! 

The Getty Museum in Los Angeles has created a twitter challenge getting people who are social distancing to recreate artworks in their homes.

Have a look at what people are doing here and here.

Prefer to watch a video? Check this out.

Step 2: Choose an artwork and write a reflection.

Please choose an artwork (a painting, photograph, sculpture) that contains at least one human figure.

Here are some links where you can find art by Indigenous peoples, women, and international work:

Art Gallery of Ontario: Indigenous Art

The Great Women Artists

Google Arts and Culture

In a Microsoft Word Document or piece of paper, you need to write:

-The title of Artwork

-Name of the Artist and Year it was made

-In your own words…Tell me a fun fact about the artwork, or why you chose the piece.

Step 3: Review these examples made by my previous students!

My Grade 8 student’s recreation
“Hunter Mimics Seal” (2006) by Annie Pootoogook
“Portrait of a Man” by Jan van Eyck (1433) and my student’s recreation with her dog

Step 4: Gather what you need.

-Find a minimum of 3 objects (can include clothing) around your house

-Recreate the artwork using those items

Step 5: Review the Project Criteria

Photo Interpretation

-Your interpretation is theatrical, playful, and imaginative

-You have selected and integrated at least 3 objects into your photo

-You have researched and selected an important artwork that contains at least one human figure. /30

Reflection

You included the title, date, and artist in your reflection. You are able to respond to the artwork by including a fact or opinion about the piece. /10

Total: /40

Step 6: Take your photo!

-You can use your phone or camera

-Make sure there it is good lighting (it’s not too dark or too bright) and try to match the same angle and framing as the original artwork.

Note: If you don’t wish to be in the image you can re-create it from just objects.

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