We Live, We Learn, We’re all in this together. REMAP: Collaborative and Community Driven Learning

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REMAP is a collaborative multi-disciplinary art project, conceived by Anna Adler, Julia Rooney, and Corinne Cappelletti after volunteering at some of New York’s homeless shelters during More Art’s Engaging Artists fellowship program.

The goal of the project was to create a mutual partnership between the homeless and formerly homeless residents of the city through various modes of social and physical interaction (such as art making, cooking, and somatic movement exercises).

This took place during several workshops where both homeless and formerly homeless individuals discussed their personal experiences living in New York City (whether in homes, shelters, or on the streets or subways) and what it means to belong to a place, to travel within that place, or to be displaced from a place you call home. Participants mapped out their various and diverse paths in their lives. In doing so, they discovered a strong sense of belonging to a community and claiming New York City as home.

Learning is best achieved when the teacher/facilitator (in this case the three artists) and the students/participants are in collaboration and there isn’t an authoritarian separation of power. Learners come into the educational setting with prior knowledge and experience, which a good teacher will help them to expand upon in new and unique ways. In this manner, education can have profound results for social change. Dewey (1897) wrote that “education is a regulation of the process of coming to share in the social consciousness; and that the adjustment of individual activity on the basis of this social consciousness is the only sure method of social reconstruction.”  REMAP is an example of critical pedagogy, where the artists employed instructional scaffolding techniques (compelling guidelines, resources and materials, advice, modeling a task, and inspirational ‘coaching’, to name a few), which gave the participants autonomy and confidence to empower themselves and each other in a democratic environment.


Notes:

Dewey, J (1897). My Pedagogic Creed. New York and Chicago: E.L. Kellog & Co.

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Howard Schwartzberg and Reality Art

Brooklyn based artist and educator Howard Schwartzberg realizes the potential that art can have in everyday life. Schwartzberg’s curriculum is called Reality Art, an embodiment of social and emotional learning, where the students’ learning experience is centered on gaining skills necessary to achieve positive goals, feel empathy for others, and build positive relationships. This is structured through experiential learning and art making that is inspired by everyday life.

Schwartzberg believes that incorporating art –and thinking artistically– within other disciplines facilitates student’s learning more fluidly. Schwartzberg encourages students to enter what he coined the “freespace for expression and observation.” This conceptual space centers around a collaborative learning experience involving interpreting, analyzing, and making art about the world outside of the classroom. It is akin to the idea of “Social sculpture,” Joseph Beuys’ concept of individuals utilizing artistic practices in the community for socially engaged purposes. Schwartzberg also developed a curriculum for non-art teachers to bring the benefits of artistic learning into their classrooms. The concept maps for his curriculum can be viewed here.

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Howard Schwartzberg’s Scaffolding (2017) is a painting that rises from the floor to high up onto the wall. It is comprised of sewn together student paintings (left behind by former students), which have been flipped around so that they’re viewed from the verso. The piece reflects on Schwartzberg’s own artistic process working with materials that investigate the objectivity of painting, combined with his experience teaching in Public Schools. Scaffolding refers to instructional techniques teachers use to guide them toward both mastery and independence in the learning process. The role that the teacher plays should be more along the lines of ‘coaching’ rather than directing. Art is the perfect discipline for this type of learning, because art making involves a combination of personal experience and depiction strategies that are best achieved through experiential learning.

This painting is part of his “Left Behind (Student Work)” series, which was created in response to the detrimental shift from public education to for-profit schools. Other works in the series have titles that also refer to experiential educational strategies such as Collaborative Learning, and Think Pair Share.