Transcription
Chapter 1Contextualizing:MappingandNavigating Terrainstable of contentsintroduction 4framework for openness 6core concepts 7global 14institutional 17self 25check-in 30references 312
introductionWe begin our collective journey of The DreamspaceProject Workbook with an excerpt from Judith Baca’s“Whose Monument Where? Public Art in a Many-CulturedSociety” (1996). She describes the origins of her mural theGreat Wall of Los Angeles:“One of the most catastrophic consequences of anendless real estate boom was the concreting of theentire Los Angeles River, on which the city wasfounded. The river, as the earth's arteries—thusatrophied and hardened—created a giant scar acrossthe land which served to further divide an alreadydivided city. It is this metaphor that inspired my ownhalf-mile-long mural on the history of ethnic peoplespainted in the Los Angeles river conduit. Just as youngChicanos tattoo battle scars on their bodies, the GreatWall of Los Angeles is a tattoo on a scar where theriver once ran. In it reappear the disappeared storiesof ethnic populations that make up the labor forcewhich built our city, state, and nation” (1996, p. 133).The story she weaves is enchanting, threading togethermultiple terrains of geography and history embodied inhuman movement, memory, and creative expression. Baca’snarrative captures the way we trace and carve lines into theearth to create divisions, to remember who won, whobelongs, and who is kept out. At times, we build to createbridges and breakdown barriers. There is a vivid sense of a physical lineagebetween land and earth, our bodies, and our histories.Our construction of these terrains reflect our worldviews,and the institutions and systems we put in place todevelop and maintain our sense of place.You may wonder why we begin here, tending to thisconcept of landscapes. The first chapter of TheDreamspace Project Workbook, “Contextualizing: Mappingand Navigating Terrains,” introduces the practice ofdeveloping critical self-awareness, building knowledge ofthe many ecologies we inhabit, and expandingunderstandings of our roles and responsibilities. Tosupport art museum educators in their journey towardscritical consciousness, this workbook will focus onmapping and navigating the terrains of the Dreamspace:global, institutional, and self.Contextualizing our selves in the terrains of theDreamspace is all about relevance and interconnectivity.We dive and dig into how racism is relevant to our workand practices as art museum educators, pushing beyondjustifying why. We unearth the many and complex waysthat our life and work not only intersect with, but arecontrolled and manipulated by, global systems ofoppression. The content of this workbook pushes beyondsymbolically advocating for social justice; it emphasizesthe necessity of actualized critical action.3
introductionThe Dreamspace Project Workbook begins from theinarguable premise that to live in the United States in themodern day is to be complicit within a network of globalsystems of oppression including, but not limited to: racism/White rcolonialismclassism/privilegeAll of these are interwoven and built into the foundation ofour society not only historically, but persistently fabricatedand upheld by our own (in)actions and (in)decisions. TheAmerican art museum is implicated in this. Regardless ofour well-meaning intentions to present our museums asspaces for public learning and enjoyment, our society andinstitutions are founded upon these flaws. Therefore, ourroles and responsibilities as critical art museumpractitioners goes beyond advocating for diversity orinclusion; what would be the purpose of trying to build inequity and diversity into a fundamentally oppressiveinstitution?If we consider our selves responsible, we must delegitimizeand dismantle oppressive systems of power and hierarchyin our institutions. We must radically reimagine andreconstruct new models for inclusive, equitable, andsocially-just American cultural institutions and society.In this chapter, we begin with the core concepts ofrace, racism, colorblind racism, Whiteness, and WhiteSupremacy to introduce ideas, perspectives, andlanguage that are foundational to our work. The work ofcritical praxis extends far beyond acknowledging racismas a pressing issue, and necessitates active rethinkingand transformation of our institutions, disciplines, andpractices.Thus, critical reflection and analyticunderstanding of racism and WhiteSupremacy are not the long-term goals of thisworkbook, they are our starting point andbaseline for understanding.Each core concept will be introduced with a quote,followed by some questions for reflection. The questionsare modeled on our Framework for Openness, in order tocultivate critical reflection and study of our world, ourinstitutions, and our selves.4* Please feel free to print out the next page (5) and use it as a poster!
thedreamspaceframework for opennesseveryone is complicit withracismencourage criticality andconsciousnessAs a consequence of the society you live in, you exhibit symptoms ofWhite Supremacy—some that you may be able to notice and fix, andsome that are deeply ingrained behaviors and biases that will takemore time. No one is “in the clear,” and it is everyone’s responsibility tobe attuned and counteract these streams!Learning about racism and systems of oppression is an emotional andpainful process. Don’t let these emotions take control. If you feel fear, anger,or frustration, you are on a path to learning something that is changing yourcore. Breathe, stay calm, and keep going.bring it up“listen with your skin”These may be difficult conversations to have with colleaguesand supervisors. But if you have trust and respect, speak yourtruth—this is a real opportunity for learning, teaching andgrowth. Staying silent on these issues doesn’t help anyonegrow, and there may be someone in your midst sensing thingsthat you don’t even notice. Openness is key.Professor Carla Rinaldi of Reggio Emilia coined this phrase in an interview.It brings to mind the image of a creature molting, and the notion oflistening with your entire being, growing and shape-shifting in the moment.When concerns regarding racism come up, be ready to put allassumptions and biases aside, and listen for understanding. Be open tobeing challenged and look for ways you can be supportive.5
Race“Fabrication implies the workings ofhuman hands, and suggests thepossible intention to deceive. Morethan the industrial term ‘formation,’which carries connotations ofneutral constructions and processesindifferent to individual intervention,referring to the fabrication of racesemphasizes the human element andevokes the plastic and inconstantcharacter of race” (Haney-López,1995, p. 196).Source: Haney-López, I. (1995). The social construction of race. In Delgado, & Delgado,Richard. (Ed.), Critical race theory : The cutting edge (pp. 191-203). Philadelphia: TempleUniversity Press.What has been your personal experiencewith race?What emotions are tied to your personalunderstandings of, and experiences with,race?What assumptions and biases do you holdconcerning race?How have art, material/visual culture, andmedia been used in the socio-culturalfabrication of race?Is your art museum having criticalconversations about race? How can thoseconversations be started, fostered, orimproved?6
Racism“I propose that we think of racism asa system of power with four domains”(Hill Collins, 2009, p. 53).What is your current understanding andworking definition of racism?What have been your personalexperiences with racism?A structural domain of powerthat shows how racism as asystem of power is set up, andhow it is organized withoutanybody doing anything.A cultural domain of power thatmanufactures the ideas thatjustify racial hierarchy throughthe media in particular constructing representations,ideas, and stories about race andracism as a system of power.A disciplinary domain of powerwhere people use the rulesand regulations of everydaylife to uphold the racialhierarchy or to challenge it.An interpersonal domain ofpower that shapes racerelations among individuals ineveryday life . where peopleaccept and/or resist racialinequality in their everydaylives.What kinds of emotions, images, andmemories does the term racism triggerfor you?Have you ever felt or exhibited resistanceto acknowledging your complicity withracism? Why do you think racism is adifficult reality to accept?Source: Hill Collins, P., & Simmons College. (2009). Another kind of public education : Race,schools, the media, and democratic possibilities (Simmons College/Beacon Press race,education, and democracy series book). Boston: Beacon Press.7
Racism“I propose that we think of racism asa system of power with four domains”(Hill Collins, 2009, p. 53).A structural domain of powerthat shows how racism as asystem of power is set up, andhow it is organized withoutanybody doing anything.A cultural domain of power thatmanufactures the ideas thatjustify racial hierarchy throughthe media in particular constructing representations,ideas, and stories about race andracism as a system of power.A disciplinary domain of powerwhere people use the rulesand regulations of everydaylife to uphold the racialhierarchy or to challenge it.An interpersonal domain ofpower that shapes racerelations among individuals ineveryday life . where peopleaccept and/or resist racialinequality in their everydaylives.Do your current understanding andexperiences with racism align with any ofthese quadrants? How do thesequadrants expand your understanding ofracism?How is racism related to power? Inconsidering racism as a system of power,who gets the power and who isdisempowered?How have art, material/visual culture, andmedia been used to perpetuate racism?Looking at these quadrants, in what waysis the American art museum complicitwith racism?Source: Hill Collins, P., & Simmons College. (2009). Another kind of public education : Race,schools, the media, and democratic possibilities (Simmons College/Beacon Press race,education, and democracy series book). Boston: Beacon Press.8
Colorblind racism“. an impregnable yet elastic ideologicalwall that barricades whites off fromAmerica’s racial reality—an impregnablewall because it provides them a safe,color-blind way to state racial viewswithout appearing to be irrational orrabidly racist Today there is asanitized, color-blind way of callingminorities niggers, spics, or chinks thelanguage of liberalism ” (Bonilla-Silva,2014, p. 305).Source: Bonilla-Silva, E. (2014). Racism without racists : Color-blind racism and the persistence ofracial inequality in America(Fourth ed.).Have you ever heard of the termcolorblind racism? What is your currentworking definition of colorblind racism?How does the supposedly “well-meaning”intent behind colorblind racism impede orcreate a barrier to addressing thepersistent reality of racism?What is the harm of ignoring or sanitizingracism?How does the supposed neutrality of theart museum mask its perpetuation ofracism?9
Whiteness“. as long as whiteness is felt to bethe human condition, then it aloneboth defines normality and fullyinhabits it the equation of beingwhite with being human secures aposition of power . overwhelminglybecause it is not seen as whiteness,but as normal.” (Dyer, 2002, p. 12).Source: Dyer, R. (2002). The matter of whiteness. In Rothenberg, & Rothenberg, Paula S. (Ed.),White privilege : Essential readings on the other side of racism (pp. 9-14). New York: Worth.What is your current understanding ofWhiteness?How does Whiteness relate to skin color?How does Whiteness go beyond skin color?What is considered normal? What kinds ofassumptions and biases are part of theconstruction of normalcy?How are Whiteness and normalcyinterconnected?How does the American art museumconstruct, perpetuate, and disseminatenotions of Whiteness?10
White Supremacy“In order for white racial hegemonyto saturate everyday life, it has to besecured by a process of domination,or those acts, decisions, and policiesthat white subjects perpetrate onpeople of color . white racialsupremacy revolves less around theissue of unearned advantages, orthe state of being dominant, andmore around direct processes thatsecure domination and the privilegesassociated with it” (Leonardo, 2004, p.137).Source: Leonardo, Z. (2004). The Color of Supremacy: Beyond the discourse of ‘whiteprivilege’. Educational Philosophy and Theory, 36(2), 137-152.What are some of the ways in your lifethat other people hold, control, andexercise power against you? What aresome of the ways that you hold, control,and exercise power against people?What is power? Where does power comefrom?What does it take to maintain power?What is the relationship between powerand dominance?What are the similarities and differencesbetween racism and White Supremacy?11
globalEven with our work within the specific context of the Americanart museum, it is essential to begin our journey of critical praxis withan understanding of our existence within a global community. Wehave constructed so many ways to distance our selves from thesuffering of fellow human beings. It is much easier for us, in an act ofself-preservation, to express outrage at injustice, and to convinceourselves and others that we are part of the solution—or at least thatwe are decidedly not part of the problem. But we are living out thecontemporary and ever-present legacies of historical oppression, andthe choice of whether something is “related” to us or our jobs is notours to make. In Freedom is a Constant Struggle: Ferguson, Palestine,and the foundations of a movement, Angela Y. Davis argues thenecessity to emphasize the relationships and interconnectivity ofglobal social justice movements:We cannot pick and choose which issues are relevant to us,what we decide to advocate for, and what situations we opt out of.Any sense of (opt)ions are mere illusions generated from thecomfortable safety of privileged distance. Challenging the statusquo may not be listed under our job descriptions, but rather thanthinking of one’s professional career and this journey of criticalpraxis as two separate paths, it is a matter of centering ourprofessional practice in purposes and values grounded in socialjustice. As educators in the twenty-first century, we must considerour selves accountable to our larger global community.“One of the things I’ve been thinking about in relation to theneed to diversify movements in solidarity with Palestine is that,the tendency is to approach issues about which one ispassionate within a narrow framework. People do this whatevertheir concerns are The question is how to create windows anddoors for people who believe in justice to enter and join thePalestine solidarity movement. So that the question of how tobring movements together is also a question of the kind oflanguage one uses and the consciousness one tries to impart. Ithink it’s important to insist on the intersectionality ofmovements” (2016, p. 21).Another way I think about this interconnectivity between global socialjustice movements is Audre Lorde’s assertion:“There is no such thing as a single-issue struggle because we donot live single-issue lives” (2007).* We will cover the specific concept of intersectionality more in depth in a later chapter.13
globalWhile studying our connections to the global community, firstand foremost, start from where you are at. We are anchoredby our commitment to anti-racism and social justice butacknowledge that we are all unique individuals, starting ourjourney at different places. Much of this work is aboutmapping and navigating tensions within one’s self, one’sinstitution, and pushing our thoughts and actions to extend tothe larger global community.At times, you may come across content that triggers strongemotions or resistance. That’s great; sit with those emotions,take a breath, and reflect. This workbook is an opportunity foryou to learn this content at your own pace; take advantage ofthis “safety,” be brave, and nudge your self towards greaterdiscomfort and criticality.There is not one right way to go about this work. Mapping andnavigating the global terrain is tied to the ecologies of infinitecommunities but our actions invariably hinge on oursubjective selves. Rather than providing any templates orframeworks to limit the scope of your learning and research,here are some ideas for exercises and strategies to practice: Keep up with global current events. Consider theseevents as symptoms of intersecting systems ofoppression. Trace these events back to theirhistorical contexts and analyze the ways in whichyou are personally connected to them.Research and reflect on the human experience ofdiaspora across the world and over time. How doesthis inform our work as educators in multiculturalcommunities?Track global injustice, human rights cases, andsocial justice movements.Map the objects and artworks in your collection.Without relying on gallery titles andcategorizations, spend time investigating where theobjects in your collection are from and how theycame to be at your museum.14
institutional“Museums have been complicit inthe construction of physical andcultural hierarchies thatunderpinned racist thought fromthe Enlightenment until well intothe twentieth century, in markedcontrast to the inclusionary rolethat many now seek to fulfil There is nothing ‘post’ aboutcolonialism as a view of the worldthat persists” (Lynch & Alberti,2010, pp. 13-14).The Dreamspace Workbook is written to examine,interrogate, and act against the oppressive, racist,hierarchical foundations of the American art museum. Wewill critically examine the art museum and problematizeits status quo of normalcy, and look for ways we can igniteinstitutional change.It is not enough to acknowledge the dark legacies ofour institutional histories and disciplines. We must alwaysremember that these violent and problematic pasts haveignited colonizing, dehumanizing processes that serve asthe foundation of our current practices. It requires morethan noticing, or trying to avoid, things that seem overtlyor blatantly racist. We have to understand that racism isfoundational and fundamental to our institutions,practices, and lives; they are not restricted to the few orextreme exceptions. We need to be more perceptive to theinfinite and intersecting ways that global systems ofoppression infiltrate and determine our actions anddecisions. This influences everything from who gets toenter and participate in these spaces, how we conceiveand engage with visitors and the public, how we thinkabout learning and education, and where we place ourvalues - in objects, or our fellow human beings.We begin this process of reflecting on theconstruction and control of the art museum space in the“let’s take a walk” series analyzing specific aspects ofplace, space, people, voice, and engagement within ourinstitutions.16
institutional“Learning is and can be a value ifwe are aware that learning - whichis pursued by each individual intimes and ways that cannot beprogrammed - is a ‘relationalplace’ that makes us reflect on themeaning of education itself andsearch for new paths in educatingand personal and professionaldevelopment” (Rinaldi, 2001, p. 141).Working in the fields of arts, education, and museums, wehave so much theory, data, and research available for usto study and glean from. While investigating existinginformation is a vital way to pursue further learning, I wantto underline Rinaldi’s call for educators as active agentsconducting their own research, documentation, andreflection. She advocates actively engaging in self-study,learning, and discovery, not passively consuminginformation to program our selves.Alongside this notion of active research and criticalreflection, I want to encourage us to constantly check ourself-awareness on external and personal biases,assumptions, and expectations. Problematize any and allnotions of normalcy and status quo; just because “that’s theway things are” or “that’s the way things are done,” does notnecessarily mean that they are socially-just or equitablepractices. When working on exercises throughout theworkbook, remember that norms, protocols, and behaviorsthat might seem natural for some in the art museum spaceare not obvious and relevant to, or inclusive of, all peoples.In the “let’s take a walk” mapping exercises:1.2.3.4.5.Document!: Take notes, doodle, or snap somephotographs to capture and log concrete visualevidenceBe specific: Back up your ideas with visual andphysical examplesLook twice: Take this as an opportunity to explore yourmuseum with new eyes, and with this new lens ofcritical consciousness in developmentQuestion everything!: Ask yourself and colleagues,“Why is this like this? Who is this for? What is thepurpose? Can this be better?”Over Time: Make these exercises a long-term practiceor habit, not just a one-off!17
let’s take a walk place“Place incarnates theexperiences andaspirations of a people.Place is not only a fact to beexplained in the broaderframe of space, but it is alsoa reality to be clarified andunderstood from theperspectives of the peoplewho have given it meaning”(Tuan, 1979, p. 387).Draw a map of the area surrounding your artmuseum. You can make this as broad or specific asyou wish. Maybe start off with the neighborhoods,sites, and communities within a 3-mile radius, andexpand from there.1.2.3.4.5.6.7.8.9.Reflect on your art museum’s location within ahistorical and national context.Acknowledge the Indigenous peoples whoseland is now occupied. Who lived where the artmuseum now stands?Where do you live in relation to the artmuseum? How do you get to work? What is thepath you take?What are five words you would use to describethe city/neighborhood surrounding your artmuseum?What are the areas of the city that you aremost familiar with? What is attractive to youabout these places?Are there any areas of the city that you havenot yet been to, or avoid? Why?What are five main strengths that yourcity/neighborhood has to offer?What are five key challenges that yourcity/neighborhood is facing?What are the relationships between yourmuseum and its local/regional communities?18
let’s take a walk space“. that this architecturalapparatus should be amachine for creatingand sustaining a powerrelation independent ofthe person whoexercises it ”(Foucault, 1979, p. 201).Examine the physical space of your art museum.Take the perspective of a visitor and imaginewhat they may see or experience.1.2.3.4.5.6.7.8.9.10.What are five words you would use todescribe your art museum?Spend some time analyzing these words.What kinds of meanings and associations dothey suggest?What kinds of emotions does the spaceprovoke?Are there other buildings in your city thatlook like your art museum? What kinds ofbuildings have similar architecture?What kinds of people, businesses, activities,organizations do these buildings contain?What types of experiences does your artmuseum space allow for?How is the art museum organized?Take a moment to analyze the style oforganization/categorization: who came upwith this framework; does/would it makesense to a first-time visitor; whoseperspective does it represent?How is the space controlled and monitored?Is your museum a public place?19
let’s take a walk people“Audiences are never‘others’—they are alwaysvery concrete selves. Inother words, it isimpossible to plan aparticipatory experienceand take steps to make itpublic without alsomaking some assumptionsabout those who willeventually partake in it”(Helguera, 2011, p. 23).Whose identities are represented in the artmuseum? Consider factors including - but notlimited to - race, ethnicity, age, gender, sexuality,ability, socio-economic, religious, and educationalbackground.1.2.3.4.5.6.7.Who are the people who work at your artmuseum? Is there equal representation ofpeople of diverse identities and backgrounds?Who are the artists represented in yourcollection? Who are the people/figuresfeatured in their artworks?Whose stories are being told? From whoseperspective are these narratives constructed?Look for specific examples.What does your visitorship look like? Is yourmuseum consistently attracting and engagingwith people of diverse identities andbackgrounds? Look for concrete evidence.When you think of your art museum’s“audience” and “community” who comes tomind?Who is included in your intended audience?Who is excluded?Is your intended audience reflected in youractual visitorship?20
let’s take a walk voiceWalk through your art museum focusingspecifically on the lens of voice.1.2.“Censorship is saying:‘I’m the one who says thelast sentence. Whateveryou say, the conclusionis mine”(Weiwei, April 2012).3.4.5.6.7.8.What does “voice” mean to you? What does itmean to be able to have or exercise voice?What kind of voice does your art museumpresent? Is it welcoming, friendly, helpful?To whom specifically is the art museumdirecting its voice and message?How many languages does your museumspeak?Is the voice of your museum inclusive todiverse visitors and audiences?What is the art museum saying throughout itsspace and in its galleries?Does your museum ask enough questions? Arethese questions sincere and open to critique?Do they invite genuine inquiry and dialoguefrom the public?Is there a balance between institutional voiceand visitor voice in your museum? Are thereany places where visitor voices arepermanently represented in the museum?21
let’s take a walk engagement“Forging a learning communitythat values wholeness overdivision, disassociation,splitting, the democraticeducator works to createcloseness. Palmer calls it the‘intimacy that does notannihilate difference’”(hooks, 2003, p. 49).Observe what people are doing in your artmuseum. Consider not only their actions andbehaviors, but whether the museum is supportingvisitors with opportunities for engagement.1.2.3.4.5.6.7.8.What forms of engagement would you like tosee in the galleries?What does quality engagement look and feellike for you? What are some behaviorsassociated with this?What are your standards for qualityengagement? Where did this criteria comefrom?What are the things you value in your visitors’art museum experiences?Describe the forms of engagement youactually see in the galleries.What kinds of interpretation and guidedexperiences does your museum provide?Do these opportunities for engagementguide/direct visitors toward certain outcomes,or allow for creative agency?Does your museum encourage both individualand social experiences with art?22
selfThe process of critical self-examination in TheDreamspace Project Workbook was inspired by the essay,“To search for the good and make it matter” by EstellaConwill Májozo. I found this particular section mostcaptivating:“The dream space of the soul is the real terrain thatwe should map. If not, then nothing else that we arefighting for or against has any possibility oftransformation . None of these concerns can betaken on unless they are examined, acknowledged,and confronted within the inner territory of the self,the earth that, in fact, we are. The soul is the seedbedof our actions. Everything that we conceptualize,create, or destroy has its beginnings there” (1995,p.88).I return to this text again and again to reflect on herdescription of what seems like a forgotten harmony andconnectivity between our selves, to one another, and theearth. As I thought about this piece in relation to my workin art museums, an important message emerged. I oftenfind myself in conversations about community outreach,extending the art museum to diverse audiences.The trajectory of speech and perspective is external. WithThe Dreamspace Project, I take the approach that we canonly truly extend our selves as far as we have dared toexamine and interrogate inward; to cast an eye not onlyupon the world and others, but to spend time criticallystudying our selves and the many layers and identities wehold. I have come to realize that the bulk of the “work” wemust engage in is primarily self-work.To pursue critical individual and institutionalpractice, it is essential to turn our outreach inwards; thetransformation of our society is inextricably linked to thetransformation of our selves. It is the many terrains withinthat we must examine and interrogate before we considerany impact on the world. In this section you will findexercises to take you through mapping: personal identity in relation to global systems ofoppressionmuseum road mapon educationroles, responsibilities, and accountabilitycare and fear24
Mapping personal identity in relation to global systems of oppressionTake some time to consider your self in relation to global systems ofoppression. How do these systems work against you? How do thesesystems work in your favor?“There is no such thing as a single-issue strugglebecause we do not live single-issue lives.” - Audre LordeRACISM/WHITE TIVISMRELIGION/FAITHWAR* The factors of identity and global systems of oppression shown above are notmeant to be comprehensive or reductionist, but a way to begin to think aboutour selves in relation to larger social justice issues.SOCIO-ECONOMICCLASSISM/PRIVILEGE25
museum roadmapDraw a road map of your museum experience.Where are you coming from, where have youbeen, what you have seen, and what you havedone? All of these insights and experiencesinform your practice and perspectives.1.2.3.4.5.6.7.8.9.When did you first realize your passion forart? For museums? For education?Where did this journey begin?What are some of the memories you havetied to w
support art museum educators in their journey towards critical consciousness, this workbook will focus on mapping and navigating the terrains of the Dreamspace: global, institutional, and self. Contextualizing our selves in the terrains of the
