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Critical sights/sites: Art pedagogy...

Kosasa, Karen Keiko.

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Critical sights/sites: Art pedagogy and settler colonialism in Hawai'i.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Critical sights/sites: Art pedagogy and settler colonialism in Hawai'i./
作者:	Kosasa, Karen Keiko.
面頁冊數:	368 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0802.
Contained By:	Dissertation Abstracts International63-03A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3044828
ISBN:	0493585680

Critical sights/sites: Art pedagogy and settler colonialism in Hawai'i.
Kosasa, Karen Keiko.

Critical sights/sites: Art pedagogy and settler colonialism in Hawai'i. - 368 p.

Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0802.

Thesis (Ph.D.)--The University of Rochester, 2002.

This dissertation examines art pedagogy—the teaching and learning of art—within the context of settler colonialism in Hawai'i. Drawing from research in several disciplinary fields, including (post)colonial studies, education, anthropology, geography, art history, studio art pedagogy, and the study of indigenous/Native peoples, the education of artists is linked to a history of colonialism and the cultural and visual practices that facilitated it. An important distinction is made between Native peoples and settler-immigrants who reside within the geo-political borders of the United States. A common trait of settlers is their refusal to acknowledge (or their desire to forget) the existence of colonialism in “America.” The work of Hawaiian scholar Haunani-Kay Trask importantly reveals a complex political landscape wherein “settlers of color” collude with the white community to share colonial power,

ISBN: 0493585680Subjects--Topical Terms:

635474
Art History.

Critical sights/sites: Art pedagogy and settler colonialism in Hawai'i.
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245 1 0 $a Critical sights/sites: Art pedagogy and settler colonialism in Hawai'i.
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500 $a Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0802.
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502 $a Thesis (Ph.D.)--The University of Rochester, 2002.
520 $a This dissertation examines art pedagogy—the teaching and learning of art—within the context of settler colonialism in Hawai'i. Drawing from research in several disciplinary fields, including (post)colonial studies, education, anthropology, geography, art history, studio art pedagogy, and the study of indigenous/Native peoples, the education of artists is linked to a history of colonialism and the cultural and visual practices that facilitated it. An important distinction is made between Native peoples and settler-immigrants who reside within the geo-political borders of the United States. A common trait of settlers is their refusal to acknowledge (or their desire to forget) the existence of colonialism in “America.” The work of Hawaiian scholar Haunani-Kay Trask importantly reveals a complex political landscape wherein “settlers of color” collude with the white community to share colonial power,
520 $a Antonio Gramsci's notion of hegemony and Henri Lefebvre's formulation of the relationship between social relations and the “production” of space are used to examine how seemingly innocent aesthetic practices, like the representation of non-Western peoples and territories, have contributed in unforeseen ways to the transformation of Native places into sites of political subjugation. The art curriculum will be examined as a hegemonic, national structure that promotes a narrow definition of art, as well as likened to a national narrative that circulates a vision of the United States as a place of unlimited opportunity. Ironically, while individuality and uniqueness are valorized in the arts, teachers rarely speak to the specificity of student identity. Students are addressed as if they were “universal citizens” unbounded by their race, gender, class, sexual orientation, or national affiliation.
520 $a An important section of the dissertation describes a fieldwork project conducted at the University of Hawai'i at M<overline>a</overline>noa (1995–1997) by the author, a Japanese-American born in Hawai'i, Interviews with students and teachers and descriptions of classroom activities provide crucial information on curricular efforts to include non-Western points of view and non-art material. The final chapter describes an important exhibition by Hawaiian students which severely criticizes the Western orientation of the curriculum, and a compelling photographic series by a Hawaiian artist which prohibits settlers from access to everything Native.
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