Naqi

Vignette Analysis #1: Art, Culture, Identity and Representation Sheza Naqi, 80812118 Instructor: Alexander De Cosson ETEC 532 Section 66B University of British Columbia

Naqi 2 One of my favourite artists, Degas had said, Art is not what you see, but what you make others see. Stacey Friedman, Roger Dane and Sylvia Kind, each used art to explore and teach about culture, identity and representation in unique ways. In this vignette analysis, I will discuss the ways they achieved these objectives and conceptualize how technology can be beneficial in achieving these and similar goals. Friedmans approach explored the intangible and complex ideas surrounding race, power, and privilege through drama and puppetry. With her undergraduate art education class, she created puppets as a means to analyze how racism is viewed in art, and historical issues of racism in education. According to Friedman, The creation, scripting, and manipulation of puppets facilitated exploration of controversial and sensitive issues surrounding race, power relations, and the construction of history (Friedman 2004). It was a challenge for Friedman to develop an approach that did not simply result in students expressing racism is bad but rather promoted critical analysis of the issues. . Dane, Friedmans art student participated in her project by creating a puppet of his ancestor, Frank Cross, who embodied the perspectives of a white, middle-class man from the 1930s. According to his puppets Art Credo, Frank did not see a need for art or art education. It is clear; however, by paying close attention that Danes puppet does in fact appreciate art. Dane believes that artistic pieces must be interpreted. He stresses that the initial artists viewpoint is not implicit. With each viewer, a new voice is created, attesting that cultural attributes and contextual conditions have an effect on the understanding of the art. Similarly, Sylvia Kind views art as an invitation to engage. For her, the artistic objects have no intrinsic significance. Observers must bring their own experiences around the art to create meaning. Kind used textiles to critically explore and examine issues of culture, identity and representation. Kind showcased three examples in the documentary, which examined the social construction of disability, the hidden experiences people carry, and stories about various cultures. Kind needed to ensure that she and her students were familiar with what they were representing in these art forms art because according to Kind, You cant represent things that you dont know (Kind 2004). The three artists attempt to discuss the invisible/intangible and abstract ideas of culture and identity through the visible and tangible art objects. Kind weaves a story with pictures in the form of clothing; and Dane, through puppets, brings dialogue from the past back to life. Using art as tangible signs (something that can be touched and perceived), readers/viewers can then create their own meanings by bringing in their own experiences, attitudes, and emotions about the art pieces. Although it is important to understand the meaning created by the art presentations, it is more important to realize what is not presented through these pictures, videos, and art. For example, we can assume that the prints chosen for

Naqi 3 Kinds dress have been selected for an audience in mind, with a certain message to be conveyed, and to represent what is meaningful to the artist. Likewise, words or stories chosen for the puppets in the puppetry project give rise to an identity, culture, or history that the puppeteers want the puppets to portray; but it also conveys the puppeteers views, ideas, and interpretations of what their puppets past represent or symbolize. In sum, information, in all types of media, is consciously chosen by the artist or author, and is never neutral. Similarly, educators also have the same power. They decide what and how their lessons should be taught. Friedmans reflection on her documentary, Art Education Culture: A puppet based exploration of identity, racism, and responsibility, clearly showed the power of the educator. Although students were producers, creating their own dialogues and representations of their works, it was the instructors voice that was heard in the final product. Friedman admitted that she had cut and edited the film of the puppetry project in response to her own interpretations of what was important and most relevant. She says that even though her voice is really quiet in the documentary, essentially her voice is the documentary. In the attempt to discuss voice, culture, identity, and representation, technology plays an influential role. Although technology can be a tool to represent ideas in ways that allow the invisible and the intangible to become visible and tangible, educators must be aware of their own agenda and of students voices. In addition, students should be made aware of the voices and meanings presented and not presented through technology, art, or text. As well, students should learn and be given the power to disagree, to question, and to critically think about the information and resources they encounter and learn not to just take information at face value.

Naqi 4 References Dane, R. (2004). Rogers Art Credo. Accessed May 29th, 2012. Friedman, S. (2004). Responsibility and representation: Reflection on digital video and puppet-based inquiry. Accessed May 29th, 2012. Friedman, S. (2004). Art education culture: A puppet based exploration of identity, racism, and responsibility. Accessed May 29th, 2012. Kind, S. (2004). Textiles Video Clip. Accessed May 29th, 2012. Artquotes.net. (2012). Edgar Degas Quotes. Accessed May 29th, 2012.