Dipti Desai – författare

This book explores the relationship between social justice practices and the Arts in Education. It argues that social justice practices, at their best, should awaken our senses and the ability to imagine alternatives that can sustain the collective work necessary to challenge entrenched patterns and practices. Chapters display a range of arts-based pedagogies for challenging oppressive practices in schools, community centers and other public sites. The examples provided illustrate both the promise and on-going challenge of enacting arts based social justice practices that can transform consciousness and organize action toward justice and social change. They show the power of arts-based pedagogies to engage the imagination, reveal invisible operations of power and privilege, provoke critical reflection, and spark alternative images and possibilities. They also show the importance of on-going critical reflection for this work with attention to both the specificities of place and the obstacles (internal and external) to maintaining a social justice stance in the face of contemporary neoliberal discourses. This book was originally published as a special issue of Equity & Excellence in Education.

History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art. History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking.Features include: A thought-provoking series of framing essays and interviews with contemporary artists address the pivotal questions that arise when one attempts to think about history and contemporary visual art together. An 8-page, full color insert of contemporary art, plus over 50 black and white illustrations throughout. A Teaching Toolkit covering major themes in U.S. history provides an archive of suggested primary documents, plus discussion suggestions and activities for putting theory into practice. Teaching activities keyed to the social studies and art curricula and teaching standards Resources include annotated bibliographies for further study and lists of arts and media organizations. This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.

History as Art, Art as History pioneers methods for using contemporary works of art in the social studies and art classroom to enhance an understanding of visual culture and history. The fully-illustrated interdisciplinary teaching toolkit provides an invaluable pedagogical resource—complete with theoretical background and practical suggestions for teaching U.S. history topics through close readings of both primary sources and provocative works of contemporary art. History as Art, Art as History is an experientially grounded, practically minded pedagogical investigation meant to push teachers and students to think critically without sacrificing their ability to succeed in a standards-driven educational climate. Amid the educational debate surrounding rigid, unimaginative tests, classroom scripts, and bureaucratic mandates, this innovative book insists on an alternate set of educational priorities that promotes engagement with creative and critical thinking.Features include: A thought-provoking series of framing essays and interviews with contemporary artists address the pivotal questions that arise when one attempts to think about history and contemporary visual art together. An 8-page, full color insert of contemporary art, plus over 50 black and white illustrations throughout. A Teaching Toolkit covering major themes in U.S. history provides an archive of suggested primary documents, plus discussion suggestions and activities for putting theory into practice. Teaching activities keyed to the social studies and art curricula and teaching standards Resources include annotated bibliographies for further study and lists of arts and media organizations. This sophisticated yet accessible textbook is a must-read resource for any teacher looking to draw upon visual and historical texts in their teaching and to develop innovative curriculum and meaningful student engagement.

In this book, the authors’ post-capitalist approach to change focuses less on what we need to dismantle and more on what educators and activists are building in its place. Studying schools and other social organizations in the Global North and South, the authors identify and examine some of the most interesting counterhegemonic spaces in both formal and informal education today. They view these spaces through a lens of what Gloria Anzaldua and Homi Bhabha call borderlands or "third spaces." These third spaces are created in-between our lived cultural and social identities (first space) and the dominant culture that seeks to define us (second space). This book seeks to better understand how these third spaces conceive of learning, how they are created, the range of experiences among them, the obstacles they face, how they are sustained over time, and how they have built global networks of solidarity. The creation of global networks of third spaces not only signals a shift in progressive political strategy but also an expansion of what counts as spaces that are educational.This book is well suited to graduate and upper-level undergraduate courses in politics of education, sociology of education, education policy, as well as the humanities, sociology, political science, and the arts.

In this book, the authors’ post-capitalist approach to change focuses less on what we need to dismantle and more on what educators and activists are building in its place. Studying schools and other social organizations in the Global North and South, the authors identify and examine some of the most interesting counterhegemonic spaces in both formal and informal education today. They view these spaces through a lens of what Gloria Anzaldua and Homi Bhabha call borderlands or "third spaces." These third spaces are created in-between our lived cultural and social identities (first space) and the dominant culture that seeks to define us (second space). This book seeks to better understand how these third spaces conceive of learning, how they are created, the range of experiences among them, the obstacles they face, how they are sustained over time, and how they have built global networks of solidarity. The creation of global networks of third spaces not only signals a shift in progressive political strategy but also an expansion of what counts as spaces that are educational.This book is well suited to graduate and upper-level undergraduate courses in politics of education, sociology of education, education policy, as well as the humanities, sociology, political science, and the arts.

This book explores the relationship between social justice practices and the Arts in Education. It argues that social justice practices, at their best, should awaken our senses and the ability to imagine alternatives that can sustain the collective work necessary to challenge entrenched patterns and practices. Chapters display a range of arts-based pedagogies for challenging oppressive practices in schools, community centers and other public sites. The examples provided illustrate both the promise and on-going challenge of enacting arts based social justice practices that can transform consciousness and organize action toward justice and social change. They show the power of arts-based pedagogies to engage the imagination, reveal invisible operations of power and privilege, provoke critical reflection, and spark alternative images and possibilities. They also show the importance of on-going critical reflection for this work with attention to both the specificities of place and the obstacles (internal and external) to maintaining a social justice stance in the face of contemporary neoliberal discourses. This book was originally published as a special issue of Equity & Excellence in Education.