Earth Education: Research Synopsis from Studies in Art Education 2012

So I just finished this paper for my art education class.. I am pretty proud of it AND it directly connects to my developing Nature and Culture unit. Some light reading for a snowy Saturday. I will be posting a new lesson later today. Enjoy! 

Ms. Kanak

I once saw a photograph of anonymous writing on a wall. The writing stated, “Earth without ‘art’ is just eh.” In the Spring 2012 issue of Studies in Art Education I read an article that both restates this claim and provides supporting evidence for its existence. Earth Education, Interbeing, and Deep Ecology, written by Tom Anderson and Anniina Suominen Guyas of Florida State University, begins to touch on the very complex subject of who we, humans, are in the broader scheme of nature and our environment. More importantly, Earth Education addresses how we as art educators can motivate students to connect, observe, and create change through building knowledge of “transpersonal relationships” (230).

In the art of our past, humans are depicted as the rulers, the powerful hunters, the gods and goddesses who created the heavens and the Earth; however, the more everlasting reality is the proposed idea of interbeing. Interbeing “suggests we are all one and collectively we are the life force of the planet” (230). Another powerful statement made by the authors, “We are of nature, having evolved on Earth, and it is in our nature to be in relationship to the ecosystems that change us” (230). The oldest cultures and tribes on the planet have respected these ideals and have learned to coexist and thrive in environments many would not think to call home. We are responsible for the preservation and conservation of natural flora and fauna as well as our use of the many gifts the planet has to give.

Anderson and Guyas list Principles and Strategies for Teaching and Learning about Deep Ecology and Art Education (233). The first principle emphasizes meditation, observation, art inspired by senses other than sight, journaling, and other ways to instill “Radical Amazement” (233). Nature, environment, and the senses interact and interconnect constantly; the challenge for educators is making the experience meaningful. The second principle concerns how enabling and encouraging sensual experiences can create empathy and reveal values and emotions. A lesson application for this principle could be having smells bottled and available to students to use as inspiration for a reflective painting or drawing. Smells are directly tied to memory and so could awaken experiences students have ‘stored’ or even repressed. The authors emphasize the importance of using “positive emotionally based possibilities” as opposed to “problems” (234). That being said, we as educators need to be prepared for the more negative experiences or emotions that can also come into play when making students self-aware. Kinesthetic learning, play, and meditation are the focus of principle three. By utilizing the body in art and play experiences, humans can reconnect with nature and the materials that make up the environment. Drawing from previous art making experiences, students will often retain information more effectively if given the opportunity to assign movement to an experience. One example could be teaching students about full-body or kinesthetic painting techniques as practiced by Jackson Pollock and/or Yves Klein. Principle four encourages the “[exploration of] the purposes and consequences of advertising and consumer culture” (236). In our culture of excess, visual information, and symbolism, the importance of visual literacy and the ability to analyze is more important than ever. Those who are not in control of their perceptions and values are often directed by pop culture and the idea of haves and have-nots. Barbara Kruger, AdBusters, and having students research and discuss techniques advertisers use to create stereotypes and desire would all be beneficial for study. Principle five connects to a later principle. The sixth principle provided by the authors states, “Implicit in the notion of interbeing is the understanding that self-realization cannot be attained through heightened attention to the individual ego but must be achieved in relationship with other people, species, living organisms, and even with water, rocks, wind, and earth” (238). In addition, collaborative artwork and emotional bonding are vital to functional relationships, empathy, and sympathy. The authors state people who are more connected to nature “enjoy life more, have deeper relationships through a shared sense of belonging, and more emotional capacity to bond…” (238). By encouraging group projects and collaboration students will have a stronger sense of belonging and can definitely gain knowledge from their peers, positive or negative. The seventh principle introduces the concept of “place-based epistemology” or theory of knowledge as it pertains to ones environment. Strategies used to teach this principle include “observational drawing, video, photography, place-based sculpture, and related art education activities” (238). Students can learn a great deal from studying the history of their hometown, local parks, forests, and other surrounding places. Museums and local architecture are often a wealth of information for both students and educators. Principle eight discusses the importance of “artistic knowing and inquiry" (238). As art educators we are responsible for having an understanding of the relationships between artists and their work. Often the process informs the purpose or vise versa. I have made an honest effort to thoroughly research artists, their processes, their philosophies and personal backgrounds before constructing lessons and objectives. Students are often highly engaged by the backstory of an artist, which can create the connection needed to facilitate deeper learning. The final principle scaffolds upon the previous principles, and covers principle five, and states that Earth Education is interdisciplinary. One important aspect of this principle is the need for student engagement and furthermore student action. Earth Education should encourage students to want to take action, make changes, critically question, and “actively seek[s] harmony and balance for the biosphere” (241). Having students research conservancy, current events, events of personal interest that relate to nature and the environment, and create art that responds or creates action to combat or support these issues facilitates empowered experiences and deeper learning.

Resources

Anderson, Tom, and Anniina Guyas. "Earth Education, Interbeing, and Deep Ecology." Studies in Art Education: A Journal of Issues and Research. 53.3 (2012): 223-245. Print.