Color Blindness
An Analysis of Kittanning, Pennsylvania
Last year, I accepted my first teaching job in Kittanning, Pennsylvania. Kittanning is located forty miles north of Pittsburgh, in Armstrong County. Before the first day of classes, I knew that I was entering a rural area. However, as I became more familiar with the student population, I was surprised by the lack of diversity. According to a 2015 census of Armstrong County, residents equaled 67,979 people (“Armstrong County, PA”). From that group, 66,206 individuals identified as White. This represents 97.4% of the total population. 636 individuals identified as African American, and 551 people claimed to be a mix of two or more races. This semester of classes, I have 113 junior high school students. One of these students is African American, one is Asian, and one is a mix of two or more races. Only three of my current students derive from minority racial groups.
When I reflect on the lack of diversity in our school district, I realize that graduating students are not fully prepared for the diversity they will find in their future worldly interactions. Although some will always remain in the sheltered bubble of Kittanning, many students will move away. Within our school community, the students that I encounter certainly harbor biases and stereotypes about minority groups. I hear some of these comments during class time, and sometimes I even see their narrow-mindedness through their artwork.
Desai (2010) describes the current phenomenon of color blindness, which some sociologists consider to be the new form of racism. She claims that, as a nation, we have made progress in race relations since the Civil Rights movement. However, the new approach seems to be avoidance. In schools and society, people tend to avoid the difficult conversations that make meaningful changes. Desai states that colorblind racism includes:
… (1) an increase in covert racial discourses and practices; (2) avoidance of racial terms and claims by Whites that they experience reverse racism; (3) language or “semantic moves” that avoid direct racial references in order to safely express racial views; (4) invisibility regarding the mechanisms of inequality. (p. 23)
Desai explains that White students become offended when they are accused of colorblindness, while colored students often avoid confronting the racism that they experience. By refusing to address the issues involved in race relations, teachers are simply fueling racism. Desai challenges art educators to not tolerate such ignorance in their classrooms.
To confront color blindness, teachers must first understand how it originates in the mindset of young adults. For many, environment plays a key role. If students grow up in an area that is comprised of predominantly White individuals, their exposure to minorities is limited to what they see in the media (Desai, 2010). Desai (2010) concludes, “Many White students’ understandings of difference are based on popular culture and media images…They grew up seeing images and often stereotypes” (p. 24). Many of my rural students only have exposure to minority groups through motion picture or print sources. They shape their views based on media portrayals, not firsthand experiences. To promote cultural diversity, images of racial differences are often standardized as the status quo. Acuff, Hirak, and Nangah (2012) speak of the Master Narrative that dominant groups use to standardize certain historical and social norms. As this group shapes the Master Narrative to their liking, they make omissions, implying that content relating to minority groups is irrelevant or expendable. As students engage with the accepted narratives of society, their racial biases are only confirmed and supported. If our students lack exposure to diversity and only learn the recounts of the Master Narrative, they certainly will not foster an open and accepting outlook towards other races.
Addressing issues of race relations is not a comfortable or simple task. Desai (2010) offers advice to teachers for addressing these topics with students. Racial literacy is essential to the classroom discussion of racial color blindness in the media and popular culture. She describes this method of communication as an interactive process. As students develop the skills to identify and address racial issues, they gain a deeper understanding of the complexities and relationships of race relations. Acuff, Hirak, and Nangah (2012) stress the importance of deconstructing the Master Narrative in our education programs. They state, “Adopting culturally responsive pedagogy establishes a platform for multiple voices to be used in the construction of knowledge” (p. 7). Although most my students are White, it is essential that they develop the skills to approach the content of a lesson from varying viewpoints. They should be able to enter a narrative of history, using the perspective of a member of any racial group.
Whitehead (2008) describes methods of addressing diversity in the context of art. She interviews four artists of color and analyzes their individual tactics to addressing race through their work. She explains, “…diversity can be implemented by including nontraditional, cross-cultural, or controversial art” (p. 33). To fully appreciate the gravity of such works, students need to possess the correct set of analytical skills. Art educators ought to teach their students to criticize and question the mainstreamed norms. They should not simply accept the status quo. Rather, they need to examine the effectiveness of such systems, recognizing when they are oppressive or narrow-minded. Overall, these four female artists agree that art can be a powerful tool in raising awareness to societal issues.
Desai (2010) advocates for the study of contemporary artists in the art classroom. She mentions that some current artists prompt a reevaluation of established ideas of racism. She explains that many artists examining this issue position their work within the context of historical moments. Viewing such works forces students to think about the connection between history, social status, and race.
Desai (2010) advises, “Creating artworks in art classes that speak to the emotional, physical, and psychological toll of racism…can break the silence and pry open dialogue about racial inequalities” (p. 28). As teachers engage students in the difficult conversations about this topic, they are slowly unraveling the color divide in society and schools. To bring diversity into Kittanning, Pennsylvania, art class will be my platform. Through a unit of study, my students will discuss the racial prejudices and stereotypes they encounter in the media, reframe such notions to dismantle their preconceived notions, and create a subsequent work of art.
Subject: Art
Grade Level: Middle School
Estimated Time: 2 weeks
UNIT TITLE: Color Blindness
Enduring Idea or Theme: Diversity
Unit Description:
Within this unit, students will address the color blindness and lack of diversity in our school community. To begin a discussion about the origins of stereotypes, students will watch an episode of ABC’s television show, Black-ish. As they watch, they will make a list of the portrayed or perceived stereotypes of the African American race. Afterwards, students will engage in a discussion about the media’s role in supporting or addressing stereotypes.
In the following lesson, students will view works of art created by Hank Willis Thomas and Kehinde Wiley. These two male African American artists address issues of race and identity in their work. Students will analyze and discuss the successfulness of their artwork in portraying their intended messages and raising awareness to societal issues involving race.
Students will plan a class action to address the lack of diversity in their school. They will poll a sampling of the student population to question the typical stereotypes or prejudices of the group. As a class, they will brainstorm potential uses of art to portray a positive message of embracing differences and renouncing these stereotypes in the school community. Their culminating group projects could take the form of a mural, posters, series of postcards, paintings, etc. However, their work must be accessible to the school population in a manner of their choosing.
References
Armstrong County, PA (n.d.). Retrieved from https://datausa.io/profile/geo/armstrong-county-pa/#education
Acuff, J. B., Hirak, B., & Nangah, M. (2012). Dismantling a master narrative: Using culturally responsive pedagogy to teach the history of art education. Art Education, 65(5), 6-10.
Desai, D. (2010). The challenge of new colorblind racism in art education. Art Education, 63(5), 22-28.
Whitehead, J. (2008). Theorizing experience: Four women artists of color. Studies in Art
An Analysis of Kittanning, Pennsylvania
Last year, I accepted my first teaching job in Kittanning, Pennsylvania. Kittanning is located forty miles north of Pittsburgh, in Armstrong County. Before the first day of classes, I knew that I was entering a rural area. However, as I became more familiar with the student population, I was surprised by the lack of diversity. According to a 2015 census of Armstrong County, residents equaled 67,979 people (“Armstrong County, PA”). From that group, 66,206 individuals identified as White. This represents 97.4% of the total population. 636 individuals identified as African American, and 551 people claimed to be a mix of two or more races. This semester of classes, I have 113 junior high school students. One of these students is African American, one is Asian, and one is a mix of two or more races. Only three of my current students derive from minority racial groups.
When I reflect on the lack of diversity in our school district, I realize that graduating students are not fully prepared for the diversity they will find in their future worldly interactions. Although some will always remain in the sheltered bubble of Kittanning, many students will move away. Within our school community, the students that I encounter certainly harbor biases and stereotypes about minority groups. I hear some of these comments during class time, and sometimes I even see their narrow-mindedness through their artwork.
Desai (2010) describes the current phenomenon of color blindness, which some sociologists consider to be the new form of racism. She claims that, as a nation, we have made progress in race relations since the Civil Rights movement. However, the new approach seems to be avoidance. In schools and society, people tend to avoid the difficult conversations that make meaningful changes. Desai states that colorblind racism includes:
… (1) an increase in covert racial discourses and practices; (2) avoidance of racial terms and claims by Whites that they experience reverse racism; (3) language or “semantic moves” that avoid direct racial references in order to safely express racial views; (4) invisibility regarding the mechanisms of inequality. (p. 23)
Desai explains that White students become offended when they are accused of colorblindness, while colored students often avoid confronting the racism that they experience. By refusing to address the issues involved in race relations, teachers are simply fueling racism. Desai challenges art educators to not tolerate such ignorance in their classrooms.
To confront color blindness, teachers must first understand how it originates in the mindset of young adults. For many, environment plays a key role. If students grow up in an area that is comprised of predominantly White individuals, their exposure to minorities is limited to what they see in the media (Desai, 2010). Desai (2010) concludes, “Many White students’ understandings of difference are based on popular culture and media images…They grew up seeing images and often stereotypes” (p. 24). Many of my rural students only have exposure to minority groups through motion picture or print sources. They shape their views based on media portrayals, not firsthand experiences. To promote cultural diversity, images of racial differences are often standardized as the status quo. Acuff, Hirak, and Nangah (2012) speak of the Master Narrative that dominant groups use to standardize certain historical and social norms. As this group shapes the Master Narrative to their liking, they make omissions, implying that content relating to minority groups is irrelevant or expendable. As students engage with the accepted narratives of society, their racial biases are only confirmed and supported. If our students lack exposure to diversity and only learn the recounts of the Master Narrative, they certainly will not foster an open and accepting outlook towards other races.
Addressing issues of race relations is not a comfortable or simple task. Desai (2010) offers advice to teachers for addressing these topics with students. Racial literacy is essential to the classroom discussion of racial color blindness in the media and popular culture. She describes this method of communication as an interactive process. As students develop the skills to identify and address racial issues, they gain a deeper understanding of the complexities and relationships of race relations. Acuff, Hirak, and Nangah (2012) stress the importance of deconstructing the Master Narrative in our education programs. They state, “Adopting culturally responsive pedagogy establishes a platform for multiple voices to be used in the construction of knowledge” (p. 7). Although most my students are White, it is essential that they develop the skills to approach the content of a lesson from varying viewpoints. They should be able to enter a narrative of history, using the perspective of a member of any racial group.
Whitehead (2008) describes methods of addressing diversity in the context of art. She interviews four artists of color and analyzes their individual tactics to addressing race through their work. She explains, “…diversity can be implemented by including nontraditional, cross-cultural, or controversial art” (p. 33). To fully appreciate the gravity of such works, students need to possess the correct set of analytical skills. Art educators ought to teach their students to criticize and question the mainstreamed norms. They should not simply accept the status quo. Rather, they need to examine the effectiveness of such systems, recognizing when they are oppressive or narrow-minded. Overall, these four female artists agree that art can be a powerful tool in raising awareness to societal issues.
Desai (2010) advocates for the study of contemporary artists in the art classroom. She mentions that some current artists prompt a reevaluation of established ideas of racism. She explains that many artists examining this issue position their work within the context of historical moments. Viewing such works forces students to think about the connection between history, social status, and race.
Desai (2010) advises, “Creating artworks in art classes that speak to the emotional, physical, and psychological toll of racism…can break the silence and pry open dialogue about racial inequalities” (p. 28). As teachers engage students in the difficult conversations about this topic, they are slowly unraveling the color divide in society and schools. To bring diversity into Kittanning, Pennsylvania, art class will be my platform. Through a unit of study, my students will discuss the racial prejudices and stereotypes they encounter in the media, reframe such notions to dismantle their preconceived notions, and create a subsequent work of art.
Subject: Art
Grade Level: Middle School
Estimated Time: 2 weeks
UNIT TITLE: Color Blindness
Enduring Idea or Theme: Diversity
Unit Description:
Within this unit, students will address the color blindness and lack of diversity in our school community. To begin a discussion about the origins of stereotypes, students will watch an episode of ABC’s television show, Black-ish. As they watch, they will make a list of the portrayed or perceived stereotypes of the African American race. Afterwards, students will engage in a discussion about the media’s role in supporting or addressing stereotypes.
In the following lesson, students will view works of art created by Hank Willis Thomas and Kehinde Wiley. These two male African American artists address issues of race and identity in their work. Students will analyze and discuss the successfulness of their artwork in portraying their intended messages and raising awareness to societal issues involving race.
Students will plan a class action to address the lack of diversity in their school. They will poll a sampling of the student population to question the typical stereotypes or prejudices of the group. As a class, they will brainstorm potential uses of art to portray a positive message of embracing differences and renouncing these stereotypes in the school community. Their culminating group projects could take the form of a mural, posters, series of postcards, paintings, etc. However, their work must be accessible to the school population in a manner of their choosing.
References
Armstrong County, PA (n.d.). Retrieved from https://datausa.io/profile/geo/armstrong-county-pa/#education
Acuff, J. B., Hirak, B., & Nangah, M. (2012). Dismantling a master narrative: Using culturally responsive pedagogy to teach the history of art education. Art Education, 65(5), 6-10.
Desai, D. (2010). The challenge of new colorblind racism in art education. Art Education, 63(5), 22-28.
Whitehead, J. (2008). Theorizing experience: Four women artists of color. Studies in Art