Before my comments on this section of the book I wanted to share something about "Sentipensante'. As the book mentions this word is taken from a book by Eduardo Galeano, "The Book of Embraces", and I was curious. So I found the book and want to share the entire quote with you all.
from page 121 CELEBRATION OF THE MARRIAGE OF HEART AND MIND Why does one write, if not to put one's pieces together? From the moment we enter school or church, education chops us into pieces; it teaches us to divorce soul from body and mind from hear.The fishermen of the Colombian coast must be learned doctors of ethics and morality, for they invented the work 'sentipensante", feeling-thinking to define language that speaks the truth.
On to the pages.
I feel much of this writing is about curating and/or is in a very real sense curators talking about curators. Image you had the power to be a large scale curator. What or whom would you show? Would you include yourself? What is your intent? Who do you want to come to the exhibition? What is the title of your show?
When I had this responsibility I quickly learned I needed to leave the museum, to literally leave my office and go out into the city. To see studios, and because my larges exhibits were on the history of West Texas music I had to go out and listen to music, learn the history and respect the unwritten rules of that society. How do you leave your classroom?
Describe your tribe.
I am a military brat. A very loose yet exact group of kids who grew up moving from base to base. We were always the outsiders, yet at instantly at home on the base. Our language is of other places we have lived and what was 'cool' then /there. I could and still can quickly some up the social standing of a group of people. I have learned to make friends easily and say good bye just as easily. These traits are not shared by all but by most or so the books tell me. It is the name I call myself.
Monday, September 30, 2013
Monday, September 23, 2013
September 29, "Vision, Space, Desire" pages introduction - 68
We now switch from looking in to having the opportunity to listen to new voices from life experiences that are outside of our worlds. Or so I think, you may surprise me again. I not know of anyone in this class who has lived as a Native American but I would not be surprised if one or more of you have worked with or are close friends with an artist that could be in this book.
The writings in this book are from a series of talks/presentations at the 1995 Venice Biennale which is a reason why they at first sound very formal. Just keep reading. I have found certain pages that I had to re-read 3 or 4 times to pick up on the subtle references. As someone who has spent most of my adult life in the southwest respecting what I saw of Native American art and slowly learning to see past the stereotypes and marketing images I found surrounding me on every trip to Taos or Santa Fe, the book is refreshing and challenging. I keep wondering what mistakes/misconceptions leading to larger missteps have taken part in or be witness to.
I love how this book brings up questions on curating. How the assumptions I was trained to honor when I was a museum curator are very limiting and very white/euro-centered. I knew it, but it never hit home like the first part of this book. As such ( and I truly accept that I may be the only one moved this way but the advantages of being the "teacher" is I can decide certain things) we are going to take an extra week with this book. So watch the posting.
After you read this first section, just share your response to all, any of it. Good, indifferent, mad, glad or whatever. I want to know what you think about the issue of Native American arts, artists.
The writings in this book are from a series of talks/presentations at the 1995 Venice Biennale which is a reason why they at first sound very formal. Just keep reading. I have found certain pages that I had to re-read 3 or 4 times to pick up on the subtle references. As someone who has spent most of my adult life in the southwest respecting what I saw of Native American art and slowly learning to see past the stereotypes and marketing images I found surrounding me on every trip to Taos or Santa Fe, the book is refreshing and challenging. I keep wondering what mistakes/misconceptions leading to larger missteps have taken part in or be witness to.
I love how this book brings up questions on curating. How the assumptions I was trained to honor when I was a museum curator are very limiting and very white/euro-centered. I knew it, but it never hit home like the first part of this book. As such ( and I truly accept that I may be the only one moved this way but the advantages of being the "teacher" is I can decide certain things) we are going to take an extra week with this book. So watch the posting.
After you read this first section, just share your response to all, any of it. Good, indifferent, mad, glad or whatever. I want to know what you think about the issue of Native American arts, artists.
Tuesday, September 17, 2013
Sentipensante, chapters 5,6,7
As we finish reading this incredible book I want to encourage you to read with your heart more than just your eyes/mind. Especially in chapter 6, take time to ponder one section, one paragraph that challenges you or delights you.
In Visual Studies we are often asked how do we know our undergrad students are "good". This is a trick question leading to more assessments and more rules. it seems for them to take two state tests, and complete 6 weeks of student teaching under very watchful eyes, not to mention get JOBS is not enough. We had to come up with another "internal " evaluation. This is the nature of education. This is what this book is about.
A story story on validation. My sister is in NM with her father in law. They decided to try water color at ages 89 and 62 for the week they will be there. I love the idea and helped with the gathering of supplies, a couple of good books on the process and a few tips. Mainly they are having fun and exploring. When she told her sister in law what they were doing she replied "when does the play do come out?" I was insulted for them. How dare you smash a dream with 7 little words. Then I realized that I know I have been just as mean and unthinking with others...especially in grad school. This leads to why I so use Helen Klebesadel's 3 questions when it comes to critique: What surprised you? What impressed you? What are you caring away with you? And if there is time: do you want feed back and if so , on what? A much better way to invite a dialog.
So, for this week, after lots of reading, please share a traditional way of learning you received from your family. An example would be my family's tendency to tell stories or parables to be exact.
In Visual Studies we are often asked how do we know our undergrad students are "good". This is a trick question leading to more assessments and more rules. it seems for them to take two state tests, and complete 6 weeks of student teaching under very watchful eyes, not to mention get JOBS is not enough. We had to come up with another "internal " evaluation. This is the nature of education. This is what this book is about.
A story story on validation. My sister is in NM with her father in law. They decided to try water color at ages 89 and 62 for the week they will be there. I love the idea and helped with the gathering of supplies, a couple of good books on the process and a few tips. Mainly they are having fun and exploring. When she told her sister in law what they were doing she replied "when does the play do come out?" I was insulted for them. How dare you smash a dream with 7 little words. Then I realized that I know I have been just as mean and unthinking with others...especially in grad school. This leads to why I so use Helen Klebesadel's 3 questions when it comes to critique: What surprised you? What impressed you? What are you caring away with you? And if there is time: do you want feed back and if so , on what? A much better way to invite a dialog.
So, for this week, after lots of reading, please share a traditional way of learning you received from your family. An example would be my family's tendency to tell stories or parables to be exact.
Sunday, September 15, 2013
Tuesday, September 10, 2013
"Sentipensante" chapter 3,4
Thank each of you for your responses to the reading and to each other. For those of you that are just now receiving your books, catch up when as soon as you can. Post on this weeks site, remind us that you are catching up. It is easier than going back and forth between due dates.
When reading allow yourselves time to re-think education...all of aspects of school. Why are classes from 8-4? What would happen is they were from 10=2 with afternoons for special work sections? Somehow distributive education has successfully done this for years. Why are classes 55 minutes long? What happens when the lesson is not finished or the kids what to continue working on a project? I ask these questions because I believe it is too easy to accept the "way it is" as the "only " way it can be.
Once, while attending a conference at Naropa University in Boulder, CO, I learned of a wonderful school that celebrated the curiosity of the students. The example given was of a group of young kids who were interested in the game Monopoly. So the semester followed the history of the game. then what did it take to make a game from the art to the math, how do you market a game or patten a game? Finally they created their own game. In the process dozens of side adventures were shared. Just imagine how much fun you would have with this project or any project that was based on what the students wanted to learn not on what a test says they need to learn. The joy is that everything needed for a "test" was covered but it was covered in a way that was connected and engaging.
Now on to Chapter 3,4.
I love the idea of difrasismo, because it aids in my re-thinking, allowing me to accept new connections, new joining of thoughts. Try one. Share with us.
If you have no contemplative time or practice in your day, consider taking a 5 minute walk outside or sitting in a quiet area for 5 minute of silence. Just try for a week.
How many opportunities were you ever given for "re-dos" in art? Have you ever attempted to re-create a work after you received some advise or hopefully a dialog with trusted friends? Do you allow yourself the time to think again and again about a work? Do you work over or recycle work?
Finally, the lesson of the moon journal delighted me on many levels. I love being surprised by my own slow learning curve.
Enjoy the readings.
When reading allow yourselves time to re-think education...all of aspects of school. Why are classes from 8-4? What would happen is they were from 10=2 with afternoons for special work sections? Somehow distributive education has successfully done this for years. Why are classes 55 minutes long? What happens when the lesson is not finished or the kids what to continue working on a project? I ask these questions because I believe it is too easy to accept the "way it is" as the "only " way it can be.
Once, while attending a conference at Naropa University in Boulder, CO, I learned of a wonderful school that celebrated the curiosity of the students. The example given was of a group of young kids who were interested in the game Monopoly. So the semester followed the history of the game. then what did it take to make a game from the art to the math, how do you market a game or patten a game? Finally they created their own game. In the process dozens of side adventures were shared. Just imagine how much fun you would have with this project or any project that was based on what the students wanted to learn not on what a test says they need to learn. The joy is that everything needed for a "test" was covered but it was covered in a way that was connected and engaging.
Now on to Chapter 3,4.
I love the idea of difrasismo, because it aids in my re-thinking, allowing me to accept new connections, new joining of thoughts. Try one. Share with us.
If you have no contemplative time or practice in your day, consider taking a 5 minute walk outside or sitting in a quiet area for 5 minute of silence. Just try for a week.
How many opportunities were you ever given for "re-dos" in art? Have you ever attempted to re-create a work after you received some advise or hopefully a dialog with trusted friends? Do you allow yourself the time to think again and again about a work? Do you work over or recycle work?
Finally, the lesson of the moon journal delighted me on many levels. I love being surprised by my own slow learning curve.
Enjoy the readings.
Monday, September 2, 2013
"Sentipensante" Introduction, chapters 1,2
This is a hard book for me to read because it is so close to what I believe. I read one line and want to just sit and ponder and dream and remember and question. Question everything, question myself, question the way I teach, question the way I share and question the way I was taught.
One definition of sentipensante is taken from fishermen off the Colombian coast, meaning "defining language that speaks the truth (Galeano 1992). I love that idea/ideal of truth or at least the little slice we each are allowed to witness.
As we read this book I ask each of you to just respond. You may not be moved as I am and that is OK. You may be moved move and that is also OK. Take time to think beyond the usual and allow your inner learner to accept new ways of being. Share you thoughts on teach reading.
A few questions to consider as begin:
How does transforming fit into an educational model that celebrates rigor and references from accepted scholarship? Is there a test for transformation? I ask this half in frustration from a weekend of mandatory Lab Safety Test. Not that the information is not needed but the format of trick questions and no feed back on how I missed a question or what I was confusing within my answers is mean spirited. How do we learn if we are only told we are wrong?
When/how have you felt different? You do not need to share more than you are comfortable with sharing in this online format but again take time to think about the issue. When have you felt left out of the lesson(s)?
A short story. Many of you know that Ed Check and I work together on a great many things. This partnership began when I was in his education class and we were studying some feminist arts. I countered what he presented. He asked why/how and I explained because I knew the women he was talking about and the quotes were out of context and misleading. He accepted me on the spot as a co-teacher. It did not matter that he had a PhD and held the title of professor . He could have (as other professor did) not believe me, dismiss me assuming I was lying or simply resent me. But something else happened: the class became about sharing. It was about learning. I have tried to follow this lead ever since.
Finally, I suggest we think of this semester as a journey towards a dream pedagogy. For each of us, as individuals, as classmates and as educator.
One definition of sentipensante is taken from fishermen off the Colombian coast, meaning "defining language that speaks the truth (Galeano 1992). I love that idea/ideal of truth or at least the little slice we each are allowed to witness.
As we read this book I ask each of you to just respond. You may not be moved as I am and that is OK. You may be moved move and that is also OK. Take time to think beyond the usual and allow your inner learner to accept new ways of being. Share you thoughts on teach reading.
A few questions to consider as begin:
How does transforming fit into an educational model that celebrates rigor and references from accepted scholarship? Is there a test for transformation? I ask this half in frustration from a weekend of mandatory Lab Safety Test. Not that the information is not needed but the format of trick questions and no feed back on how I missed a question or what I was confusing within my answers is mean spirited. How do we learn if we are only told we are wrong?
When/how have you felt different? You do not need to share more than you are comfortable with sharing in this online format but again take time to think about the issue. When have you felt left out of the lesson(s)?
A short story. Many of you know that Ed Check and I work together on a great many things. This partnership began when I was in his education class and we were studying some feminist arts. I countered what he presented. He asked why/how and I explained because I knew the women he was talking about and the quotes were out of context and misleading. He accepted me on the spot as a co-teacher. It did not matter that he had a PhD and held the title of professor . He could have (as other professor did) not believe me, dismiss me assuming I was lying or simply resent me. But something else happened: the class became about sharing. It was about learning. I have tried to follow this lead ever since.
Finally, I suggest we think of this semester as a journey towards a dream pedagogy. For each of us, as individuals, as classmates and as educator.
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