fatmaduru

[fatmaduru]

References;

Archer, L. (2007) 'Social justice in schools: Engaging with equality', in J. Dillon and M. Maguire (eds), Becoming a teacher: issues in secondary teaching, Berkshire: Open University Press.

Archer, L., et al. (2007a) "University's not for me — I'm a Nike person': urban working-class young people's negotiations of 'style', identity and educational engagement', sociology, 41(2): 219-237.

Ball, S. J. (1993) Education Markets, Choice and Social Class: The Market as a Class Strategy in the UK and the USA. London: British Journal of Sociology of Education

Barker, M. (1981). The new racism. London: Junction Books.

Bourdieu, P. (1984) Distinctions: A Social Critique of Judgment of Taste. Cambridge: Harvard University Press

Bourdieu, P. and Passeron, J.C.(1977) Reproduction in Education, Society and Culture. Beverley Hills: Sage

Bowles, S. and Gintis H. (1976) Schooling in Capitalist America : Educational Reform and the Contradictions of Economic Life. London: Routledge and Kegan Paul

Crozier, G. (2001) Excluded Parents: The deracialisation of parental involvement [1], Race Ethnicity and Education, 4:4, 329-341, DOI: 10.1080/13613320120096643

Dan Cui (2017) Teachers’ racialised habitus in school knowledge construction: a Bourdieusian analysis of social inequality beyond class, British Journal of Sociology of Education, 38:8, 1152-1164, DOI: 10.1080/01425692.2016.1251303

Department for Education (2013) National curriculum in England . Accessed December 1, 2020: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/335186/PRIMARY_national_curriculum_-_English_220714.pdf

Department for Education (2016) Educational Excellence Everywhere. Accessed December 1, 2020: https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/508447/Educational_Excellence_Everywhere.pdf

Dyer, R. (1977) Gays and Films, London; British Film Institute

Falk, J.H., Dierking, L.D. (2018) Learning from museums. 2nd Edn. London; Rowman & Littlefield Publishers

Francis, B. and Perry, E. (2010) The Social Class Gap for Educational Achievement: A Review of the Literature. RSA Projects

Freire, P. (1970/1996) Pedagogy of the Oppressed, London: Penguin

Garner, S (2007) Whiteness: An Introduction,Oxon: Routledge

Gillborn, D. & Mirza, H. (2000) Educational Inequality: mapping race, class and gender. A Synthesis of Research Evidence (London, Office for Standards in Education).

Gilmore, A. (2013) Cold spots, crap towns and cultural deserts: The role of place and geography in cultural participation and creative place-making, Cultural Trends, 22:2, 86-96, DOI: 10.1080/09548963.2013.783174

Gilroy, P. (1990) “The End of Anti-Racism.” In Race and Local Politics, edited by Wendy Ball and J. Solomos, 191–209. Basingstoke: Macmillan.Goldberg, D.T. (1994) Multiculturalism Oxford: Blackwell

Hall, Stuart (1990) “Cultural Identity and Diaspora.” In Identity, Community, Culture, edited by Jonathan Rutherford, 222–237. London: Larence & Wishart.

https://www.viaartsprize.org/exhibition/viviana-troya/

Hunt, W. (2019) Negotiating new racism: ‘It’s not racist or sexist. It’s just the way it is.’ Media, culture & society, 41(1), pp.86–103.

Iggulden, A. (2014) Silent Speech in Barrett, E. & Bolt, B. (2007) Practice as research : approaches to creative arts enquiry, London: I. B. Tauris.

Kelly, A. (2009). The curriculum theory and practice (6th ed.). Los Angeles, [Calif.] ; London: SAGE.

Priestley, M. (2017) ‘...two decades of neoliberal policy have generated a cupboard-full of troubles’ (Ryan, 2012, p. 23). The STeP Journal: Student Teacher Perspectives, 4 (3). pp. 42-49.

Reay, D. (2001) “Finding or losing yourself?’: working-class relationships to education’, Journal of Education Policy 16(4): 333-346.

Rennalls, S. (2020) Creativity can help heal Britain's divided society. Accessed on March 5th 2021. Available at: https://www.theguardian.com/commentisfree/2020/nov/15/creativity-can-help-to-heal-britains-divided-society?CMP=Share_iOSApp_Other

Saatchi Gallery (2020) Grayson Perry. Accessed December 7 2020: https://saatchigallery.com/artist/grayson_perry

Savage, M. (2003) ‘Review essay: A new class paradigm?’, British Journal of sociology of Education, 24(4): 535-541.

Shain, F (2013) Race, nation and education: An overview of British attempts to ‘manage diversity’ since the 1950s. Education Inquiry, 4(1)

Shain, F. (2020.) Race matters: confronting the legacy of empire and colonialism. British Journal of Sociology of Education, 41(2)

Sniderman, P. & Piazza, T. (1991) The New Racism. American Journal of Political Science, 35(2), pp.423–447.

Solomos, J. (1989). Race and racism in contemporary Britain. London: MacMillan Educational.

Stanley, T. (2011) Contesting White Supremacy: School Segration, Anti-racism and the Making Chinese Canadians, Vancouver: UBC Press

Upcyclist (2017) Cross stitched metal objects by Severija Inčirauskaitė-Kriaunevičienė. Accessed December 6 2020: https://www.upcyclist.co.uk/2017/03/cross-stitched-metal-objects/

Via Art Prize (2018) Viviana Troya. Accessed on December 5 2020. Available at: https://www.viaartsprize.org/exhibition/viviana-troya/

Ways of Looking PDF document Tate Papers, Autumn 2004, Contemporary Art and the Role of Interpretation, Helen Charman and Michaela Ross Download from http://www.tate.org.uk/search/charman

Weintraub, L. (2003). Scoping an Audience pp. 16 – 17. In Weintraub, L., Making Contemporary Art: how today

[fatmaduru]

My Artwork

This tiring yet enjoyable process had come to an end. It will take its final shape in 288 on Wednesday. My plan to curate my artwork is to place it onto a white wooden block and take pictures of it. I hope everybody will be able to read the meaning behind this artwork.

[fatmaduru]

My artwork

The soft texture of the egg box made it impossible to drill holes on it, therefore I used a needle to make holes. I also used a square plaque to make patterns onto the eggbox which made it easy for me to follow the patterns. I finally turned the picture of flags into a cross stitch pattern which was time-consuming, but I enjoyed every moment of this process.

[fatmaduru]

The social class gap for educational achievement: a review of the literature

Emma Perry and Becky Francis, 2010

In this article, Perry and Francis argued that although policymakers are increasingly focusing on ‘closing the gap’ in educational achievement through adopting strategies that aim to arise this either through raising aspiration or diversifying the market, are both flawed. They advocated that innovative ideas are needed in order to close the social class gap in the educational arena.

Perry and Francis also highlighted that the strategies are used to locate the problem exclusively with working-class families who are blamed for the lack of aspiration, fundamentally irresponsible, unmotivated, unambitious and underachieving. Surely, the strategies are used in a way to stigmatise these families who are classed and racialised. The strategies place a great emphasis on individual problems and the problem of working-class underachievement is placed within these statements as a mainly cultural problem.

Schools in the UK are ‘classed institutions’ (Archer, 2007; Savage,2003) that ‘valorise middle-class rather than working-class cultural capital’ (Reay,2001;334). As Archer et al. (2007a) has pointed out that while middle-class children experience a smooth transition between their own-life words and the societal institutions around them, working-class children experience disjuncture and alienation. Also, Reay (2001) in his book called “Finding or losing yourself?’, argued that working-class children are constructed by the education system in respect to what they lack which result in making them feel worthless as well as educationally inadequate, therefore these children are asked to silence their ethnical identity (lose themselves) and perform a more overtly middle-class identity in order to survive within this stratified system.

[fatmaduru]

My artwork development

I will first paint the outside of the egg-box in black. In the second picture, you can see how Severija uses a drill to make holes in a metal object in order to apply cross-stitch embroidery on its surface. So, I will use the same technique to drill holes outside of the eggbox. Finally, my plan to decorate the fabrics with cross-stitching techniques to reflect minority students’ background.

[fatmaduru]

New racism

Barker,1981

Blackness as a race was originated from colonial racist ideology in which new meanings has attached to the colour of people (Garner, 2017). Race as a tool was used to maintain racial hierarchy in the age of conquest and exploration. This colour classification and categorisation leads black identities to be subjected to normative and regulative set of rules who are locked in particular identities (Hall, 1990). Their subjectivities are reduced to a few essential, simple characteristics which are made them appear natural and inevitable (Dyer, 1977). This ideology was central for the maintenance of symbolic and social colonial order over its Other which still persists in today’s racialised world and has a big impact on white-black relations.

However, my argument is that this explicit and traditional form of racism has been replaced by an undercover form of racism, new racism. It is more dangerous, subtle divisive, indirect, procedural and in particular more ostensibly non-racial (Hunt,2019). In this worldview, racial prejudice appears as socially undesirable which leads new racism to not appear as racism (Sniderman and Piazza, 1991). According to Barker (1981;25), new racism refers to a ‘struggle to create a new common sense’ in which this common-sense deploys culture to categorise people accordingly. This colour-blind ideology leads people to elude accusations of being racist through benefiting from an indirect and disguised way of expressing it.

Simply put, while colonialism uses the colour of people to categorise people, the new racism uses culture to magnify differences between people and nations. For example, Margaret Thatcher’s speech in 1978 enacts new racism without using the word ‘race’:

‘That is an awful lot, and I think it means that people are really rather afraid that this country might be swamped by people of a different culture. The British character has done so much for democracy, for law, and done so much throughout the world that if there is any fear that it might be swamped, then people are going to be rather hostile to those coming in (cited in Solomos, 1989, p. 129).'

Thatcher eluded the accusation of being racist by not having to employ racist language (Solomos,1989). Moreover, Thatcher’s concept of culture refers to an essentialist, reductive and absolutist understanding of culture that is used as a vehicle to separate people off from each other and fix the minority people’s subjectivities in stereotypical contexts rooted in their culture (Gilroy, 1990). Surely, this strategy causes new racism to be unnoticed and ignored as it is very difficult to identify as racism.

[fatmaduru]

Art is more than what we see on the surface; it is all about building on an awareness of what could be different in society. I do not have the power to change the stratified structure of the education system in the UK, but my artwork reflects my stance on this issue that aims to raise the awareness of educators. The meaning behind my artwork is our reality and I hope it will not go unseen like our struggles.

[fatmaduru]

Criticality in the art and learning

Being critical in creating artwork is vital as the artwork that I intend to create is to give voice to minority children who are expected to adopt a middle-class identity to survive in the educational arena. In my artwork, I argue that the implementation of accountability measures and neoliberal policy in education become classed and racialised in some way; while the ‘one size fits all approach limits minorities’ chances of success, let middle-class children flourish.

I aim to raise the awareness of educators about what other curriculum strategies can be embedded in the classroom to make lessons tied to minority students’ ability and interest instead of forcing them to follow the same pathway that the oppressor finds appropriate for all (Freire, 1970/1996).

[fatmaduru]

Communities of Learning

Falk and Dierking, 2000

Falk and Dierking, in this article, identified museums as socio-cultural environments, representing a community of practice in which social interaction during the museum experience such as sharing an interest with others, listening to other visitors’ conversations as well as interacting with the staff and skilled interpreters plays an important role in facilitating and making the experience meaningful. In other words, social interaction during a museum experience is a way for individuals to connect and find meaning which plays a critical role in shaping the museum visit through personalising this experience and facilitating the visitors’ efforts to find meaning, make a connection to a particular exhibition and learn.

Falk and Dierking also pointed out that museum experience facilitates visitors’ free-choice learning which could result in significantly better practice, but also supports their access to cultural and social resources and capital, in particular those who do not regularly access to them.

[fatmaduru]

Creativity can help to heal Britain’s divided society

Rennalls, 2020

Rennalls argues that creative arts are essential that enable people to be with each other in humanity instead of division by allowing societies to see the beauty in diversity and ethnic difference.

In this article, Rennalls highlighted the term ethnocultural empathy. The term refers to the ability to understand and share the feeling of individuals from different ethnic groups. Surely, the lack of ethnocultural empathy affects people who are not being empathised with which in turn results in these individuals feeling devalued, invalidated, and dehumanised. Rennalls argued that the Black Lives Matter movement played an important role in shifting the lack of ethnocultural empathy. She believes that this is largely based on people’s integration with the creative arts during the lockdown which enables personal connection to black people.

[fatmaduru]

'The art key to enabling differnt ethnic groups to empathise with one another, especially in these difficult times'

(Rennalls, 2020)

[fatmaduru]

Sourcing Inspiration

Weintraub, 2003

The reading explores the different ways of inspiring experiences which awaken inspiration in artist and jumpstart their creative engines. Weintraub (2003) argues that the inspiring experiences serve as originating sparks that supplies the compelling power which in turn results in the artwork to be exhibited residues of that inspiring experience.

My inspiration for my research question mainly comes from my personal experience. However, instead of focusing on the obstacles that arisen during my children’s educational experiences, I prefer to use it as a starting point to awaken inspiration driven by resistance and anger. I also look at a variety of contemporary artists whose artworks allow me to form my final piece or in other words to elevate influence to inspiration.

[fatmaduru]

'If we are looking at creative people as problem solvers...in fact creative people are more problem posers a lot of the time because if you think about it they're always trying to bring something new into the world... and we're always looking at ways of approaching the same problem from many differnt ways, divergent thinking, a term that Ken Robinson used'

Dr Miranda Matthews

[fatmaduru]

Annette Iggulten, from the series Psalmody:'Why- do they shut Me out of Heaven? Did I sing-too loud? 2000

‘Silent’ Speech

Iggulden, 2104

In this reading, Iggulden (2014) highlights the ways in which the creative practices of writing, changing the words into images and copying the words of others provide the artist with an alternative mode of speech and of being heard and seen. Iggulden argues that the non-verbal language in the paintings provides new ways of hearing and looking for the voices of women who speak from within silence. This alternative mode of speech is used by the artist to articulate her experience of silence and give a voice to all women who are judged socially as a body without a voice. In other words, the artist implements different creative practices together to deflect attention away from women’s body and speak through writing directly onto the surface of the canvas. I love reading about Iggulden’s journey from word to image and find it fascinating. Creative practices have the power to enable the silenced utterance to be spoken and heard.

[fatmaduru]

Tate: Ways of Looking-Hooper-Greenhill, 2000

A personal approach: the personal, social experiences, fundamental differences, people around us, family, culture and the environment affect the way we see art and give meaning to the art.

Looking at the subject: analysing an artwork to find out what is the message that the artist wants to convey through its title, content and theme.

Looking at the object: every work of art has its own intrinsic qualities. We need to look at the work of art formally to understand its qualities. Looking at the physical properties (colour, shapes, space and so on) of the work of art will enhance our understanding of the object.

Looking at the context: the information about the work of art such as when and where the work was created and the information about the artist who created it, will affect our interpretation.

I was not able to able to attend the trip to Tate. Therefore, I will try to reflect on the reading. ‘Ways of looking’ helped me to understand how I need to look at and understand the art. I understood that I need to pay more attention to the art’s physical properties to deepen my understanding. Although the artwork statement that is an artist’s written description of their work gives the viewer an understanding, the viewer’s interpretation can be completely different. As they may attach different meanings to the same artwork in relation to their different cultural stance, social class, gender and so on.

[fatmaduru]

My second sound walk took place in South Norwood Lake. In Croydon, 50,7 % of residents are from black and minority ethnic backgrounds which can cause Croydon to be given status as ‘Crab town’, the term produced by Idler (2005 cited in Gilmore,2013) However, as Gilmore (2013) highlighted each person plays an important role in contributing the culture of the place where they leave. In Croydon, a range of cultural tradition exists which provide a unique identity and characteristic to the town. Although they are mostly invisible or not recognised in relation to their supposedly wrong kind of cultural capital, they are central as many as the creative middle classes in shaping Britain’s culture and art.

[fatmaduru]

My Listening passport-Butler, 2006

My sound walk took place in Croydon high street, I usually use this route to do the shopping and mostly, as many people in Croydon, I am in a hurry. This unplanned walk made me immersed in the community of Croydon and led me to communicate with people without speaking. There are usually street musicians in Croydon, but I have never listened to them in a way of combining the music with my thoughts and outside noise. As I wandered the street aimlessly, the stories mixed with my own thoughts. I thought about when I first came to England; I did know English, I had fewer responsibilities as I did not have any child at that time, and I had more time to listen to myself. The sound walk is a way of escaping the shackles of fixed place and time for me. In that time, I neither checked the time and worried about getting late for the school run nor thought of what I would cook for the dinner. I did not just listen to the outside sounds; the walk heightened my senses. I saw and listened to things in a very different way.