Art Through Revolutionary Leadership: Paulo Freire and The

Pedagogy of the Oppressed

and

Instructional Resource for the Art Classroom

for grade levels 6-12

By Marie Max

1

Table of Contents

Page

I. Abstract ..................................................................................... 3

II. Literature Review ..................................................................... 4The outline of Freire's methodology and terms for action, such as generative themes,decoding, cultural synthesis, and critical consciousness.

III. Methodology ............................................................................. 8Action research including, observations, data, and results.

IV. Conclusion .............................................................................. 13

V. Instructional Resource ............................................................ 15Classroom application of dialogic action in a liberally structured artclass.

VI. References ............................................................................... 18

Marie L. MaxAEDU*690*03 (3278) Graduate Ind StudySpring 2010Cognitive and Creative Development

2

Art Through Revolutionary Leadership: Paulo Freire and The Pedagogy of

the Oppressed

By Marie Max

I. Abstract:

Revolutionary leadership is a term used to describe an action for educating the

underprivileged, the objects of oppression. This revolutionary action of overcoming oppression

through education was a life-long commitment by the internationally renowned educational

theorist, Paulo Freire. This action was introduced in the book, The Pedagogy of the Oppressed by

Freire (1970). The revolutionary goal is for the oppressed to lead their lives liberally and in

harmony with the oppressor, without either side sacrificing human rights. The pedagogy

addresses the educational issues of the underprivileged, or de-humanized students, who are living

in what Freire described as a dual reality. The duality is, on one side, the recognized reality of the

oppressor, and on the other, the unrecognized reality of the oppressed. The oppressed, with a

consciously work to transform from being preserved as an object of the dehumanizing oppressive

leaders, to be the subject of humanization and live in a reality that is liberated and functional

between both worlds. Two main points Freire makes are the actions of dialogics and anti-

dialogics. Unlike practicing anti-dialogic action or historically fundamental practices, dialogue in

the classroom, or dialogic action, can help the oppressed recognize their role in society, and

overcome manipulation, make cultural adaptations, and have a critical and creative conscious

awareness of their human existence (humanized liberation).

3

II. Literature Review:

Paulo Freire, having suffered from severe poverty during the Depression Era of the early

1900s, committed his life to working to prevent children from experiencing the pains of hunger.

He was inspired to focus on theories in education due to his realization that there was an

overwhelming lack of social justice in oppressed regions, which greatly contributed to this

problem of hunger. The lethargy from hunger in school prevented children from being educated

properly and, as a result, they remained within the confines of living an underprivileged life and

oppression from dominant forces. The educational system did not address their realities of hunger

and poverty nor did it prepare the children for their realities for the future. Freire's original

methodology was widely accepted by Catholics and supporters of literacy campaigns in the

northern regions of Brazil. However, in the 1960's, there was a military coup and Freire was

arrested because he appeared to be a threat that represented the old government. The scenario is

the oppressed violently overthrew the oppressors and, in turn, became the oppressors themselves.

After his release, he fled Brazil in political exile and began his research for the Pedagogy of the

Oppressed. This pedagogy has been adopted in 16 countries, including the United States, and is

named throughout, The Paulo Freire Institute.

Feire's research for this pedagogy revolves around the idea of Conscientização. The

Conscientização is learning to recognize and identify social, political, and economic dualities, the

contradictions, and procedure to take action to overcome the forces of oppression. This is a

revolution, not through a rebellion, but through a transformation. His theory was that students can

be productive for themselves and their futures if poverty stricken educational environments

convert the anti-dialogic historical curriculum into the reality focused dialogical method. Freire

refers to The Pedagogy of the Oppressed as the 'pedagogy of man' (p.39). He stresses the need for

all people to recognize humanization as well as humanity. The pedagogy is intense in its depth of

understanding and methods of application. To understand Freire's philosophy better, it is

important, as the educator, to understand four factor of what oppression is, who the oppressed and

who the oppressors are, and how it is overcome.

Oppression is the result of incomprehensible human domination of over other humans,

either by physical force or psychological manipulation, which instates poverty and ignorance.

The oppressed are people who have severe hardships resulting from violence, economics, social

restraints, or cultural barriers, due to induced poverty and ignorance. The oppressed are people

who become trapped in a self-deprecating way of life, separated from humanization and exist in

an assumed or supposed reality: a false reality that dissuades freedom, therefore inducing the fear

4

of freedom. The oppressors are people who are dominant in society who enforce the economic or

social restraints, cultural barriers, and at times, the violence that the oppressed experience. The

oppressors, also, do not have humanistic empathy for the underprivileged and manipulate the

provisions for the oppressed, therefore inducing false realities that nurture oppression. Oppression

is overcome, in summary, by co-intentional education between teacher and student to help the

oppressed become aware of the reality of oppression, their own identity, and practice of a

commitment to self-liberation from being oppressed without having a fear of freedom, while both

groups live symbiotically.

The oppressed cannot live without the oppressor, or the oppressor without the oppressed.

The result is a manipulated and veiled version of the reality of culture and human rights. They

become afraid of freedom and acquire, or are ingrained with, fatalistic and self-deprecating

attitudes, thus becoming emotionally dependent. The oppressed are unaware of the extent of

oppression and do not argue to gain more access to freedom from the oppressors, where as,

oppressors, if threatened, argue to keep their human rights. Freire repeatedly emphasizes these

issues in his book; the humanization and dehumanization are contradictions of contradictions and

their order is created out of their disorder. The solution is to simultaneously work with the

oppressor in an ongoing process. To do this means to transform oneself from being an oppressed

object in preserved reality for the non-oppressed and becoming the subject of a non-oppressed

role in a humanistic reality. Freire proposes a pedagogy that enables these students to learn,

through educational methods, how to overcome oppression. This is a gradual, step-by-step

process in an educational environment and needs time to develop in a classroom. It has several

stages within the initial actions: to first, recognize the reality of oppression and make a deliberate

intention of transformation, and second, the commit to the phases of the liberation itself. This is

revolutionary learning.

Freire describes this deliberate intention as 'Intersubjectivity' (p. 131). This is in

contradiction to historic ideas that: the teacher, only, is knowledgeable and the students are

unknowledgeable, the teacher is the narrator and the students are the audience, the teacher is the

depositor and the students are the bank, etc. This is a challenge the anti-dialogic stances by the

historically fundamental educator in a culturally invasive and manipulated thought process. In

order to understand revolutionary learning, the actions need to be defined as follows:

Generative Themes

The methodology is based on generative themes (pp. 75-118). That is, create a curriculum that is

generated by a student's production capability. Students' and teacher's commitment to dialogic

5

action, cooperation, and cultural synthesis is essential for generative learning. In an anti-dialogic

action, the fundamental classroom is a setting where the students' are the objects of cognitive

deposits by the teacher or 'banking' (p. 57). This induces manipulation of information, an invasion

of culture, and a lack of unity within the generative themes. Generative learning is to allow these

oppressed students to integrate his or her independent thoughts on culture, social experience, and

identity into the class curriculum by means of mutual dialogue and interaction with the teacher.

Through mutual dialogue, they begin to recognize their reality.

Decoding

Decoding is the action of engaging in dialogism in the classroom. Consistent dialogue with the

teacher about perceived thoughts is the first step to the recognition of the underprivileged person's

place in reality. Cooperating needs to be a characteristic of dialogical action not the action itself.

In maintaining dialogue that does not manipulate or impose and is non-directional but it is

expressive and can lead to the challenges that the opposed face. The decoding process is a

transformation process. The first step is to recognize issues of false realities and confront them by

committing to the change of one-self. The oppressed need to recognize their viewpoints of the

world, ethics, and behaviors that keep them oppressed. By decoding these thoughts, cooperating

in the engagement of dialogue, the oppressed students can begin to liberate themselves, not to be

in an existing liberated society, but to become existent in liberation, in society.

Action

The students and the teachers are, simultaneously or co-operatively, the subjects and objects

(actors) in the dialogical learning process. The action is to transform the oppressed from being the

objects but rather the subjects by learning through intersubjectivity, reality transformation, and

humanization. In an oppressive environment the teacher is the first the actor and then the subject,

while the student remains the object of the communicated information. The intersubjectivity is

the changing of the object, subject, and acting roles in the classroom. It transforms the action of

the student being the object to the student being, first, the actor and then subject. Reversely, the

teacher becomes the subject first and then the actor. They share a mutual goal to transform from

being dehumanized in oppression to becoming humanized in liberation.

Cultural Revolution

Culture is a population with shared beliefs or values. Revolution is a complete change or

transformation. Cultural revolution is the transformation of the beliefs or values within a cultural

6

invasion, which is a form of cultural superiority and anti-dialogic. For the oppressed, the goal is

for the student to decide what to be creative about and what to search for. Not just in a concrete

way, but also abstractly in time and space.

Unity of liberation

In an anti-dialogic action, the dominant create an environment where the oppressed become

divided amongst each other. In the dialogical action, all oppressed need to unite together in

solidarity to create organization in the actions towards gaining liberation.

Organization

Organization is between different oppressed groups and involves factors such as consistency,

risk, love, and faith.

Cooperation

Cooperation can only be achieved through dialogical action. In an anti-dialogical action,

cooperation is accomplished because of one person obeying the rules of another's decision-

making. In a dialogical action, there is mutual decision-making and mutual action between both

the teacher and the student.

Cultural synthesis:

Synthesis is the act of combining various components into a whole. Cultural Synthesis is the

result of the phases of educational process of dialogical action. Cultural Synthesis is one of

several combined processes such as decoding, actions, and cultural revolution; in conjunction

with cooperation, unity, and organization. This can be applied at a point where the oppressed

students have begun to transition into being free from the self-deprecating thinking, instilled

violence, and lack of hope as a liberated human being. This stage allows the student to become

more familiar with his or her identity, emotions, thought process, application of skills, and ability.

Critical Consciousness:

Critical consciousness is liberation from the fatalistic, or dehumanized, outlook that is ingrained

in the oppressed resulting from social injustices. It is the goal: to freely exist in reality with a)

emotions, b) ethics, and c) view points of the world, d) without violence e) in unity with the

oppressors. This goal is a result of giving the student the opportunity to experience a role in

revolutionary leadership.

7

III. Methodology:

Revolutionary leadership is best understood through 'hands-on' experience. Art classes

incorporating Decoding to Cultural Synthesis were field tested in a boarding school for

government warded and socially restricted, adjudicated teens. They were both male and female

and between the ages 13 to 18 years old. The setting was volatile and the facility was devoid of

instructional or production devices and materials. Many students suffered from an absence of

self-discipline or emotional stability, due to their environmental circumstances. All were abused

and neglected prior to forced enrollment. Modifications and adaptations to the needs of the

students had already been set in place by the facilitators and faculty of the institution. Safety

concerns were of importance. Classes began with no visual or written references. They were

gradually introduced as dialogue increased. The students were given the opportunity to have

some freedom with their own decision-making and transition from one topic or idea to another.

Week one:

The lessons began slightly structured with allowance for individual modification. The

first project's goal was to create wearable art headpieces. The theme was to express themselves as

individuals. The process was to decorate the piece, be authentic, and ensure it could be worn on

one's head. No visual references were provided in order to not culturally influence or invade the

students' imagination. The materials provided were large strips of pre-cut colored paper, assorted

sequins, and glue.

Fashion and Friends. Paper, applique', and magic marker. Student, 2010

8

Most of the students, at first, expressed disinterest in this project. However, they did

participate after we engaged in 'dialogism' (dialogue); we discussed personalities and the freedom

of artistic expression. All who participated changed the criteria in some manner, to suit their own

abilities of understanding how it should be accomplished. They requested colored markers and

staplers, in addition to what was offered. Instead of just creating the headpieces and adding

sequins and such, the students chose to make them personal. For example, some wrote names or

phrases on the pieces and others made them symbolic. As students became more vocal, I could

learn their needs in how to be motivated and, therefore, modify my lessons accordingly. Without

any historical references to abide by, the students felt accomplished due to the allowance of

freedom to introduce their own themes and materials in the process.

The Basketball Fan. Construction paper and foam sheets. Student, 2010

Week two:

The second lesson was about the process of encaustic book covers for hand-structured

sketchbooks. An Abstract Expressionist artist was introduced in order to provide a visual example

of randomness and unstructured looking artwork; an historical condition. Little discussion about

his process was attempted but the students began to ask and we briefly discussed his methods and

personality. They became extremely anxious to start the project. The materials were hole paper,

punchers, fasteners, wax crayons, lamination pockets, and a child safe portable laminating

machine. As a back up for materials, I also provided wallpaper books for patterned or decorative

book covers. This activity was of interest yet was simple enough to allow for open dialogue in its

9

duration of production. They then, began to apply the process of mixing different color waxes

together, through trial and error of output. Most made the sketchbooks, but some chose to hang

their creations as pictures to display or keep as a personal placemat.

Experiment. Melted wax on paper and laminate. Student, 2010

Week three:

Lesson number three was a collage project. Students were provided with scissors, paper,

glue, current newspapers, junk mail, and National Geographic and periodical magazines. The

collage was to be an example of the student and the student's identity. We discussed current

events, music, art, and lifestyles. Some students did not participate. Others participated by

curiously reading the articles. A few chose to do this project directly into their recently created

sketchbooks. The finished results ranged from collages of their societal observations to fantasy

living rooms to personally significant clippings of words, phrases, or images. One student

interpreted the project as layering paper to create a cell phone, another expressed abandonment in

a loosely applied collage. During this lesson, I noticed a 2 dimensional paper mask and a student

proudly announced it was hers. We briefly discussed previous experiences in mask making. She

10

Paper Cell Phone. Collage. Student, 2010 Betrayed. Collage. Student,2010

and some other students requested to do an art project that related to mask making, a project they

had done for a Social Studies class. I offered a different way to make them for our class, in a

three-dimensional or relief forms. We agreed that it would be the next lesson.

Week four:

Students had decided upon mask wall hangings a week before. I participated by including

images of multiple, cultural masks. I also showed the classes an authentic plaster mold replica

from an ancient Mayan calendar. I thought would be of great interest due to the recent notoriety

of the predicted Mayan Armageddon, in the year 2012. This coordinated with Mayan masks and

relief surfaces. The original project of mask making evolved into a new idea of relief molds. The

first stage of materials provided were metal, disposable pie plates, colored pencils, mask

exemplars, and correlating resource materials. In each class, a couple of students were if they

would volunteer to take charge of ensuring the mold's safety. They agreed. The interest was

overwhelming and the project evolved away from the requested mask wall hangings and onto

their desire to design bas-relief surfaces.

Most of the students chose to etch into aluminum plates to form relief surfaces with their

own designs. The colored pencils served a multi-purpose. They were soft enough to bend into the

metal without tearing. It also left behind tones of color. Students were inquisitive and learned a

simple process they could do in their own home with recycled materials. One student was curious

as to what the Chinese symbol of Yin and Yang was for her embossing others experimented with

11

Student/mask::Teacher /Mayan mask Teacher/Mayan Calendar Student/exploration of metallic relief

cutting the tin or making patterns with words or flowers. All of the students that participated

decided to not make masks after all. They all applied applications in bas-relief style with the

option of making a mold from it in the future. They participated nearly in full and were extremely

proud of where their own creative ideas, with some requested guidance from the teacher

regarding process, had led them. This was the last of my visits to the school and the

administrators were provided with simple instructions for teachers on how to complete the project

by pressing self-drying clay into the surfaces created by the students.

Results:

I divided the criteria for measuring progress of the students into four categories; dialogue

and participation, participation only, dialogue only, and neither participation nor dialogue. Data

has been estimated to the nearest percentage due to the fact that, daily, some students were not

present or a new student joined the class. Observation and activity was based on seven, 45 minute

classes per week with an average of ten students per class, each meeting once per week. On a

percentage scale about 50% of the students engaged fully for the first project. The others engaged

in 20% to 25% for the other three categories. The percent of students who engaged in full

participation and dialogue increased weekly by an estimated 10% to 15% per week. As the

percentages in this categories increased, the percentages in the other three categories mostly

decreased by 5% each week. The Dialogue Only category reduced to less than 1% by week four.

There was a steady 10% of neither participation nor dialogue in the second and third weeks of art

classes. The percentage of students in this category did, however, decrease during the fourth week

during their personally selected application of ideas and materials.

12

DIALOGUE - INTERACTIVE STUDENT CENTRIC DISCUSSION (BETWEEN TEACHER AND STUDENT)

PARTICIPATION - DESIRE TO BE ACTIVELY INVOLVED IN PROJECT(S)

Total student/teacher interaction: one class a week per student (about 70 students)

.

IV. Conclusion:

While not all the students participated, many of them had much to offer in terms

revealing their own identity in the art classroom and interests of what they would prefer to learn.

The few who did not participate spoke negatively about themselves, behaved negatively with

violence and anger, or voluntarily remained isolated from the groups. These students were new to

the institution and time will allow for their transition into liberation from their oppressive pasts.

Some students displayed less severe behavioral problems, as expected with being a new and

invasive person in the classroom. Very calmly and without frustration, I let them know the reality

of their behaviors; e.g. age appropriateness or disrespect for others physically or with supplies

and materials that would result in intervention protocol. Others were simply rude. For example,

13

when a student began to interrupt class, physically and verbally, during the initial engagement of

student/teacher dialogue, I offered this student the opportunity to switch roles with me. At first,

these students would appear dissatisfied with my presence, but ultimately, became friendly and

open to dialogue and participation.

By applying this pedagogy in an art classroom, it created an affect on students; they

began identifying their interests, expressed their hopes, and revealed their intentions in society in

the future. Gradually introducing additional material that was related to the students' topics of

choice created more interests and newer ideas. This also encouraged students' desires to discuss

other cultures and history. The classroom became a 'revolving door' of information from both

teacher and student. I also acknowledged each and every student, if not by name, by gently

patting their shoulder while complimenting on their efforts. I sat with students at the tables and

discussed topics relating to them and my ignorance of some of these topics while they were

working on activities. The students gained independence by being the initiators of the lessons and

how they would proceed, therefore gaining a strong interest, absorbing the information, and

processing the knowledge through creativity. As the teacher, I learned what the students needed

and how they needed to learn it, which in a way, made me dependent upon their participation.

More time spent with these students would have made for an accomplished curriculum with much

to learn for an art educator in an oppressed environment.

In closure, the finished projects varied in a range, from critical issues to creative

applications, depending on individual students and capability of production. This is pedagogy is

for critical, creative, and radical teaching. Freire believed that it will, without a doubt, be

misconstrued as an anarchist method. Revolution is normally perceived as rebellion but in this

cause, it means self-transformation, which is clearly defined in the book. The Pedagogy Of The

Oppressed serves as an encyclopedia for understanding, in detail, the background of the

oppressed and the oppressors, habits of mind, and the methodology of interrelated processes. This

pedagogy is not for the sectarian institution or traditional educator. It requires strict commitment

to the liberal, non-definitive, and dialogue based methods, that are outlined by Freire. The process

is a long and continuous one for students and teachers for the ultimate goal of revolutionizing the

psychological path to leading a life of human freedom.

14

V. Instructional Resource:

Revolutionary Leadership through the Art Classroom

for students grade levels 6-12

Expressing thoughts through collage. Student, 2010

History

Revolutionizing a classroom to be student centered for an oppressed environment is a

process that takes several weeks to establish. With modification in the teacher's role, the overall

intention is to practice the method of students and teacher symbiotically learning and teaching

each other in order to achieve the cultural synthesis and consciousness of individual identity.

Cultural Synthesis is a process that is married to the same philosophy in the art classroom. By

allowing the students to be free with their own identities and processes in the creative

productions, they will then become interested in exploring others ideas. The teacher becomes the

observer, acknowledges students abilities, and discovers with the students, a manner in which

they can cognitively, creatively, and effectively have a productive unity. Several classes are

needed to set-up and build a comfort zone for students. As dialogue grows, students become more

vocal about taking leadership in how they wanted to learn about art. In adapting to their needs or

15

desires, one student initiated modification leads to another. More students begin to become

involved in learning the process of being the independent initiator of their creativity. This

pedagogy is not for every teacher, is specifically designed for victims of social injustices or

oppressions, and is a radical, dialogical method that requires both student and teacher

commitments.

Goal: Create works of art through mutual learning.

Essential Question: Can revolutionary or liberal learning be applied in the art room?

Studio Application:

The students productively create art in a mutual learning environment between teacher

and student. In the creative freedom that the students use to progress, the art class teacher can still

met the educational standards for art and humanities with the inclusion of multidisciplinary

applications. Initially, provide small activities that can be produced while engaging in dialogue

regarding various issues, initiated by students. There should be plenty of dialogue between the

teacher and student and a sharing of ideas and interests. Begin with an absence of historic

documentation or visuals. Gradually introduce visuals related to topics of discussions and

activities. After several studio sessions and activities, students and teacher create a comfort zone

by engaging in dialogue. When students' independent thought processes begin, they will then

decide on the style of art they would like to produce. They create through voluntary decision

making in an involuntary situation. Students take ownership of their ability to learn how to

improve skills in craftsmanship, processing ideas, and applying creative elements with a desire to

learn more. The result is production of artwork in a student-centered classroom that is motivating

for students suffering from having limited interests.

Objectives:

Students will:

Improve cognitive skills by engaging in dialogue

Develop cognitive skills by independently selecting projects

Develop motor skills through unrehearsed applications of materials

Improve psycho-motor skills by exploring stages of evolution in ideas and processes

Create a work of art

16

Procedure:

1. Upon first meeting students, introduce project that is slightly goal specific with plenty of

room for modification. Give students the option to participate.

2. Begin dialogue with students.(sit with them, participate, answer their questions,

compliment them).

3. Discuss students' histories, achievements, knowledge, and interests.

4. Repeat in each class until students begin to reveal their interests and take leadership in

what they want to learn and choose a project.

5. Introduce materials and related resources for selected project. Introduce materials that

may somehow relate to the topic or idea that was selected.

6. Offer students opportunity to be leaders of tasks: e.g. overseers of equipment or materials

7. Let students choose what direction they want to go with their projects and processes in

conjunction with the available materials, clay or plaster, scissors, etc.

Suggested Materials and Resources:

Recycled materials: lids, cartons, tins

Wallpaper books, Assorted papers: card stock, construction, foam

Assorted materials: beads, sequins, wiggle eyes, etc.

Glue: Elmer's, Tacky

Scissors

Colored pencils, Colored Markers, Paint and brushes

Visual references, Tactile examples of cultural art pieces

Assessment Suggestions:

*Rubrics with behavioral modifications and adaptive methods

-Participation in discussion, Individualized creative process

Safety concerns: Exacto blades

Time : 50 minutes per class, 16 weeks

17

VI. References:

Freire, P. (1970). The pedagogy of the oppressed (M. Ramos, Trans.) .New York: Seabury Press.

Smith, M. K. (1997, 2002) 'Paulo Freire and informal education'. The encyclopedia of informal

education.

Retrieved March 1,2010 from http://www.infed.org/thinkers/et-freir.html

Paulo Freire Institute UCLA (2010). Retrieved from http://www.paulofreireinstitute.org/

*Special Thanks to the staff and students at St. Mary's Villa for Children

18