How to Navigate this Site

 I've created this website in blog format so it would be easy for viewers to navigate. Everything is located on the home page according to the title. Each section is based on a different topic on culturally responsive teaching including resources, citations, and other texts. The posts are in the order of when I published them, but it helps to start with the Overview post and the culturally responsive video, then explore from there I apologize for the way the posts look before you click on them, but they should be formatted the right way when you click on them so don't be alarmed. I hope you found this useful to you and enjoy reading my work.

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References

                                                                                    Reference   Anti-racist art teachers - terminology . Google Sites: Sign-in. (2021). Retrieved June 2, 2022, from                                     https://sites.google.com/view/antiracistartteachers/anti-racist-art-resources/terminology Culturally responsive teaching . New America. (n.d.). Retrieved June 2, 2022, from https://www.newamerica.org/education-policy/reports/culturally-responsive-teaching/ Davis Publications Inc. (2019, September 10). School Arts Magazine Oct 2019 page 18 . School Arts Magazine OCT 2019 Page 18. Retrieved June 2, 2022, from https://lsc-pagepro.mydigitalpublication.com/publication/?m=60985&i=616226&p=18&fbclid=IwAR36PCkaSILhx03XwT0xNrfUoY_DZLQNfcADRf8aig9-DjBlB2vicL-5rIM&ver=html5 Givens, J. R. (2021). Blackness and the Art of Teaching. In  Fugitive pedagogy . introduction, Harvard University Press. Goldstein, D. (2014).  The teacher wars: A history of Americ
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Teaching a Wide Range of Artists

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  When teaching culturally responsively, it is important to use activities that are also culturally responsive. As an art teacher I can do this in many ways. One example is to include lesson plans based on a range of artists that different students can identify with. In my career as an art student, I often noticed that the art history cannon we studied in my classes was very unrepresentative of anyone other than white men. We rarely studied women artists, bipoc artists, and barely even brushed up on eastern culture. This made it clear to me that the curriculum that the university and most all of the art history in my surveys that I took were biased, and not culturally responsive at all. As an art teacher, I do not want this to be the case in my classroom. I don't want a student to be deterred from art because they don't know any artists with similar customs and cultures to them. Art is a way people represent themselves and teach each other about their lives.     There is a grou
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Overview of Culturally Responsive Teaching

      In chapter three of Dana Goldstein's Teacher Wars, the author talks about a teacher by the name of Charlotte Forten. Forten came from a family of free African Americans and eventually used her privilege and knowledge to become a school teacher. For a while, Forten taught on the island of St. Helena. While she was there, her goal was not only to teach the formerly enslaved people but to instill in them a sense of racial pride. She was teaching to be culturally responsive. Forten filled her lessons with the history of the Haitian revolution and referenced poets dedicated to her cause such as John Greenleaf. She wanted to inspire her students, and teach them something most relevant to them (Goldstien, 2014, p. 49-51).     In Jarvis R. Givens book, Fugitive Pedagogy, the author identifies what Carter G. Woodson defines as fugitive pedagogy: "Learning as a means for escape" (Givens, 2021, p.3). Originally, Woodson was meaning escape from slavery and or captivity, however
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