Conflict Kitchen and Enemy Kitchen: Socially Engaged Food Pedagogy

Shin, Ryan; Bae, Jaehan

doi:10.1080/00393541.2019.1640501

Cited by 5 publications

(3 citation statements)

References 40 publications

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“…They consider contemporary artworks as sites of artistic knowledge and learning environments where audiences can perceive, interpret, and reflect on their art experiences to construct meaningful connections and develop self-knowledge. Some art educators have considered or implemented rhizomatic learning when teaching and learning about and through contemporary art (Garoian, 2012;Irwin et al, 2006;Jove & Farrero, 2018;O'Sullivan, 2006;Poling et al, 2012;Shin & Bae, 2019;Wilson, 2003;Wiebe et al, 2007). The rhizome learning theory is a contemporary mode of knowledge and a culture model based on the theoretical framework of French philosophers Gilles Deleuze and Felix Guattari (1987).…”

Section: A Pedagogical Model: Contemporary Art and Rhizomic Learning ...mentioning

confidence: 99%

Arts & Culture: Content, Context, and Pedagogy

2022

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In her village Zhang Yi Gui was known for embroidering traditional baby shoes. Embroidered flowers for girls and embroidered tigers for boys. Based on my experience in the United States (US) I did not expect to find such a large teaching collection of folk art associated with an art and design school. Over the course of my work in China I discovered other art and design schools, such as the Central Academy of Fine Art in Beijing, with similar teaching collections.Listening to Zhang Yi Gui's story I could not help but be cognizant that over the course of Zhang Yi Gui's life she witnessed multiple cultural, social, and political changes in China. Born not long after the abdication of the last Qing emperor, she saw the rise of the Communist party, the Japanese occupation of China from 1931 to 1945, a civil war, famine, the Cultural Revolution, and the global recognition of China's growing economic and cultural influence.From 2007 through 2019 I co-directed, with Kristin Congdon, a project associated with the documentation and interpretation of China's cultural heritage. This project, titled ChinaVine, had as its mission to educate English-speaking/reading children, youth, and adults about China's cultural heritage. This project, first initiated in partnership with Shandong University of Art and Design's Folk Art Research Institute, was based on a collaborative methodology, including extensive fieldwork, in which scholars in Art Education and Folklore from China and the US cocreated content for the project's website. It was within the context of this project that I met Zhang Yi Gui. The project would expand significantly over the next twelve years to include additional Chinese and US scholars engaged in collaborative field work in Beijing, Shanghai, Hangzhou; in rural Guizhou, Inner Mongolia, and Yunnan provinces; and the Garzê Tibetan Autonomous Prefecture in Sichuan province. The scholars associated with the project were careful to include examples from among China's fifty-six ethnic groups. While initially focused on the traditional arts such as embroidered shoes, papercuts, dough toys, puppets, kites, jewelry, clothing, paintings, and New Year woodblock prints, the project expanded to include contemporary art informed by tradition. In this regard extensive field work was conducted in the former farmers' village of Songzhuang, located east of Beijing, that was rapidly transforming into a contemporary artists village.

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Section: A Pedagogical Model: Contemporary Art and Rhizomic Learning ...mentioning

confidence: 99%

Arts & Culture: Content, Context, and Pedagogy

2022

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“…136-137) These discursive spaces that set power in a "flux" by allowing the exchange to fluctuate, evolve, and fail could be described as spaces for "becoming pedagogy", as developed by Shin and Bae (2019), who-like Thompson-refer to Guattari's (1987) notion of "becoming" to elaborate ways to reverse the alienating processes of division generated by the influence of modernism. Gablik (1995), Lacy (2010), Kester (2011), Thompson (2015, and Shin and Bae (2019), agree that we collectively need to re-learn how to experience the self as relational-connected and integrated with its environment and community-through verbal ex-changes. Therefore, group conversations are major spaces of experimentation of new ways of relating with each other that are compassionate, caring, and politically revolutionary.…”

Section: Literature On Socially Engaged Art As Theoretical Frameworkmentioning

confidence: 99%

“…As explained previously, the literature reviewed emphasized how a conversational space can lead interlocutors to start experiencing their self as relational in the condition that power relationships in this space are constantly re-negociated between the interlocutors themselves (Gablik, 1995;Lacy, 2010;Kester, 2011;Tompson, 2015;Shin & Bae, 2019). In this sense, suggesting a form of previously elaborated conversational organizing would disrupt this relentless movement of modes of expression, enunciation, and reception; thus, disempowering students.…”

Section: Developing Local Consensual Knowledge To Foster a Sense Of A...mentioning

confidence: 99%

Au milieu des bureaux empilés (In Between Desks)

Verviers

2021

RAE

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This paper analyzes the socially engaged art project Au milieu des bureux empilés and investigates if it can be possible to create open discursive spaces within schools for students to collectively develop conversations about the education system and their experiences of schooling. The article outlines one possible framework to do so and focuses on investigating the repercussions of these open discursive spaces in schools were students shared instances of lack of care. It explores how the developed conversations might have the potential to foster a certain sense of agency and of community within participatingstudents.

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