Dorothy Dunn and the Art Education of Native Americans: Continuing the Dialogue

Eldridge, Laurie

doi:10.2307/1321077

Cited by 16 publications

(6 citation statements)

References 9 publications

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“…The importance of works such as Remembering Others: Making Invisible Histories of Art Education Visible (Bolin et al, 2000) cannot be overstated. Several art education historians are expanding this discourse to include 'other' voices and histories in the literature (Acuff, 2013;Acuff et al, 2012;Ashton, 2010;Eldridge, 2001;Slivka, 2011;Stankiewicz, 2013;White, 2001). Mary Stokrocki (2000) rightly calls for more inclusion of female and Native American voices, and Peter Smith (1999) calls for attention to be paid to the art education histories of the American Southwest.…”

Section: Discussionmentioning

confidence: 99%

“…Enchanted by the "primitive" way of life of Native peoples, these individuals looked to Native American cultures as a source of societal and spiritual renewal (McLerran, 2009). Many began promoting Native American arts as a way to salvage a supposedly dying Indian culture and bring much needed money into Native communities (Eldridge, 2001). Dunn also promoted the primitivist idea that Indian art needed to be preserved so it could serve as a basis for a new American aesthetic (Eldridge, 2001).…”

Section: Dorothy Dunnmentioning

confidence: 99%

“…Many began promoting Native American arts as a way to salvage a supposedly dying Indian culture and bring much needed money into Native communities (Eldridge, 2001). Dunn also promoted the primitivist idea that Indian art needed to be preserved so it could serve as a basis for a new American aesthetic (Eldridge, 2001). For a thirty-year period beginning in 1919, Pedro DeLemos echoed this aim in his editorial work and writings in the publication of School Arts Magazine (White, 2001).…”

Section: Dorothy Dunnmentioning

confidence: 99%

“…Dunn's art teaching, exhibition of her students' works, and publications helped to codify ideas about Native American identity as well as Native American painting and its authenticity for both Native peoples and non-Natives (Eldridge, 2001). She did not make room for her students' views on spirituality, ceremony and prayer, as she seemed to see these important aspects of Native American life as traditions of the past and not part of the creation of new art forms.…”

Section: Dorothy Dunnmentioning

confidence: 99%

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An Indigenous Reframing of Art Education Historical Research: Acknowledging Native American Spiritual Values

Eldridge

2018

Journal of Cultural Research in Art Education

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Including historical art education curricula for Native American students in art education history has potential for assisting decolonizing efforts and expanding art education historiography with new insights. The 1934 art education curriculum framework titled “Art for the Schools of the Southwest: An Outline for the Public and Indian Schools,” written by Mary-Russell Ferrell Colton, is an example of what the author calls salvage education, the underlying concept of which was to rescue Native American cultures. This is compared to efforts of early art educators Reel and Dunn to ‘save and improve’ Indian art through instruction to Native American students. These ideas are intertwined with the history of suppression of Native American religions. Colton’s curriculum has not been previously examined in the field of art education history. This article continues to decolonize art education historiography through Indigenous reframing, particularly in reference to Native American spirituality.

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Section: Discussionmentioning

confidence: 99%

Section: Dorothy Dunnmentioning

confidence: 99%

Section: Dorothy Dunnmentioning

confidence: 99%

Section: Dorothy Dunnmentioning

confidence: 99%

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An Indigenous Reframing of Art Education Historical Research: Acknowledging Native American Spiritual Values

Eldridge

2018

Journal of Cultural Research in Art Education

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“…Dunn's art teaching, exhibition of her students' works, and publications helped to codify ideas about Native American identity as well as Native American painting and its authenticity for both Native peoples and non-Natives (Eldridge, 2001). She did not make room for her students' views on spirituality, ceremony, or prayer, as she seemed to see these important aspects of Native American life as traditions of the past and not part of the creation of new art forms.…”

Section: Dorothy Dunnmentioning

confidence: 99%

Borderless: Global Narratives in Art Education

Shin

Hutzel

2022

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All rights reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, or other electronic or mechanical methods, without the prior written permission of the publisher, except in the case of brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests, write to the publisher. This anthology crossed many borders in bringing together the research and voices of seven different countries, including five languages. It was no easy feat, and we (Ryan Shin and Karen Hutzel) are thankful to many who were a part of this journey. While we were co-editors of the Journal of Cultural Research in Art Education, the topic of Borderless: Global Narratives in Art Education became the theme of the third and final edition of the journal under our editorship. The idea to connect to countries across the world was Ryan's, and he reached out and engaged the editors of all the journals represented in this book and a few more that did not make it into this book. As this project took hold into a book, our vision was to capture the voices of the journals that also ran issues within this theme into one place in order to best represent and archive a global perspective on art education. In all of this time, we relied on the expertise of our editorial assistant, Elle Pierman, who started as a graduate student at Ohio State and editorial assistant to the journal and finished with us as editorial assistant and contributing editor to the book. Elle's organizational acumen, willingness to learn, incredible editing expertise, graphic design abilities, and general ability to really make it happen through difficulties might be the only reason this book has come to fruition! We can't thank her enough for her commitment to us, to this project, and to the field. Within the timeframe of all of this, she earned the title Elle Pierman, PhD, and we are thrilled to have her as a colleague. As well, we are so thankful to the editors of the contributing journals first for agreeing to produce a journal issue under this theme and second for then agreeing to work with us and their authors to republish journal articles selected as chapters in this book. Their contributions to this task were immense, requiring a lot of back and forth, further editing, coordination of authors, and in some cases, translation into English. Thank you to

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Learning Spaces: A Historiography of Art and Design Education inCanada and theUnitedStates

Funk

2019

The International Encyclopedia of Art and Design Education

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This history of the histories of art education in Canada and the USA is configured according to Richard Cary's questions as to who receives art instruction, who gets what kind of instruction, who decides, who is favored, and who is not served. Histories of art and design education in Canada and the USA are mapped to bring out their relation to: (1) formal schooling and higher education and the hierarchies of education and training; (2) art and design education outside of formal educational institutions (families as educators; museums, libraries, and popular culture; issues of race and gender); and (3) mass media and communications where formal and informal art and design education have emerged in new virtual spaces.

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Dorothy Dunn and the Art Education of Native Americans: Continuing the Dialogue

Cited by 16 publications

References 9 publications

An Indigenous Reframing of Art Education Historical Research: Acknowledging Native American Spiritual Values

An Indigenous Reframing of Art Education Historical Research: Acknowledging Native American Spiritual Values

Borderless: Global Narratives in Art Education

Learning Spaces: A Historiography of Art and Design Education inCanada and theUnitedStates

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