Book Review - Arts for Change: Teaching Outside the Frame

"Arts for Change: Teaching Outside the Frame" by Beverly Naidus (Oakland, Calif.: New Village Press, 2008). Click here to view an excerpt in PDF.

“Arts for Change: Teaching Outside the Frame” is just the sort of book that reassures socially engaged educators that they are not alone. Part memoir, part historical narrative, part resource guide, Naidus’ book summons in an accessible and easy-to-read format her experiences, challenges and advice from years of working in the field. Through this very personal account, Naidus asks us to pinpoint the critical figures and moments in our own lives. Who are those educators that taught us to learn? What are the ideas that give our practices theoretical grounding? And what social values ensure that our work stays rooted in the fundamental proposition of change?

Referring to her book as “an annotated road map,” Naidus first guides us through the theoretical and historical touchstones that have oriented her practice as an artist and teacher. Contemporary socially engaged artistic practice has drawn force from many thinkers and historical movements. Pointing to the role of the artist in ancient and indigenous societies, the programs of the WPA (Works Progress Administration) in the 1930s, and the stultifying influence of the avant-garde during the Cold War period as critical turning points, Naidus shows that there has been a long history of alliances between artists and social activists, and not always in the places we most expect. For example, WPA programs such as the Federal Theater Project legitimized the connection between the interests of working people and those of artists. While this legitimation became a threat to the status quo and led to the programs’ dissolution, the alliances forged were carried forward by the artists of that generation and formed the baseline for the next.

Accordingly, the social movements of the 1960s and 70s brought forward the re-emergence of the artist as social agent. It was during this time that Naidus shaped her creative practice in relation to feminism, the antiwar movement, environmentalism and, eventually, progressive education theories. What all of these movements — and Naidus’ involvement in them — have in common is that they advocate, implicitly or explicitly, a politics of pedagogy that fundamentally shifts the power dynamics between student and teacher, haves and have-nots, oppressor and oppressed.

While tediously detailed at times, Naidus describes her approach, including the successes and challenges encountered throughout her teaching career, and addresses the critical questions that the engaged educator faces in his or her endeavors. How do we integrate history, theory and practice in the classroom? How do we engage students from many backgrounds in dialogue with each other, and how do we mitigate the conflicts that arise? What are the successful strategies for encouraging students to make political art that is neither simplistic nor overly didactic?

Naidus has been lucky to work in settings, such as Goddard College, the Institute for Social Ecology and most recently the University of Washington Tacoma, where interdisciplinary coursework was encouraged to some degree. While generally housed under the arts, the educational work of Naidus and her colleagues is, by nature, interdisciplinary; key to interdisciplinary work is collaboration across fields. “Arts for Change” could benefit from articulating the challenges of working across sectors, as this is increasingly becoming no small part in the field of socially engaged arts and the radical education that accompanies it.

It is in guiding her students through personal transformation that Naidus appears most adept; equipping students with the tools for social change involves a process of challenging assumptions and facing fears that leaves the individual (both student and teacher) fundamentally changed. In order to produce a critical response that is constructive instead of reactionary, this probing is necessary. The student work peppered throughout the book shows the multitude of directions her students have taken the challenge to be socially and politically engaged citizens through their art.

How do we translate this personal transformation into community-wide and societal change? The key is in the formation of the individual as an agent of change, as one who can view society through a critical lens and simultaneously feel empowered to proactively create alternatives. While Naidus no doubt instills these qualities in her students, the process of fomenting change on a larger level is not where the heart of the book lies and is thus glossed over. The implication is that individual transformation is social change, and that the artist/educator is uniquely situated to instigate that personal development. There is an opportunity here to integrate the theories discussed at the beginning of the book into the conclusion, which focuses on Cuba as well as the author’s place of residence, an island in the state of Washington, as microcosms for the issues raised. However, we are left to bridge the gap ourselves, as we decide how to conscientiously move forward in our own practices.

The focus on higher education in this book means that some artist-educators, particularly those working in community-based settings, may feel left out of the discussion. However, keep reading: The practitioner profiles in Chapter 5 describe the work of a wide net of peers from differing backgrounds who have taken a variety of approaches and have chosen to carry out their pedagogical and social missions in many disparate settings. If Naidus’ personal narrative does not resonate with you, you may draw inspiration from at least one of the 31 artist/educators whose stories are included. Their contact information is also generously provided, enabling the conversation started in the book to be carried forward by its readers.

Whether Naidus’ story is close to your own or not, the resources gathered are quite useful. From the practitioner profiles to the “Other Practitioners, Programs and Hubs of Useful Information” listed in the appendix, there are plenty of avenues to explore and groups to become involved with. For further reading, the “Socially Engaged Art Bibliography” offers contemporary as well as historical writings that delve further into the terrain traversed in the book and Naidus’ life. This book offers an important glimpse into the personal development of one engaged artist/educator who seeks to keep growing through her dialogue with others, colleagues and students alike.

Anusha Venkataraman is based in Brooklyn, N.Y. Her work focuses on engaged artistic practice as a tool for community development. She has worked with arts organizations, educational programs and artist collectives in New York and Providence, R.I., and is currently a Master’s Candidate in City and Regional Planning at the Pratt Institute.

Original CAN/API publication: April 2009