C palmer and his art for culturally responsive instruction essay

Major HBR cases concerns on a whole industry, a whole organization or some part of organization; profitable or non-profitable organizations. To make a detailed case analysis, student should follow these steps:

C palmer and his art for culturally responsive instruction essay

Community Engagement Teacher Preparation and Development Too often, we think of arts education as a luxury in our schools. In fact, my research has shown that culturally responsive arts education that fosters relationships and respect between teachers and an increasingly diverse student body is one of the best tools our schools have in engaging and inspiring students.

I began my career as an arts educator in a remote district in northern California. I taught in a small unified school district that bordered one of the geographically largest American Indian reservations in the state.

Most of the children from the reservation attended these public schools. I spent my mornings in the elementary school and my afternoons in the high school.

Like many reservations, it was very isolated and economically depressed.

Engaging Students with Culturally Responsive Arts Education

I quickly noticed that many of our students began slipping through the cracks, becoming increasingly disengaged with the educational process, starting around fourth or fifth grade. As a white teacher, I began to wonder: Curriculum and Context We lived and taught in a beautiful place with a troubled history.

A shared land base and a common lifestyle belied the almost total loss of four heritage languages and amalgamation of six distinct tribal life ways, including artistic production. Many young people from the reservation saw themselves more as members of the broader community of Indigenous North Americans and to a lesser degree affiliates of one of these California tribes.

In time a group of like-minded teachers and I started to build relationships in the local Native community, inviting artists, dancers and musicians into the schools.

Though curriculum materials pertaining to contemporary American Indian art and historical crafts were minimal — and most dealt with tribes from other regions of the country — I began to move away from the canon of Western art in my classes.

I tried to incorporate American Indian art not only as a vehicle for making and creating, but also as a place for discussion and looking at art and material culture in historical and contemporary Native contexts.

Measuring the Impact of Culturally Responsive Arts Education Fifteen years into my career, I was ready for a new chapter — and I knew that culturally responsive arts education, particularly in Indigenous North American communities, was something I wanted to continue to explore.

After living in such an isolated area, it was inspiring to be part of a thriving, multidisciplinary academic community — many of whom shared my belief in the power of culturally responsive education.

I was able to engage in great conversation with Indigenous scholars and was exposed to a variety of new literature, all of which led me to think more deeply about social reconstruction, critical multiculturalism, and culturally relevant pedagogy.

I realized pretty quickly that I was really interested in American Indian education more broadly — and specifically my own observations about how Native kids responded to things I did in arts classrooms.

Stanford was a place where I could reach out and find classes in ethnography, art history, sociology and psychology that were really focused on Indigenous peoples in contemporary and historical contexts.

My dissertation project sent me back to where it all began: Though the program had ended, my project involved observation and research to determine whether it had any lasting effects on teachers in the district, Native and white students who participated, and the Indigenous artists who were involved in the schools.

My findings confirmed what I know now is just common sense: These outside voices let kids build their own identity as Native people, identify with them as role models, activists, and understand how the arts contribute to cultural continuance.

Jean Ness, who had extensive experience working with Ojibwe tribes in northern Minnesota. We applied for and were awarded two federal grants for successive projects that studied the effects of bringing Ojibwe artists, elders and academics into several schools and the cultural context of integrated arts learning in K-8 classrooms.

We were able to partner with two districts in Northern Minnesota with sizeable Native populations that bordered on reservations and a Bureau of Indian Affairs school on one reservation.


Time and again, we heard Native parents and community member expressing the desire to have more of their language and culture shared in the schools their children attended. To help meet this need, we helped facilitate two four-year programs designed to increase the cultural competency of 50 mostly white teachers.

With local partners we brought in Ojibwe speakers with expertise in a variety of disciplines, starting with two-week summer institutes that were followed up with in-service educational workshops during the year.

The training was extremely challenging as teachers were expected to develop culture-based integrated arts opportunities in their classrooms, after working with Indigenous experts and learning firsthand about a cultural other than their own.

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I believe that a dynamic, culturally responsive arts education program can be the single most powerful engine of engagement in our schools. The enthusiasm and creativity that arts education sparks make school a place where students want to be.HOME Free Essays The Palmer Raids: Crossing the Lines of Justice.

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C palmer and his art for culturally responsive instruction essay

A+. We will write a custom essay sample on The Palmer Raids: Crossing the Lines of Justice specifically for you. for only $ $/page. C. Palmer and His Art for Culturally Responsive Instruction ; Social. C Palmer And His Art For Culturally Responsive Instruction Harvard Case Study Solution and Analysis of Reading The Harvard Case Study: To have a complete understanding of the case, one should focus on case reading.

It is said that hbr case study should be read two times. Initially, fast reading without taking notes and underlines should be done. Literature Review Introduction Gay () describes culturally responsive teaching as the deployment of cultural knowledge, previous experiences and the performance styles of various students with the main objective of increasing the appropriateness and effectiveness of the learning process.

Culturally responsive pedagogy is based on student-centered approach to teaching whereby the students' distinctive cultural potential are classified and nurtured to encourage student achievement and a sense of well-being about the student's cultural place in the world.

Erastus Dow Palmer and the Wonderful Peckham Stove and that his immersion in higher culture only began under Walker's made it into the periodical press, the newspapers, salerooms, and major art galleries during his lifetime, and into reference works and research libraries in the years since his death.

Palmer was born in Pompey, NY. Culturally responsive teaching is a pedagogical theory based on the idea that culture underlies every aspect of education, from curriculum and assessment, to learning and teaching styles, to.

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