Positive youth development (PYD) assumes that, when given appropriate support, all youth have the capacity to develop the assets that enable them to succeed in life. Such assets include competence, confidence, connection, character, caring, and contribution to community, otherwise known as the six Cs of PYD. Environmental education (EE) programs that focus on youth action and empowerment offer the support needed for youth to develop these assets.
Youth after-school, summer, and residential programs, often serving low-income and minoritized youth, increasingly are using environmental action and learning as a means to achieve PYD outcomes. Yet both PYD and EE have been criticized for not addressing the root causes of poverty and environmental degradation. In response, critical traditions in PYD and EE have emerged, in which youth reflect and act on structural barriers to human and environmental well-being in their communities. As youth and their mentors seek to address systemic inequities impacting themselves and their environment, they develop additional “Critical Positive Youth Development/Environmental Education” assets including critical reflection, efficacy, the ability to take collective action, and community-level empowerment.
Article
Critical Perspectives on Positive Youth Development and Environmental Education
Marianne E. Krasny, Tania M. Schusler, Jesse Delia, Anne Katherine Armstrong, and Lilly Briggs
Article
The Artist-Teacher
Esther Sayers
Artists who teach or teachers who make art? To explore the identity of the artist-teacher in contemporary educational contexts, the ethical differences between the two fields of art and learning need to be considered. Equity is sought between the needs of the learner and the demands of an artist’s practice; a tension exists here because the nurture of the learner and the challenge of art can be in conflict. The dual role of artist and of teacher have to be continually navigated in order to maintain the composite and ever-changing identity of the artist-teacher. The answer to the question of how to teach art comes through investigating attitudes to knowledge in terms of the hermeneutical discourses of “reproduction” and “production” as a means to understand developments in pedagogy for art education since the Renaissance. An understanding of the specific epistemological discourses that must be navigated by artist-teachers when they develop strategies for learning explicate the role of art practices in considering the question: What to teach? The answer lies in debates around technical skills and the capacity for critical thought.
