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Bringing a Humanistic Approach to Special Education Curriculum  

Michelle Parker-Katz and Joseph Passi

Special education curriculum is often viewed as an effort to provide ways for students with disabilities to meet specific academic and socio-/behavioral goals and is also heavily influenced by compliance with multiple legislative policies. Critical paths forward are needed to reshape a special education curriculum by using a humanizing approach in which students’ lived experiences and relatedness to self and others is at the core of study. Intentional study of how students and their families draw upon, develop, and help shape local supports and services that are provided through schools, along with community and governmental agencies and organizations, would become a major part of the new curricular narrative. However, the field of special education has been in large part derived from an epistemology rooted in science, positivism, and the medical model. The dominance of these coalescing epistemologies in educational systems has produced a myriad of structures and processes that implicitly dictate the ways special educators instruct, gather data, and practice. Core among those is a view that disability is synonymous with deficit and abnormality. What emerges is an entrenched and often implicit view that the person with disabilities must be fixed. In adopting a humanistic approach in which we value relationships, the funds of knowledge families have helped develop in their children and the identities individuals shape, and the linkages of persons with multiple community networks, the groundwork could be laid for a new curricular narrative to form. In so doing, the field could get closer to the grounding principle of helping all students with disabilities to thrive. For it is in communities that people can thrive and choose to participate in numerous life opportunities. In such a way curriculum is integral to lived experience, to the fullness and richness of lived experiences—lived experiences that include the study of academic subject matter along with the development of social and emotional learning.

Article

Curriculum Ideologies  

Christopher B. Crowley

The study of the curriculum and educational knowledge is a study of ideology. The curriculum is never neutral. It always reflects or embodies ideological positions. Ideologies present within the curriculum are negotiated and formulated through multilayered processes of strategic compromise, assent, and resistance. And as such, the curriculum ideologies become operationalized in both overt and hidden means—constructing subjects and objects of knowledge in active as well as passive ways. Teaching is always a political act, and discussions and debates over curriculum ideologies have a long history within the field of curriculum studies. In terms of its function related to the organization and valuing of knowledge, it remains important to recognize not only the contested nature of the curriculum but also how such contestations have ideological dimensions in the framing of the curriculum. Curriculum ideologies manifest in terms of what might be thought of as values, visions of the future, and venues or forms. This is to say, the curriculum is imbued with processes for valuing assumed choices related to its design, development, and implementation. These choices draw from ideologically based assumptions about the curriculum’s basis in political, economic, historical, sociocultural, psychological, and other realities—whether they be discursive or material in effect. Additionally, these curriculum choices also pertain to the means by which the curriculum achieves these goals or objectives through the formulation of designed experiences, activities, or other forms of learning opportunities. The curriculum—in certain regards as finding principle in the conveying of knowledge through a system of organization related to an outset purpose—has, as a central component to some degree, a vision of a future. The curriculum is something simultaneously constructed and enacted in the present, with often the expressed purpose of having implications and ramifications for the future. The curriculum’s role and purpose in constructing both tested and untested or imagined feasibilities again has to do with some type of vision of learning inflected by ideology. This may even take the form of envisioning a future that is actually a vision of the past in some form, or perhaps a returning to a remembered time that may have existed for some but not others, or by extension a similarly romanticized remembering of a mythic past, for instance. Ultimately, the curriculum, whether translated into practice or in being developed conceptually, is in all likelihood never exclusively one of these, but instead is in all probability an amalgamation of such to differing degrees wherein a multitude of possibilities and combinations exist. Among the key questions of curriculum studies that remain central in terms of both analyzing and theorizing the curriculum are: Whose knowledge counts and what is worthwhile? These questions help to raise to a level of concern the ideological underpinnings of all curricula in ways that through sustained critical dialog might work to collectively build a more sustainably just and equitable world.

Article

Differentiated Instruction and Inclusive Schooling  

Diana Lawrence-Brown

Differentiated instruction encompasses a wide range of responsive pedagogies, including individualized types and levels of curricula, teaching methods, materials, and assessment strategies. It has at its roots the impetus for effective inclusive schooling, providing supports directly within general education classrooms for students with the full range of exceptionalities (both significant disabilities and giftedness) and other diverse educational characteristics such as cultural and linguistic background and socioeconomic status. To effectively include students with higher levels of need, comparable levels of supports follow the student from the special education setting to the general education classroom. This enriched level of support in the general education classroom benefits not only students with disabilities, but the class as a whole. The legal and ethical bases for inclusive schooling are connected with various civil rights movements (including race, disability, culture and language, gender); it can be viewed as a response to segregated schooling (and denial of schooling altogether). Schools frequently remove students when traditional educational programs fail, adding on separate programs rather than rectifying the existing system. Such special programs have been routinely promulgated without substantial evidence of their effectiveness over supportive general education classrooms (either for segregated students or for their unlabeled general education peers). Important aspects of differentiated instruction and inclusive schooling include multilevel instruction; authentic and culturally responsive curricula, methods, and assessment; universal design for learning; assistive and instructional technologies; positive behavioral supports; and a collaborative team approach to instructional decision-making and delivery. Differentiated instruction and effective inclusive schooling are vital for equitable access to educational opportunities, bringing more responsive curricula, methods, and perspectives to increasingly diverse classrooms and schools.

Article

Literature and the Arts as a Basis for Curriculum in the Work of Maxine Greene  

Janet L. Miller

Maxine Greene, internationally renowned educator, never regarded her work as situated within the field of curriculum studies per se. Rather, she consistently spoke of herself as an existential phenomenological philosopher of education working across multidisciplinary perspectives. Simultaneously, however, Greene persistently and passionately argued for all conceptions and enactments of curriculum as necessarily engaging with literature and the arts. She regarded these as vital in addressing the complexities of “curriculum” conceptualized as lived experience. Specifically, Greene regarded the arts and imaginative literature as able to enliven curriculum as lived experience, as aspects of persons’ expansive and inclusive learnings. Such learnings, for Greene, included the taking of necessary actions toward the creating of just and humane living and learning contexts for all. In particular, Greene supported her contentions via her theorizing of “social imagination” and its accompanying requisite, “wide-awakeness.” Specifically, Greene refused curriculum conceived as totally “external” to persons who daily attempt to make sense of their life worlds. In rejecting any notion of curriculum as predetermined, decontextualized subject-matter content that could be simply and easily delivered by teachers and ingested by students, she consistently threaded examples from imaginative literature as well as from all manner of the visual and performing arts throughout her voluminous scholarship. She did so in support of her pleas for versions of curriculum that involve conscious acts of choosing to work in order not only to grasp “what is,” but also to envision persons, situations, and contexts as if they could be otherwise. Greene thus unfailingly contended that literature and the arts offer multiplicities of perspectives and contexts that could invite and even move individuals to engage in these active interpretations and constructions of meanings. Greene firmly believed that these interpretations and constructions not only involve persons’ lived experiences, but also can serve to prompt questions and the taking of actions to rectify contexts, circumstances, and conditions of those whose lived lives are constrained, muted, debased, or refused. In support of such contentions, Greene pointed out that persons’ necessarily dynamic engagements with interpreting works of art involved constant questionings. Such interrogations, she argued, could enable breaking with habitual assumptions and biases that dull willingness to imagine differently, to look at the world and its deleterious circumstances as able to be enacted otherwise. Greene’s ultimate rationale for such commitments hinged on her conviction that literature and the arts can serve to not only represent what “is” but also what “might be.” As such, then, literature and the arts as lived experiences of curriculum, writ large, too can impel desires to take action to repair myriad insufficiencies and injustices that saturate too many persons’ daily lives. To augment those chosen positionings, Greene drew extensively from both her personal and academic background and interests in philosophy, history, the arts, literature, and literary criticism. Indeed, Greene’s overarching challenge to educators, throughout her prolonged and eminent career, was to think of curriculum as requiring that persons “do philosophy,” to think philosophically about what they are doing. Greene’s challenges to “do philosophy” in ways that acknowledge contingencies, complexities, and differences—especially as these multiplicities are proliferated via sustained participation with myriad versions of literature and the arts—have influenced generations of educators, students, teaching artists, curriculum theorists, teacher educators, and artists around the world.

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.