SS2021171

剑桥大学

教育艺术与创意系终身教授皇后学院教育学研究主任

Associate Professor of Arts and Creativity in Education Fellow and Director of Studies, Education at Queens' College

 该讲师是剑桥大学教育艺术与创意讲师、皇后学院教育学研究员和研究主任。他的学术研究挑战了常识性的观点，即在过去20年里，创造力在美国城市的城市重建中发挥了积极作用。在文化研究和批判性白化研究的启发下，他推进了对 "创造性 "的无标记白化的理论化，以及反过来，美国的城市和教育政策和实践是如何通过国家补贴的城市更新项目在文化和经济上投资于白化的。在这种文化环境中，他的学术研究阐明了来自低收入背景的有色人种如何利用创造性的实践来困扰他们作为阻碍城市进步的 "下层社会 "成员的社会地位，以及这些实践如何在以他们为代价的城市振兴中纠缠不清。他未来的学术研究将继续调查创造力如何被构建为白人的属性，以及新的研究领域，包括对赔偿理论和实践的艺术干预，以及对制度化教育的视觉政治的调查。他的小组的博士生正在调查加纳视觉艺术教育课程的非殖民化，中国英语教学中白人的文化特权，16岁以后的学科选择对创造力的影响，以及使用小说来说明治疗法。2019年，剑桥大学的学生评选他为全校最佳讲师。

Research Interests：

Youth and cities research, The performativity of whiteness, Creativity as a property of whiteness, Reparations theory and practice, Decolonizing the arts education curriculum, The arts in educational research, Visual politics of education

 Area of Expertise：

Culture, Politics, and Global Justice, Arts and Creativities, Race, Empire, and Education Collective

 Sample Topics：

Reading between the obliques

A/r/tography, a research methodology featured in a special issue of Visual Arts Research (Irwin & Sinner, 2012),

is said to be a critical response to normative approaches to qualitative research in arts education. A/r/tography critiques research that privileges one identity, that of researcher, over other identities, including artist and teacher. It assumes emotional and political engagement on the part of the artist/researcher/teacher. A/r/tography views the desire for coherence and certainty in research as quixotic because lived experiences neither cohere nor are they certain. It critiques representations of complex social worlds and their actors when reduced to unreal composites, caricatures, and typologies. A/r/tographers instead embrace contiguous identities and represent multiple meanings using multiple modes.

 The creative underclass: Youth, race, and the gentrifying city

As an undergraduate at Brown University, Tyler Denmead founded New Urban Arts, a nationally recognized arts and humanities program primarily for young people of color in Providence, Rhode Island. Along with its positive impact, New Urban Arts, under his leadership, became entangled in Providence's urban renewal efforts that harmed the very youth it served. As in many deindustrialized cities, Providence's leaders viewed arts, culture, and creativity as a means to drive property development and attract young, educated, and affluent white people, such as Denmead, to economically and culturally kick-start the city. In The Creative Underclass, Denmead critically examines how New Urban Arts and similar organizations can become enmeshed in circumstances where young people, including  himself, become visible once the city can leverage their creativity to benefit economic revitalization and gentrification. He points to the creative cultural practices that young people of color from low-income communities use to resist their subjectification as members of an underclass, which, along with redistributive economic policies, can be deployed as an effective means with which to both oppose gentrification and better serve the youth who have become emblematic of urban creativity.

On the concept of youth in art education: A review of the literature

In this article, I analyze how the concept of youth is used in art education scholarship. I review papers from three art education journals that use youth in their titles and/or abstracts. I analyze how the concept of youth frames, produces, and buttresses arguments about the role of art education in society and the need for particular approaches to curriculum and instruction. My literature review is organized around four themes: Youth as (1) transition, (2) culture, (3) difference, and (4) image. In presenting these four themes, my aim is to support art education researchers as they extend, refine, clarify, and deepen their analysis in ways that have positive concrete effects on young people through art education.