Public art as liberatory pedagogy through performance methodologies

Unrestricted Why is it important for traditional classroom settings to infuse a critical approach modeled after certain performance methodologies? How can these performance methods serve as models for social justice within the context of public education? In Public Art As Liberatory Pedagogy Through Performance Methodologies the notion of community-based art strategies in relation to public performance methodologies and processes is explored. By anchoring my work in the philosophy of Paulo Freire's Pedagogy of the Oppressed, there is an evaluation of the critical, dialogical, problem-posing lens in public art as a tool to advocate for socio-politically marginalized communities. This text examines the work of performance art collective, La Pocha Nostra, Asco, an East Los Angeles-based conceptual performance group, and Suzanne Lacy's Oakland project titled Code 33. Key issues raised relevant to these performance methods include their potential to be utilized as a model for social justice within the realm of public education.

无限制议题：为何传统课堂教学需融入以特定表演方法论（performance methodologies）为范本的批判性教学方法？此类表演方法又如何能在公共教育语境中充当社会正义的实践范式？《以表演方法论为路径的解放教育学公共艺术》（Public Art As Liberatory Pedagogy Through Performance Methodologies）一文探讨了与公共表演方法论及流程相关的社区艺术策略理念。本研究以保罗·弗莱雷（Paulo Freire）的《被压迫者教育学》（Pedagogy of the Oppressed）哲学思想为核心根基，对公共艺术领域中以批判性、对话式、问题提出式视角作为工具，为社会政治层面被边缘化群体发声的路径展开了评估。本文考察了表演艺术团体拉波查诺斯特拉（La Pocha Nostra）、东洛杉矶本土概念表演团体阿斯科（Asco），以及苏珊·莱西（Suzanne Lacy）所开展的名为《代码33》（Code 33）的奥克兰项目的创作实践。与这些表演方法相关的核心议题包括：其具备在公共教育领域中作为社会正义实践范式的应用潜力。