Teaching Human Rights Through a Performing Arts Methodology

• In Event: Roundtable Session 19
  In Roundtable Session: Critical Social Justice Education Through Human Rights Education Praxis

Abstract

Purpose of the Study

Although the United States played a crucial role in drafting the Universal Declaration of Human Rights, a comprehensive federal policy to promote human rights education (HRE) in U.S. schools has never been developed (Banks, 2000; Gerber, 2008). In order to develop a concrete implementation strategy, an understanding of current HRE methodology is needed.

The objective of human rights education (HRE) is to teach content knowledge, promote a culture of human rights, and to achieve among students a sense of empowerment and critical consciousness. The research intends to address to what extent a performance art pedagogy may achieve these goals. The following research questions will be addressed: 1) How do teachers and artists integrate the performing arts with human rights content in their teaching? 2) What do students, teachers, and artists report about their experiences of and engagement in this teaching methodology? 3) In what ways do the students’ creative work and reflections represent the goals of HRE?

Theoretical Framework

The goal of HRE is to empower individuals and communities to promote and secure a culture of human dignity. This educational objective requires recognition of current inequalities and oppression, and, therefore strives to achieve positive social, political, economic and cultural change. Being an inherently transformational process (Tibbits, 2002), HRE operates through philosophies of critical pedagogy (Magendzo, 2005, Meintjes, 1997, Suarez, 2007).

Methodology and Data Sources

Participants in this qualitative study include teachers, students, and artists involved in The World as it Could Be Human Rights Education Project, a program based in Northern California that integrates the Universal Declaration of Human Rights (UDHR) into creative arts curriculum in urban high schools. The study took place during the school year 2010-2011. Data collection includes observations, interviews and students’ creative products.

Findings

Teachers found the UDHR provided an organizational framework around their existing social justice objectives. In addition, teachers viewed the use of art in their classroom as a powerful tool to develop student voice. Despite these positive experiences with human rights content and arts pedagogy, they identified various difficulties in implementing the strategy within the formal classroom.

Critical consciousness was evident in students’ poetry, performance and interviews. They actively named their world and articulated how local events were part of a larger human rights framework. Students and teachers both exhibited pride in creating a culminating presentation which represented the human rights issues of their community. For students, the creative presentation served as a public testimony of their lived experiences. The process and product clearly reflect the goals of HRE. Teachers and students described it as a significant transformational experience, but saw the development of a critical consciousness as part of a longer continuum.

Significance

The pedagogical strategy of using performing arts in the classroom has the potential to meet the empowering and transformational goals of HRE. This study provides a deeper understanding of HRE pedagogy, filling a gap in research regarding HRE programs in US high schools. Further research in the long-term impact of the experience would be valuable.

Author

• Andrea McEvoy Spero, University of San Francisco