National Art Education Association

Visual Arts and Black ChildrenAuthor(s): Bernard YoungSource: Art Education, Vol. 38, No. 1 (Jan., 1985), pp. 36-38Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3192908 .

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Visual Arts and

-Black Children

e Community Center, Lexington, Ky.

Bernard Young

Y o oung children creating vis- ual images are often seen as having a great deal of free- dom in expression. Often

their freedom of expression is inter- preted as a form of play that is not to be taken seriously by adults or older children. Interpretation of the work of young Black children is often the same as that of children in general. Content of Black children's expressions may be very different from that of children from other cultures though the mean- ing of art for all children is mainly as a form of expression. Black children in traditional and nontraditional schools or community centers need opportuni-

ties to express their natural visions of their environments. Not only do young children differ from one another, but their visual images differ from image to image over a brief period of time. As children grow, make interpretations, develop mentally, and continue to understand their environments percep- tually, their visual images and produc- tions constantly change. Children's art production often depicts information perceived by them and how it is inter- preted and comprehended. Concepts and active knowledge of objects are often seen in their drawings.

Young children throughout the world create visual images spon- taneously. Purposes and meanings dif- fer in various cultures, but children's self expression flows freely and natur- ally unless it has been hampered or

restrained by outside influences. In- fluences of schools, family lifestyles, and actions of adults in response to the child's creative expression often have a discouraging effect, rather than enrich- ing the child's abilities. Early pressures such as economic and social problems often create serious handicaps in the art education of children. Art educa- tion programs for children in many schools often assume that the more structure the art program has, the bet- ter training the children will receive. Over a decade ago, many Black Ameri- cans formed community based educa- tional projects with the belief that the more rigid the educational structures, the more learning would take place. Discipline, racial pride, and commit- ment to the cause of social progress were conceptual building foundations.

Art Education January 1985

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While all of these factors were, and still are, important elements in the develop- ment of Black youth, extremes of these concepts encouraged development of individuals dependent on a set of cor- rect answers rather than individuals pursuing more creative and possibly better solutions to problems.

Two cognitive problems are raised concerning the Black child's creation of visual images in his or her mental development. First, if training and en- couragement given to Black children to foster their creative abilities is restric- tive and slows the child's natural learn- ing abilities, we need to search for fun- damental needs of young children and determine what thwarts young chil- dren's abilities as they grow older.

Young children involve themselves in much imaginative play as creative

expression and, as they gradually mature, assimilate a balance of im- aginative expression and social reality. Whether participating in community workshops, traditional schools, or home activities, children attempt to contribute to their objective reality while spontaneously being part of their social and creative worlds. Because of material, social, and educational forces, children do not continually develop creatively; their growth is often interrupted and at a standstill by the time the child leaves elementary school. In a materialistic society such as ours, Black children, and seemingly most children, are socialized to see cor- rect answers to make progress in school. Competence in "school art" is presently more important than being creative or approaching art activities

In this article . . . Young discusses the

needs of children, and especially Black

children, in art classes. "The art

expressions of Black children and their

education in general . . cannot be

passive."

Art Education January 1985

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.,, Sheridan Collegeli-. School of Crafts & Design

A three-year craft training program in four major studio areas: * Ceramics * Glass e

* Furniture * Fahrire I

IA8) 21

with an exploratory spirit. Teachers know in advance what they want pro- ducts to look like and what is not ac- ceptable as children's art. Much of the problem that hinders the child's pro- gress appears to be closely related to teaching methods used in both tradi- tional and non-traditional educational settings. Encouragement of inquiry is not often common in our educational settings, and realization of this void is often not present. Children, especially in the younger grades, are required to simply repeat what they have been taught from their teacher or textbooks. Rote memorization, repetition, and copying geometric forms in earlier grades are common requirements in our schools. Abilities that have been stifled by adult pressures, natural curiosities of the child, and first at- tempts to scribble are too often dis- couraged, and the harm is likely irrevo- cable. The art expression of Black children and their education in general (especially in light of the present political situation) cannot be passive. Active inquiry, thorough investigation of presently accepted aesthetic prac- tices, and creation of learning environ- ments that will encourage and sustain the education of Black children are very much needed.

The photographs accompanying this article are images from a community- based art program in Lexington, Ken- tucky. The program operated by vol- unteers, is an attempt by citizens, business leaders, and educators to ac- tively improve and supplement the education of Black children in this community. The art classes serve as an environment and resource for social in- terchange and adjustment in the com- munity. The classes were conducted in a workshop-discussion format that em- phasized the significance of Afro- American history and art. The visual art of the children was encouraged, created, and discussed, in order to allow these children to express their own reasons for making art. U

Bernard Young is an Assistant Professor of Art Education at the University of Kentucky, Lexington.

Sheridan College: 4I I A Step Ahead iJ References

Piaget, J. (1953). Art education and child psychology. Education and Art, UNESCO.

Art Education January 1985

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