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Instructional Resources
An Art of
t <at
From the Street to the Classroom
BY SHENG KUAN CHUNG
Recommended for Grades 9-12
Learning Objectives
While participating in the activities suggested by
this instructional resource, students will acquire
a deeper understanding of how Banksy s art
addresses the processes of public interaction,
intervention, and dialogue involved in street art.
Students will:
describe, analyze, and interpret Banksy s
street art to explore the social and political
issues it raises;
participate in a creative writing activity to
understand Banksy s work;
investigate street art in their urban
neighborhoods in terms of its symbols,
artistic techniques, and meanings to make
connections to their lives and the lives of
others;
demonstrate how art addresses social issues
by stenciling a T-shirt that communicates an
important social issue or questions a social
practice;
examine the significance of culture jamming1;
and public intervention by wearing the shirt
they designed and gathering feedback from
the public.
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Figure 1. Street art by Banksy. Photograph taken by Alex MacNaughton, from his book London Street Art (2006).
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Instructional Resources
Dialogue Activity
Teachers can use this picture to initiate a discussion about street art and its
legality, including issues of vandalism, public/private spaces, and activist/
political art. Questions for dialogue include:
do it?
means?
6. How does the artist feel about graffiti? Is this art or vandalism, and how
do you judge it? Should the city remove this picture? How would different
parties reach a compromise over graffiti?
political?
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^^^^^^^^^^ ^^hEh
Figure 2. A playful boy with bucket by Banksy on the West Bank barrier. Photograph taken by Richard Shotton/i-globe.org.
Reprinted with permission.
Dialogue Activity
Before showing Figures 2 and 3 to students, teachers should
encourage them to share what they know about the West Bank
barrier and provide further background information if necessary.
These images can be used to discuss issues of living with terrorism
in relation to the barrier and illuminate the importance of context
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Instructional Resources
&3t
Figure 3. Street art stenciled by Banksy on the West Bank barrier. Photograph taken by Richard Shotton/i-globe.org. Reprinted with permission.
Kissing Policemen
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9tm I
Figure 4. Street art by Banksy. Photograph taken by Scott Davis. Reprinted with permission.
Dialogue Activity
1. Teachers can use this picture to explore homophobia and the
concept of heteronormality. Questions for dialogue include:
why?
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Instructional Resources
2002):
important?
2. What sort of places do members of the street art world meet to
A Fieldwork Investigation
This image illustrates how art can be a voice for the marginalized.
Teachers can use this image to prompt students to further investigate
street art in their own neighborhoods and the voices that proliferate
there. Teachers can give a fieldwork assignment, asking students to
survey their neighborhood streets, document street art, and present it
to the class. Encourage students to take pictures and notes during the
engaged with?
This neighborhood inquiry will deepen students' understanding of
street art and allow them to gain firsthand knowledge of how street
artists, like Banksy, resist established social practices, address social
issues, or mark traces of human existence.
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change.
Sheng Kuan Chung is Associate Professor and Graduate Program
Director of Art Education in the Department of Curriculum and
Instruction at the University of Houston, Texas. E-mail:skchung@
uh.edu
RESOURCES
ENDNOTES
1 Culture jamming is an activist tactic for breaking corporate domination over
what we consume and experience (Lasn, 1999). Culture jammers appropriate
mainstream media constructs or produce alternative cultural forms to illumi
http://www.banksy.co.uk/
http://www.instructables.com/
http://www.youtube.com
REFERENCES
Akbar, A. (2006, May 16). Banksy takes to streets to highlight Aids crisis. The
Independent. Retrieved December, 2008, from http://www.independent.
co.uk/
Bou, L. (2005). Street art: The spray files. New York: Collins Design, Monsa.
Erickson, M. (2002). What are artworlds and why are they important? In M.
Erickson & B. Young (Eds.), Multicultural artworlds: Enduring, evolving,
and overlapping traditions (pp. 17-25). Reston, VA: National Art Education
by-step video demonstrations for art teachers unfamiliar with stenciling tech
get a cleaner result. Due to possible health hazards, spray paint should not be
used in the classroom.
Association.
niques. A stencil can be made out of paper, translucent mylar, or poster board
and the image can be set using fabric spray paint, which is recommended to
VA.
Brook.
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