{"id":18497,"date":"2023-10-12T01:09:10","date_gmt":"2023-10-12T01:09:10","guid":{"rendered":"http:\/\/artjournal.collegeart.org\/?p=18497"},"modified":"2023-10-12T01:13:47","modified_gmt":"2023-10-12T01:13:47","slug":"affecting-images-a-guided-self-reflection-document-for-a-trauma-informed-art-history-classroom","status":"publish","type":"post","link":"https:\/\/artjournal.collegeart.org\/?p=18497","title":{"rendered":"Affecting Images: A Guided Self-Reflection Document for a Trauma-Informed Art History Classroom"},"content":{"rendered":"\n

Editors\u2019 Note<\/strong><\/a>

This conversation continues the series titled \u201cHard Lessons: Trauma, Teaching, Art History.\u201d<\/strong><\/a> Crafted in a moment of extraordinary collective trauma, \u201cHard Lessons\u201d brings together contributions from art historians, practicing artists, and museum educators to explore the multivalent ways arts educators make space for learning through varied\u2014and often intersecting\u2014experiences of personal and collective traumas. We hope that the space \u201cHard Lessons\u201d carves out for critical reflection, coupled with the tools and actionable advice offered by our contributors, will provide support for educators not just during this period of collective trauma, but beyond: we aim to foster an extended conversation, one that continues to build trauma-informed pedagogies explicitly tied to the teaching of visual materials as we return to in-person teaching and open museum doors.

\u2014Jenevieve DeLosSantos and Kathleen Pierce, Series Guest Editors<\/p>\n\n\n\n

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Trauma-Informed Art History Now<\/strong><\/p>\n\n\n\n

We initiated \u201cHard Lessons: Trauma, Teaching, Art History<\/a>” during the fall and winter of 2020. As students and educators confronted the collective, although unevenly distributed, traumas of the first year of the COVID-19 pandemic and longstanding racially motivated injustices, we aimed to call attention to trauma-informed pedagogy as a generative and care-centered practice that could build community and resilience in our classrooms. Discourse around trauma-informed pedagogy certainly preceded 2020. Yet it was clear that this mode of teaching could offer special tools and insights for instructors to call on as we supported students as learners and as whole people. Even as vaccines, booster shots, and treatments have become available\u2013yet again, unevenly\u2013viral mutations continue to cause illness and shape our social and pedagogical landscapes in unpredictable ways and, what\u2019s more, many are now contending with long COVID, whose amorphous symptoms remain underrecognized. Even as activists have called attention to and demanded change around violence rooted in systemic racism, we continue to see attacks perpetrated against Black, Asian, LGBTQ+, Jewish, and Muslim people in the United States. All the while, shifting and inconsistent responses to these crises among our communities, educational institutions, and our local and federal political institutions continue to tax both our time and energy as we repeatedly calculate how to best navigate the world to protect and care for ourselves and our students. A trauma-informed approach remains crucial in this space of extended, collective trauma and the growing mental health crisis<\/a> affecting students, faculty, and staff.1<\/a><\/sup> Yet it is also worth remembering that trauma-informed pedagogy remains equally important as a tool to support student learning whether or not we find ourselves experiencing\u00a0collective traumas, and even when our content seems unlikely to activate a trauma response. In this spirit, we wish to conclude the series with a tool visual arts educators might use as they seek to be mindful of trauma in the classroom and support student learning. While there are a variety of more general resources available to educators, there is little that explicitly addresses how trauma-informed pedagogy might be specifically adapted for those of us working with visual materials at the center of our teaching.2<\/a><\/sup> We designed the self-reflection guide below (and downloadable here<\/a><\/strong>) to help educators introspect on how a trauma-informed lens might shape their thinking at the nexus of course learning goals, classroom environments, and the images they choose to bring into their classrooms.<\/p>\n\n\n\n

As educators working with visual imagery, the importance of a trauma-informed framework is multivalent. As Mays Imad<\/a> has told us, trauma has physiological effects on the mind and body. Images, as we explored together, are powerful signifiers and often deliberately constructed to elicit emotional responses. Trauma\u2019s effects on the mind and body shape how we exist in all spaces, including the classroom, where working between visual and textual modalities, as art history study demands, further taxes cognitive processing for new learners.3<\/a><\/sup> A trauma-informed approach also helps educators to make space for myriad, distinct perspectives, as museum educators Damon Reeves, Key Jo Lee, Dalila Scruggs, and Gabriela Mart\u00ednez emphasized in our roundtable<\/a>. \u201cHolding space,\u201d as Reeves terms it, for learners to bring their whole selves\u2013inclusive of manifold identity-based differences\u2013to the museum or the classroom not only validates diverse lived experiences, but also fosters community building and, potentially, healing through collective engagement with visual culture. Healing was also emphasized by Aliza Shvarts<\/a>, who took up the mantle of a trauma-informed lens in her studio classroom. As Shvarts revealed, pedagogy in the arts, through an emphasis on consent, could be leveraged to offer crucial spaces for repair through performance and community building. Finally, Allison Kim reminded us<\/a> of the ways violence can close the gap between past and present in her exploration of teaching early modern images of sexual assault. As Kim underscored, in artworks canonically positioned as beautiful, that beauty often works to dissimulate violence. For Kim, a trauma-aware framework can work to surface that violence and validate the connections students make to present-day perpetrations of sexual assault, especially those occurring on college campuses. In sum, through \u201cHard Lessons,\u201d we sought to illuminate the multifarious ways a trauma-informed lens supports student learning by alleviating both cognitive and material stressors\u2013stressors that can challenge a student’s sense of belonging and impede the careful, critical study of images we often aim to cultivate.<\/p>\n\n\n\n

While most of the contributions to this series have explored the use of trauma-informed pedagogy to support student engagement with potentially activating subjects, we want to emphasize that applying a trauma-informed lens to our teaching supports student learning more broadly. It is relevant whether or not instructors would readily label their course content challenging, difficult, or fraught. People experience trauma in deeply personal and distinct ways. Similarly, the traumas people bring into the classroom are equally distinct and may include experiences that others may not immediately associate with trauma. Educational shaming, food insecurity, poverty, medical abuse, body shaming, family conflicts, emotional abuse, and manipulation, microaggressions, and experiencing ableist discrimination are just some of the many traumas that instructors might not immediately consider (as opposed to more widely discussed traumas, such as sexual assault), but that might very well impact the students in their classrooms, or even instructors themselves. Images, with their remarkable potential to affect us<\/em>, always harbor the possibility, regardless of their form or content, to trigger students or instructors alike. Indeed, a student might not recognize their own trauma response to a seemingly neutral image until it is unfolding within the space of the classroom. Or, an image that you suspect might be challenging may not activate any students. The larger and most crucial point, here, is that trauma-informed pedagogy is a lens one applies to their teaching. It is a practice, and will develop over time. It is iterative and will look different for every instructor and at different moments of educators\u2019 careers. It comprises a facet of one\u2019s teaching, and often overlaps with other pedagogical philosophies, such as inclusive teaching and social and emotional learning.4<\/a><\/sup> As a framework, trauma-informed pedagogy supports learning by making space for myriad, sometimes overlapping and seemingly contradictory, student experiences by emphasizing community, trust, safety, flexibility, diverse ways of thinking and being, and care. To truly develop a trauma-informed pedagogy, one might need to routinely revisit their approach to images, objects, topics, and discussion points and consider the ways in which they can best introduce them to students and acknowledge their own biases.<\/p>\n\n\n\n

. . . Trauma-informed pedagogy also asks us to consider our own goals, limitations, and what triggers us.<\/p><\/blockquote>\n\n\n\n

Some readers may infer that a trauma-informed approach could discourage instructors from discussing difficult, violent, or potentially activating histories and content. We want to emphasize that the inverse is the case. A trauma-informed approach to teaching helps make space for students from diverse backgrounds and with diverse experiences to navigate manifold, shifting, and sometimes emotionally charged reactions to complex stories about the past and present. A trauma-informed framework helps instructors build a classroom community and infrastructure within which students can be vulnerable, make mistakes, and admit errors and assumptions. Most importantly, a trauma-informed lens enables instructors and students to feel supported as they engage with class materials, regardless of the course content, and regardless of whether or not they have personal, community, or (inter-)generational connections to trauma. At the same time, trauma-informed pedagogy also asks us to consider our own goals, limitations, and be alert to what triggers us. <\/strong><\/a>It may be the case that a particular subject either elicits a response in us as educators or coincides with campus or broader events that make a thorough and responsible discussion of these subjects particularly challenging. Similarly, instructors working within a department that heavily circumscribes the assigned content or pace at which a course must progress might find it challenging to devote adequate time to a particular subject. This is especially the case as colleges and universities increasingly rely on precariously employed instructors, who may have less agency to make these changes, and who are often not remunerated for developing their classroom curricula. Likewise, educators\u2019 abilities to do this work may be shaped by increasing pressure from these same institutions, as well as their local governments, to eliminate discussions of these very topics from their curricula. Here, trauma-informed pedagogy teaches us that we might need to rethink our subject matter, our approach, or our framing in the classroom. To be clear, this is not to say trauma-informed pedagogy is without its limitations. For one, its origins in counseling and healthcare can make its translation to pedagogical applications challenging; when used without care, scholars have pointed to its capacity to pathologize students. In addition, as we know, trauma is systemic and oftentimes inscribed in the very structures of educational spaces. While trauma-informed pedagogy could work to mitigate these structural realities, it also harbors the potential to exacerbate them, as its reach is limited to the classroom.5<\/a><\/sup> Despite these limitations, in our current moment, a trauma-informed approach developed with care, attention to complexity, and the need to be flexible and responsive offers one of the most compelling ways to build a classroom environment that can support and encourage the deep and critical exploration of images\u2013materials we know have an incredible potential to be affecting.<\/p>\n\n\n\n

No matter what geographical region, time period, or medium we teach, almost all arts educators center images at the core of their teaching. As editors, this series has repeatedly reminded us that while we may carefully choose the images we present, we cannot and should not fully understand the impacts they might have on our students. Likewise, the series has reminded us that we must remember the affective power of images. We regularly teach works that are deliberately constructed to make us think and feel, although the intellectual space of the classroom can naturalize an emphasis on the former. Yet images crucially resonate with us as people, that is to say, affect <\/em>us as whole human beings. This includes their capacity to elicit the full range of human emotions, that is to say not only sadness, anger, and fear, but also joy, hope, curiosity, and wonder. Below, we offer a self-reflection guide that we hope can support instructors as they work to build more inclusive learning environments. We offer this series of prompts and questions for instructors who wish to develop a trauma-informed pedagogy as part of their teaching philosophy. We hope these moments of inquiry help instructors understand the manifold ways images may function in their classrooms, affect students in their communities, and connect to contemporary politics, conflicts, and social issues.<\/p>\n\n\n\n

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Affecting Images: A Guided Self-Reflection for a Trauma-Informed Art History Classroom<\/strong><\/p>\n\n\n\n

Below, you will find a three-part self-guided reflection document. A downloadable PDF version of this guide, which includes spaces to take notes and respond to reflection prompts, can be found here<\/a><\/strong>. It was designed specifically with art history education in mind. We offer a series of guiding questions to both encourage reflection on past teaching and support scholar-teachers in developing their own trauma-informed approach. We especially hope to promote thinking around how we select images for the art history classroom, as well as the particular images one might choose. While these questions may be particularly useful when considering images with potentially activating content, they are also useful when applied more generally. In our own development of these questions, we have in part looked to the Substance Abuse and Mental Health Services Administration (SAMHSA), the national agency whose guidelines have most robustly informed academic discussions about trauma-informed pedagogy. SAHMHSA identifies six key principles <\/a>for trauma-informed care: safety (S); trustworthiness and transparency (T); peer support (PS); collaboration and mutuality (CM); empowerment, voice, and choice (EVC); and cultural, historical, and gender issues (CHG) (and which we here expand to include other aspects of identity and lived experience). Recent scholarship has emphasized<\/a> a seventh principle: resilience, growth, and change (R).6<\/a><\/sup> To facilitate engagement with this reflection document, we have used these initials to identify where questions connect to particular principles. While these principles might seem abstract and challenging to tie to specific aspects of pedagogy, such as choosing images, we hope this guiding document bridges that gap.<\/p>\n\n\n\n

Each of the three parts includes a series of questions designed to help you critically consider the images you include in your teaching within a trauma-informed framework that still aligns with your learning goals. You may scroll down for the web version of this guide, or download a PDF version here<\/a><\/strong>, which includes dedicated space to make notes, brainstorm, and record your reflections. We have designed this document so that you might implement it into your preparations to the degree that you would like or are able, whether in relation to a single image, one day\u2019s lecture, or your broader approach to image selection throughout the semester.<\/p>\n\n\n\n

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Part One: Choosing Images<\/strong><\/p>\n\n\n\n

What are you hoping to elucidate by including these images in your course materials? To set up this section, begin by considering the following self-reflection questions:<\/p>\n\n\n\n

1. Focus on Learning Goals:<\/p>\n\n\n\n