Implementing the Arts in Educational Curricula: A Guide on Aesthetics and the Arts for Non-Art Educators

AS | CONF 408

The following content and activity were inspired by the book Your Brain on Art: How the Arts Transform Us, written by Ivy Ross and Susan Magsamen. You can access the book for purchase here or visit their website here. 

Brief Synopsis and Words of Encouragement for Educators:
https://youtu.be/1zAypOxMfyg

Content: 
Please watch the video above to see the primary synopsis of this book as well as how educators can work to activate its lessons in their own curriculum. In addition to the concepts presented in this video is the Aesthetic Mindset. The Aesthetic Mindset is the way in which a person is aware of the arts and aesthetics around them and the level of purposefulness to which they apply these ideas in their lives. It analyzes aesthetic responsiveness in a person. The purpose of this analysis is to draw attention to areas that people may not be fully activating their senses in the arts and aesthetics, allowing them to seek out ways that they can purposefully seek more creative opportunities in the world. For non-art educators, especially, an appreciation and recognition of the arts is important in curriculum development because it allows for creative learning development which leads to students being more dedicated to the learning process. 

I discovered this book after speaking with a children’s educational development professional who works on developing media for youth. Her aim is to ensure that kids see themselves as learners who love to learn, and she recommended the book to me as I am interested in youth curriculum development. My focus in particular is on arts-based learning, and this book illuminated many helpful concepts to me that I plan on exploring further. Within the realm of building peace in an educational setting, I believe that the use of arts in peacebuilding practices is essential, as it offers creative solutions to problems. Especially for youth, arts-based approaches can offer them outlets for their ideas and promote embodied practices. 

Context: 
Use of this book and implementation of its ideas are best suited for non-art teachers who teach high school. As stated in the book, “artistic expression and the creative process enhance cognitive abilities, foster greater self-awareness, and help teens regulate their emotions.” Teachers who teach in high school are able to develop new ways of thinking for teenagers that can assist in their social and professional development as well as help activate their students’ senses before they leave the education system. While the ideas presented in the book can, and often should, be implemented at the community level, for the sake of the activities presented below, an educational setting is more appropriate. That being said, for educators who engage in after school programming or sports, these opportunities can be implemented in these contexts as well.

Ways to Use This Resource:
Summary:
For non-art educators, I recommend reading this book and applying some of its key education-related content to your lesson plans. To start, take the aesthetic mindset index quiz that is outlined below. Once you have an understanding of the level of arts and aesthetics appreciation you currently have, look at the following three lesson plan suggestions based on your results. Each plan will have a series of recommendations and examples of ways to improve your curriculum to activate both your arts appreciation and your students. Challenge yourself to spend 30-45 minutes looking at your current curriculum and finding ways to integrate some of these elements into your lessons. 

Time:
Aesthetic Mindset Index Quiz – 5 minutes
Current Curriculum Overview and Changes – 30 – 45 minutes 

Materials:
– Aesthetic Mindset Index
– Computer
– Past or current curriculum 
– Pen and notepad
– A quiet space to contemplate and reflectively think

Learning Objectives:
– To understand your current arts and aesthetics shortcomings and gain recommendations suited to your experience
– To better connect with and understand the application of the arts in non-art courses 
– To develop content and curriculum revisions that will support your students 

Activity Overview:
Aesthetic Mindset Index Activity (5 minutes)
To complete the quiz online, click here. Below is a modified transcription of the quiz. Feel free to print out the table below and fill it in physically or copy it to your computer to complete digitally. Getting a higher or lower number does not make you inherently good or bad, but rather signals areas of strength and growth.

Access the downloadable and printable table here to fill out for the activity. This will allow you to answer the questions as well as score yourself. Once scored, refer to the curriculum overview and changes for suggestions.
Aesthetic Mindset Index Downloadable TableDownload

    Current Curriculum Overview and Changes (30 – 45 minutes):

    For educators who have an Aesthetic Appreciation score that is 3 or lower: 
    A lower aesthetic appreciation score indicates that a person may not be as aware or responsive to the impact of aesthetics in their environment. In the current world we live in where everything is fast paced, it can be difficult to slow down and be intentional in recognizing the beauty in moments or places. Developing a stronger aesthetic appreciation helps strengthen these skills and promotes critical thinking and emotional intelligence in students. 

    Recommendations to adjust the curriculum to address aesthetic appreciation include the following: 
    – Environmental Education: Implementing elements within the curriculum that force students to slow down and experience the beauty of their lived environments. Examples include nature studies or sustainability lessons. 
    – Cultural Exposure: Increasing cultural awareness and exposure to different traditions will widen students’ understanding of what constitutes beauty and art. Examples include World Culture Days. 
    – Mindfulness Exercises: Promoting mind-body awareness in students will allow them to engage more of their senses and focus on the details that surround them. Examples include grounding exercises at the start of class and breathing exercises integrated into more stressful lessons. 

    You can learn more about the importance of aesthetics in education and other recommendations here: https://www.scribd.com/document/968296739/Aesthetic. 

    For educators who have an Intense Aesthetic Experience score that is 3 or lower: 
    A lower intensity aesthetic experience score shows that a person responds to aesthetic experiences on a less powerful scale. As a result, they may not reap the full benefits that the aesthetics offer within the field of education. As it stands, aesthetics are important to promote innovation and emotional well-being alongside personal development. They do so by stimulating the imagination, evoking emotions, and refining perceptions of others. Aesthetic responses are learned reactions that align with societal and cultural beliefs. As a result, teaching aesthetics and increasing students’ aesthetic reactions allow for critical reflection and meaning-making to occur in the classroom. Once students gain familiarity with pulling meaning from sources of aesthetics, they are able to translate these skills into other subjects. 

    Within the scope of education, developing an intense aesthetic experience can manifest in the following ways:
    – Rethinking Examinations: Instead of focusing on timed exams, integrate oral and participatory projects into your curriculum. Examples include oral presentations, case studies, and peer assessments of homework. 
    – Apply Gamification: Several educational platforms have taken on elements of online gaming to incentivize homework and additional work toward students. Examples include Kahoot! and Duolingo.

    You can learn more about the importance of aesthetics in education and other recommendations here: https://www.scribd.com/document/968296739/Aesthetic and https://www.timeshighereducation.com/campus/how-aesthetic-pedagogy-can-get-attention-your-gen-z-students. 

    For educators who have a Creative Behavior score that is 3 or lower: 
    The lower creative behavior score displays a lack of art-making on the educator’s end. However, I would like to propose that the very act of curriculum development is considered an art. A way to further activate this process and integrate art-making and creativity into the curriculum can be achieved in a myriad of ways. When creative behaviors are added to lesson plans, students can delve deeper into their interests and gain insights into their readiness and learning profile. 

    Ways that educators can implement creativity in the curriculum are the following: 
    – Doing Differentiated Instruction: This approach means that the educator uses multiple approaches to learning that individually fit with students to support them best. This can extend to both the content and the process of learning. Examples include using embodied movements to explain scientific or mathematical concepts. 
    – Emphasize the Process, Not the Product: In lessons that have clear academic achievement benchmarks that you have to hit, ensure that your students engage deeply in the process of learning rather than attempting to only do well during the end examination. Examples of implementing this include having students lead lessons for the day or teach their concepts to other students. 

    You can learn more about the importance of creativity in education and other recommendations here: https://www.kennedy-center.org/education/resources-for-educators/classroom-resources/articles-and-how-tos/articles/collections/arts-integration-resources/arts-integration-and-differentiated-instruction/#:~:text=Through%20arts%20integration%2C%20students%20use,well%20as%20culminating%20summative%20products and https://teachingstrategies.com/blog/educating-the-whole-child-the-arts-in-the-creative-curriculum/#:~:text=Emphasizing%20the%20Process,process%2C%20not%20the%20final%20product.&text=For%20example%2C%20teachers%20can%20best,part%20of%20the%20classroom%20community. 

    Goal:
    The goal of this resource is to expand educators’ understanding of the importance of adding the arts to their curriculum, as well as help them gain clarity on their personal shortcomings in art appreciation. Opening up the possibility to edit curriculum to match the recommendations above offers ways for educators to broaden their lesson plans to embrace the arts despite not belonging to an arts field. Within the realm of peace education, implementing these approaches to curricula opens up strategic arts-based peacebuilding techniques, such as familiarizing youth with embodied practices that allow them to reclaim their body and become more grounded in their perspectives (Shank and Schirch, 2008). In addition, the arts in curricula help transform worldviews and offer alternative approaches to resolving issues.

    Audience:
    The contents of this post will be sent to the aforementioned educational development specialist as well as a curriculum developer.

    References:
    Shank, M. and Schirch, L. (2008), Strategic Arts-Based Peacebuilding. Peace & Change, 33: 217-242. https://doi.org/10.1111/j.1468-0130.2008.00490.x
    Laura D’Olimpio, Aesthetica and eudaimonia: Education for flourishing must include the arts, Journal of Philosophy of Education, Volume 56, Issue 2, April 2022, Pages 238–250, https://doi.org/10.1111/1467-9752.12661

    Cartooning Political and Social Issues

    By: Leah Tudor

    DISCLAIMER:

    The following blog post details an existing lesson plan that was retrieved from the Kennedy Center Education Program webpage. The resource, originally designed by Rebecca Holden, can be found here: Cartooning Political and Social Issues.

    SUPPORTING MATERIALS:

    INTRODUCTION FOR EDUCATORS

    Political cartoons first emerged in eighteenth-century Europe as a form of visual commentary on political events, public figures, and social issues. The popularization of Enlightenment ideas such as natural rights (life, liberty, property) and consent of the governed, coupled with increasing literacy rates and technological advancements, substantially contributed to the rise of political cartoonists such as Jame Gillray [1]. These cartoons swiftly made their way to the American colonies. In 1754, Bejamin Franklin published what is considered to be the first American political cartoon (i.e., “Join, or, Die”) [2]. Since then, cartoons have been widely used in the U.S. as a means of communicating political critique and shaping public opinion.

    Political cartoons are an exceptionally valuable resource for educators, particularly those who teach Social Studies, English, or Visual Arts classes. They function as primary sources, providing direct insight into the political, social, and cultural dynamics of various historical periods (e.g., American Revolution, Gilded Age, Great Depression, World Wars etc.). Moreover, analyzing political cartoons helps students develop critical thinking skills by teaching them to examine main ideas, interpret visual rhetoric, recognize bias, and consider multiple perspectives. For Visual Arts educators, political cartoons offer a unique opportunity to explore artistic techniques, composition, and the use of symbolism, exaggeration and satire to convey meaning throughout history.

    OVERVIEW

    Context & Audience:

    The lesson plan discussed in this blog post was developed by Rebeca Holden for the Kennedy Center’s education program in 2023. It is designed for the 6-8 grade band and is recommended for social studies or visual arts classes; however, it also has applications for English classes. The guiding question of this lesson plan is: What role do cartoons play in presenting viewpoints about political or social issues?

    The 6-8 grade range is recommended for this lesson plan because it aligns with the developmental stage of students in this age bracket (~11-14). At this stage, children begin to engage in abstract reasoning and perspective-taking. This is also the period where children begin to solidify their own identities [3]. Thus, it is the ideal age to introduce critical thinking activities. Additionally, the creative component of this lesson provides students with the opportunity to express themselves and their new identities by exploring issues meaningful to them. All that said, this lesson plan can be adapted for higher grade levels by increasing the analytical rigor and including more written reflection and debate.

    Learning Goals:

    The lesson plan identifies the following learning objectives, noting that students will:

    • Examine the practice and art of political cartoons.
    • Discuss the U.S. Constitution’s freedom of speech.
    • Discuss the meaning of satire.
    • Examine sources to find those that provide the most relevant and accurate information.
    • Analyze examples of political cartoons, including the way an issue is exaggerated, a caricature of a person, and the use of satire.
    • Use a graphic organizer to explore viewpoints expressed through political cartoons.
    • Design and illustrate a political cartoon.
    • Present work to an audience.

    The lesson plan also outlines its alignment with the following National Core Arts and Common Core State Standards:

    National Core Arts Standards:

    • VA:Cr2.1.6a – Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. 
    • VA:Cr2.1.7a – Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design. 
    • VA:Cr2.1.8a – Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing.

    Common Core State Standards:

    • ELA-LITERACY.RI.6.7 – Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
    • ELA-LITERACY.RI.7.7 – Compare and contrast a text to an audio, video, or multimedia version of the text, analyzing each medium’s portrayal of the subject (e.g., how the delivery of a speech affects the impact of the words).
    • ELA-LITERACY.RI.8.7 – Evaluate the advantages and disadvantages of using different mediums (e.g., print or digital text, video, multimedia) to present a particular topic or idea.

    LESSON MATERIALS

    The lesson plan draws on a diverse set of materials to support student learning. This includes slides and websites with various examples of political cartoons, a graphic organizer for creating one’s own cartoon, articles explaining related concepts (i.e., satire and freedom of speech), and videos highlighting the power of political cartoons to convey meaning and influence public discourse. Instructors will need to either have a projector for displaying the online materials or a printer to print them out. Instructors will also need to provide arts and craft materials (i.e., paper, colored pencils, markers, etc.) for the last stage of this lesson’s activity.  

    Slides

    Websites

     Videos

    Educator Preparation & Consideration:

    Teachers using this lesson plan should have a basic understanding of the U.S. Constitution, particularly the first amendment right to freedom of speech. This principle underpins students’ exploration of political cartoons as a form of expression. Moreover, while this lesson plan is intended for the 6-8 grade band, it can be adapted for higher grade levels. To meet diverse learning needs, educators can further modify how this content is delivered. For instance, static images can be supplemented with animated political cartoons to better engage auditory learners.

    It is important to note that this lesson plan does not provide a set timeline for how it should be carried out. Thus, how much time spent on each step of the instructions is left to the educator’s discretion. Assuming that class periods last approximately 60-90 minutes, a potential timeline could be: Phase 1: Engage (1-2 class periods), Phase 2: Build (2-3 class periods), and Phase 3: Apply (2-4 class periods). Depending on the desired rigor, educators can adjust this timeline to be longer or shorter.

    INSTRUCTIONS

    Phase 1: Engage

    1. Present students with the Slideshow: Political and Social Cartoon Examples.

    • Invite them to closely examine the images and captions, then share their interpretations. Following this, identify the images as political cartoons and introduce what they are – a form of editorial art that uses caricature, current events, or public figures to communicate an opinion. 

    Cartoons from Slideshow

    2. Open with a discussion about the U.S. Constitution and the importance of freedom of speech.

    • Utilize the provided source on freedom of speech to guide the class discussion. Emphasize that artistic expression is one way individuals exercise this right.

    3. Create a class list of ways people express their rights through free speech.

    • Brainstorm as a class and visibly record responses on a whiteboard or piece of paper. Explain to the students that they will use this information to evaluate different cartoons.

    4. Extend the conversation around free speech to discuss what it does not include.

    Phase 2: Build

    1. Play The Power of Political Cartoons video.

    • Instruct students to listen as Matt Weurker, a cartoonist, discusses his work.
    • Following the video, guide students in reflecting on the role of political cartoons in society.
    • Consider the following questions:
      • Why are political cartoons an important part of American history and culture? 
      • What are the advantages/disadvantages of expressing opinions in simple, direct ways to represent a specific viewpoint?
      • What other ideas can be illustrated in political cartoons?

    2. Present the Comparing Refugee Cartoons source.

    • Demonstrate for students how to analyze the cartoon.
    • Work together as a class to answer the comparison activity chart.
    • The activity asks students to consider the following questions:
      • What do you notice? – Make note of any details that are symbols or metaphors.
      • What issue/topic is this cartoon about?
      • What point of view/opinion/argument is represented in this cartoon?
      • What is the primary message?
      • What colors, words, and/or illustrative details help convey the cartoonist’s perspective/position on the topic?
      • What is similarabout the two cartoons?W
      • hat is differentabout the two cartoons?
      • If you could speak with the cartoonists, what questions would you ask them?

    Cartoons from the Comparing Refugee Cartoons Source:

    3. Separate students into pairs or small groups for next activity — Comparing Climate Change Cartoons.

    • Instruct students to complete the same comparison chart activity this time with cartoons centering the issue of climate change.

    Cartoons from Comparing Climate Change Source:

    4. Discuss with students what they know about stereotypes.

    • Prompt students to identify examples of stereotypes that they have seen or read.
    • Facilitate a discussion about why and how political cartoons have been used to stereotype political figures and societal problems throughout history.

    5. Assign students to find additional examples of political cartoons.

    6. Divide students into collaborative groups.

    • Instruct each group to select two or three cartoons to analyze from the ones they independently researched.
    • Prompt the groups to weigh the pros and cons of political cartoons while discussing following questions:
      • How are political cartoons effective or ineffective forms of free speec?h
      • How do political cartoons depict stereotypes?
      • How do illustrators use hyperbole and satire to make a point?
      • Do political depictions persuade or encourage people to take a side?
      • Why is art used to convey messages?
      • Why do cartoons remain a part of the way we are provided with news?

    Phase 3: Apply

    1. Introduce an “original cartoon” art project.

    2. Review appropriate topics for the project and review key elements a political cartoon should contain.

    • Refer to planner for definitions of key elements:
      • Symbolism – symbols that represent ideas or qualities
      • Captions – a brief text providing an explanation
      • Labels – a word describing or clarifying objects or people
      • Irony – when you say something different from the way things are expected to be
      • Analogy – a comparison between two different things that share similar qualities or characteristics
      • Exaggeration – a dramatic representation of a physical characteristic, object, or place

    3. Draw the cartoon

    • Distribute arts and craft materials for students to use (e.g., paper, markers, pencils, erasers, etc.).
    • Designate the allotted time for the project.

    4. Display the cartoons around the classroom or school.

    • Encourage students to write an artist statement to go alongside their work.

    Phase 4: Reflect

    1. Conduct a gallery walk so students can view and discuss all the different cartoons.

    • Instruct students to carefully examine each other’s work and critically analyze the issues conveyed.
    • Have students take note of how their cartoon compares to the others.

    2. Conclude with a reflective discussion or written response in which students evaluate the role of political cartoons in shaping public discourse.

    • Propose the following questions:
      • How are political cartoons an effective or ineffective method for creating interest in a political or social issue?
      • How do cartoons create interest or disinterest in a particular political or social issue? 

    RELEVENCE AS A TOOL FOR PEACE EDUCATION

    Connecting Learning Objectives and Pedagogies to Peace Education:

    This lesson plan’s learning objectives and standards directly connect to peace education, as they aim to cultivate the same capacities that underpin peace and conflict resolution such as perspective-taking, empathy, and critical thinking. Through their analysis, students are encouraged to reflect on how media frames sociopolitical issues in ways that often are grounded in bias or perpetuate harmful stereotypes. This process pushes students to question dominant narratives and consider multiple points of view, aligning with the social awareness aspect of the Social and Emotional Learning (SEL) pedagogy [4]. This lesson also aligns with Betty Reardon’s education for peace framework, as its objectives focus on, “…[creating] some of the preconditions for the achievement of peace” [5].

    Other pedagogical approaches utilized in this plan that directly align with peace education are collaborative learning, discussion-based inquiry, collaborative learning, arts-based exploration. Each of these approaches aim to foster dialogue and engage students thoughtfully with complex issues. This collective and artistic engagement helps students become more confident in expressing their ideas and working with others while also developing a stronger sense of civic responsibility. Moreover, the types of political cartoons examined can be adapted to address certain topics that foster intercultural understanding. For instance, political cartoons about immigrants or refugees can prompt students to consider the hardships they experience and empathize with their struggles.

    ALTERNATIVE ADAPTATION

    Connecting to Contemporary Contexts

    To further enhance the relevance of this lesson plan, educators can incorporate contemporary political cartoons that reflect current events and public discourse. For instance, given that this lesson plan was retrieved from the Kennedy Center Education page, one possible adaption of this lesson is to include recent cartoons that engage with discussions surrounding the current administration’s decision to rename the institution the Trump-Kennedy Center. 

    Adaptation in Practice:

    This modification can be incorporated into Phase 2 (Build) of the lesson. For example, educators may replace or supplement the provided comparison activities with the political cartoons included below. Students can analyze these cartoons using the same guiding questions outlined in the lesson, focusing on how artists use symbolism, satire, and exaggeration to represent different viewpoints and influence public opinion. 

    Educator Considerations:

    When incorporating contemporary political content, educators should be mindful of maintaining a balanced and inclusive classroom environment. Discussions should remain grounded in critical analysis of visual rhetoric and evidence-based interpretation. Establishing clear expectations for respectful dialogue is essential. Moreover, since cartoons referencing the Kennedy Center’s renaming largely represent the views of one political perspective, it is important that the instructor offset this imbalance by prompting students to critically consider the question: “Whose perspective is missing and why?” In this case, the missing viewpoint is those who are supportive of the Trump administration and its decision to rename the center. To further engage in perspective-taking, the instructor could ask students to consider what a cartoon supporting the decision might look like. The purpose of this prompt is to encourage students to consider both perspectives, even if they strongly support one side over the other. This concept of perspective-taking is a foundational component of effective peace education. 

    Sample Cartoons Referencing the Trump-Kennedy Center:

    ADDITIONAL RESOURCES

    The following resources provide additional background research and classroom-based examples for effectively integrating political cartoons into teaching practice:

    Dolls4Peace: A Trauma-Informed Approach to Community Healing and Social Action

    This activity was inspired by this resource: View of Dolls4Peace Memorial | Voices: A World Forum for Music Therapy  

    By: Gabrielle Jacobs 

    Peacebuilding is often framed as a large-scale issue requiring massive funding and high-level policy work and Organizations. Peacebuilding is typically viewed as a proactive response, or an effort after the fact, to global crises like war. This perspective overlooks the fact that conflict can occur anywhere. Peace is just as necessary when dealing with neighbors, friends, family, and educators. In many urban environments conflict is systemic and purposeful.  

    Content:Click on this link to find out more background on the original Dolls4peace project 

    The Resource (Content) Where to Place It (Context) 
    This resource focuses on a grassroots initiative in Chicago designed to grapple with the effects of gun violence against Black communities. By centering the community’s voice and healing, this program accepts the reality that local healing is the only way to address a cycle of systemic trauma. This resource is best placed in urban elementary or middle school settings, particularly in communities impacted by high levels of structural violence. It is effective in school and educational settings like Art or Social Studies classes. 

    Depending on the age group, the level of context and storytelling would change. Its most powerful placement is in informal contexts where students are given a third space to process. This allows the participants to separate from the strict lines of school-based freedom, where play is supervised and structured. The original use for this project was for a community in mourning, but this may apply to many communities.  

    Implementation: Ways to use this resource 

    In order to incorporate this resource, a classroom activity would have to be planned and implemented. 

    The Lesson Plan:  

    Contextualizing Violence: Students can participate in a storytelling circle or be given time to reflect on their own experiences in relation to violence and loss. 

    Pedagogical Grounding: Such an implementation needs to be rooted in the concepts of Trauma Informed Pedagogy and Culturally Sustaining Pedagogy. Both are beneficial since they emphasize the importance of emotional security for the child, analyze the systemic patterns of trauma, and develop a community where the expressions of the participant can be validated as a form of resistance and healing. With restorative justice pedagogy, the educator ensures that this vulnerability can occur. 

    Logistics and Materials: 

    An educator should organize these into kits or stations to ensure a smooth flow. Materials used should have emotional connections to the students but could be anything. 

    Common Supplies Found Objects & Fabric 
     Acrylic paints and brushes  Fine point black drawing markers  Needles, yarn, and crochet hooks  Scissors and glue Buttons, shells, and stones  Ribbons, string, costume jewelry  Lace, velvet, burlap, and satin swatches 

    The Creative Process:  

    The teacher would explain physical act of wrapping/binding the dolls as a meditative practice for containing or holding a memory. The reflection should include the voice for their doll to express their personal journeys or thoughts on the process of community healing. This could be enacted with a small paragraph written by the participants.  

    While the physical construction can be done in a single session, the full implementation, including the storytelling circle and the final reflection, should be structured over 3 to 4 separate classes. This prevents participants from becoming emotionally overwhelmed and allows for deep processing. This would also help remove any kind of time pressure, where students would feel rushed to finish their work.  

    To make this into a collective project, the dolls and short explanations for each could be publicly displayed to memorialize this grief as a community. This final step is essential for Social Action Pedagogy, as it moves the art from a private experience to a public statement of peace and a demand for systemic change. 

    Goal: Peace Education and skill development 

    This project addresses Holistic Peace Education and Trauma-Informed Pedagogy. Students develop: 

    • Knowledge: Understanding of structural violence and the historical context of their own communities. 
    • Skills: Narrative expression through the arts and bonding in community settings. 
    • Attitudes: Global agency and conflict competency in relation to community-based violence. 

    By creating a “living memorial,” they learn that they are not just victims of their environment but active “creators” of peace and memory, as stated by Rochele Royster: 

    Audience: The two stakeholders in this project are a local teacher History teacher in the NOVA area, and the administration at the Brockton Public school in Massachusetts. Both can benefit from this project because it provides an outline for educational activities in which students can gain autonomy of how they deal with violence. I will email these stakeholders a link to this post and website and specifically invite them to leave a comment regarding how they might adapt the wrap doll method for their specific student communities.  

    “From Many Places: An Immigration Scavenger Hunt”

    1. Content: The resource that I chose is a field trip to the Virginia Museum of History and Culture. On Thursday May 14, 2026, the museum will feature a special exhibition; We the People: The World in Our Commonwealth. I found this museum while searching online for field trips in Virginia. (Website: https://secure.virginiahistory.org/4217/4947) (Additional website that provides examples of what is to be expected at the exhibition: https://www.axios.com/local/richmond/sponsored/explore-the-history-of-immigration-in-virginia)
    2. Context: This resource will work best for middle/high school (ages 12-18) students that are currently attending an American/Virginia history class. Since it is exploring the positive impact that immigrants have brought throughout Virginia’s history, I feel that this topic is more advanced than elementary school level. This will also work in an informal setting due to it being a field trip.
    3. Implementation/Ways to use this resource:
      • Goal- For students to discover the impact of how immigrants have helped to shape Virginia to the unique place it is with the use of finding stories, objects etc. throughout the museum.   
      • Time- 60 minutes
      • Materials- Pencil, paper, clip boards.
      • (40 minutes) Instructions for scavenger hunt sheet (top 3 students who gets the most points in the end gets a prize):
        • Find a journey story (+5 points)
          • Who is it?
          • Where did they come from?
          • What was their impact?
        • Pack the suitcase (+5 points)
          • What is an object some brought/invented
          • Why is it significant?
        • Find an object that represents culture (+7 points)
          • What culture is shown?
          • How did it influence Virginia/America
        • *Bring everyone back to the classroom*
        • (20 minutes) Ask the group discussion questions such as:
          • “What does immigration mean to America”
          • “What story or person stood out to you the most, and why?”
          • “Why do you think it’s important to learn about different backgrounds and experiences”
          • “How do these stories connect to identity and belonging?”
          • “What can people do to make immigrants feel more welcome?”
          • “How can you support people from different backgrounds in your school or community?”
      • ***(If you don’t have the ability to go to the museum, you can also do this in a classroom setting by putting pictures and objects around the classroom to mimic an exhibit setting)***.
    4. Goal:
      • Types of education that are most supported by this resource:
        • Multicultural peace education- Students learn about different identities and experiences which will help them be able to build more just and inclusive communities.
        • Human rights education- Students are able to learn about basic rights and freedoms. They learn to respect human dignity and equality while also being able to recognize injustice and discrimination
        • Experiential Learning- Students will actively explore artifacts, find answers, and actively engage rather than just listening. The museum turns into an interactive learning space.
        • Constructivist Learning- They are able to build their own understanding on what they observe and interpret in the museum, rather than passively receiving information.
    5. Audience: The two stakeholders that I will email this plan to are current friends of mine that are teachers who are currently teaching at Osbourne Park Highschool and Ronald Reagan Middle School. I will update this post as I receive updates from them!

    Student Forum – Student Dialogues Around Topics Impacting Them & How to Address Issues

    This activity was inspired by personal participation in the Chester County Intermediate Unit’s Student Forum: https://www.cciu.org/student-activities/student-forum

    Summary: Students come together to discuss issues relevant to them, their schools, and their peers and discuss what they could do about it.

    Time: 60 to 90 minutes (depending on topic and size of group)

    Materials: Space large enough for 20 to 25 students and 1-2 teachers to gather in a way for easy discussion.

    Context: This activity works best with groups of 20 to 25 high school students that know each other well. This activity can be adapted to any age group from elementary school to professional adult groups, but depending on the topic, does require maturity and willingness to listen to one another. 

    Learning Objectives: Students will be able to…

    • Practice participating and holding difficult conversations
    • Clearly define and describe complex social issues
    • Analyze how the issue affects different groups and make connections between large-scale issues and their local and personal contexts
    • Consider and engage with multiple perspectives including those they may not agree with
    • Ask thoughtful, open-ended questions to deepen discussion and understanding
    • Identify opportunities for involvement at the school and community levels

    Preparation:

    • Determine topic of discussion – if it is the first meeting, preset the topic; after each meeting, have the group determine the topic for the next meeting
    • Determine and prepare any background context needed for students to be able to engage with the topic
    • Prepare community norms and, during the first meeting, have all members discuss and adapt the norms as needed
    • Set a location for the meeting that provides space for all participants to engage in conversation
    • Determine 1-2 teachers that are respected by the students to guide the dialogue process – teachers are there to ensure conversation does not get heated and guide participants when asked

    Example Topics:

    • Environmental Sustainability
    • Amazon Rainforest and Deforestation
    • Gun Violence
    • Cost of College Education
    • Voting Rights and Youth Political Participation
    • Criminal Justice Reform and Mass Incarceration
    • Social Media and Mental Health
    • Misinformation and Fake News
    • Data Privacy and Digital Surveillance
    • Cultural Appropriation vs. Appreciation
    • Corporate Responsibility and Ethics
    • Equity vs Equality

    Community Norms: These are agreed upon by everyone as ways to behave and keep the space safe for all to express their opinions. Have students offer ideas first and ensure all needed norms are there allows them to discuss what each norms means, how they are shown, and how to ensure compliance. This gives them community ownership in the process. Examples can be seen below that are recommended to incorporate.

    Community Norm Examples:

    • Respect all opinions
    • Disagree with ideas, not people
    • Allow others space to explain when you are confused
    • Listen to understand before seeking to be understood
    • Do not speak over each other or interrupt each other
    • Speak from your own experience and use “I” statements
    • Respect confidentiality – while ideas from this room can be implemented outside of the room, keep discussions and what was said exactly confidential
      • Depending on the topic, limits on safety concerns and mandated reporting must be informed to the students prior to the start of the discussion
    • Give everyone space to talk if they wish

    Activity Instructions:

    1. Review Community Norms and edit as needed
    2. Introduce the topic and provide any needed context for the discussion
    3. Open the floor to students to discuss with the guiding questions of:
      1. What is the issue?
      2. How is it impacting us, our school, our community, etc?
      3. What can we do about it as students?
    4. Have students speak one at a time, asking questions and following up on each other
    5. As conversation wraps up, take the time to highlight the last question of ‘what can we do about this as students’ and determine the next meeting topic

    Debrief: This activity is meant to invoke deep discussions between participants with the debrief incorporated throughout. For an ideal situation, the formal debrief should be made as the final meeting of the academic year. Centering the topic of discussion around ‘Communication and Feedback’, or something similar, will allow students to discuss how talking in these open settings and listening to understand each other has impacted their lives. Debrief may be especially important for high school teenagers in their communication with peers and those of other generations. 

    Potential Debrief Guiding Questions: Pick questions from the general guiding questions below or prepare different questions.

    • Was this activity easier or harder than you expected? Why?
    • How has participating influenced your engagement with others in the group?
    • How has participating influenced your engagement with others outside of the group?
    • Were you surprised by anything in this process?
    • How does listening to understand differ from listening to others?

    Instructor Tips on How to Use Resource:

    • It works best to have this be a continual program that meets monthly throughout the academic year, but this can be adapted to meet the group’s needs.
    • Mixing of grade levels to include all years allows for the program to flow easily between academic years with multi-year participants gaining capacity to lead, organize, and facilitate sessions.
    • Incorporating students from different schools together provides increased viewpoints and speaking with others outside of normal interactions.
    • Having these sessions occur during the school day allows for the most student participation while minimizing the chance of scheduling conflicts; this also works best as a voluntary participation program which gives students leeway to miss sessions if required for classes.
    • This activity incorporates multiple pedagogies including but not limited to:
      • Inquiry-Based Learning – through having students ask questions to each other to fully understand each person’s points and opinions 
      • Socratic Seminar – it is a student led, collaborative discussion designed to foster deeper understanding and respectful dialogue
      • Place-Based Learning – it uses the local community, culture, environment, history, and understanding to guide discussion topics
      • Culturally Response Pedagogy – student-centered framework that uses their knowledge, cultural, and experiences as frames of reference to make learning more relevant and effective
      • Restorative Dialogue Practices – structured and voluntary conversation designed to address topics that harm or cause conflict in the students’ lives by focusing on what is happening and how to address it 
      • Problem-Based Learning – participants learn about the topics through discussing how to solve real-world open-ended problems

    MR | CONF 408

    Differences and Similarities Icebreaker

    This activity was inspired by this resource: https://www.icebreakers.ws/medium-group/categories-or-similarities-game.html

    Summary: Participants are divided into small groups and asked to find similarities and differences between group members.

    Time: 20 minutes

    Materials: None 

    Context: This icebreaker activity works best with new groups where participants do not already know each other well. This activity can be adapted for any age group from elementary school to professional adult groups. 

    Learning Objectives:

    • Participants get to know each other and feel more comfortable with each other.
    • Increase feelings of connection and understanding between participants.
    • Participants gain insight into similarities within the group.
    • Participants gain insight into diversity and difference within the group.

    Activity Instructions:

    • Step 1: Divide participants into groups with between 4 and 6 members in each group.
    • Step 2: Tell the groups to find as many things as they can that every single group member has in common. Ask the groups to keep track of the number of things they have in common and what those things are. Tell the groups they have 5 minutes and set a timer for 5 minutes.
    • Step 3: Ask each group to share how many things they found in common and what those things are. Plan approximately 5 minutes for this step although time will vary based on the number of groups. 
    • Step 4: Tell the groups to find as many things as they can that no one has in common with anyone else in the group. If there are four group members, then there must be four unique facts or experiences for the chosen difference. Ask the groups to keep track of the number of differences and what the differences are. Tell the groups they have 5 minutes and set a timer for 5 minutes.
    • Step 5: Ask each group to share how many things they found that are different for each group member and what those things are. Plan approximately 5 minutes for this step although time will vary based on the number of groups. 

    Variations on the Activity:

    • One variation on this activity is to ask groups to find a specific number of similarities in the first round and a specific number of differences in the second round. 5 similarities for the first 5 minute round and 5 differences for the second 5 minute round may be a reasonable request depending on the context of the group.
    • Another variation on this activity is to make it a game where the group that finds the most similarities wins the first round and the group that finds the most differences wins the second round. Prizes and team names can be added to further competitiveness if appropriate for group context. 

    Debrief: This activity can be used as a quick icebreaker before other activities, but it can also invoke deeper questions. The facilitator can add an additional 10 to 15  minutes to the activity to have a discussion about the activity. Debrief may be especially significant for teenagers and adults in activist groups, highly diverse groups, and educational settings.

    Potential Debrief Questions: Pick a couple questions relevant to group context or prepare different questions.  

    • Was this activity easier or harder than you expected?
    • How did you feel during the similarities round? 
    • How did you feel during the differences round?
    • How, if at all, has this activity changed how you view other group members?
    • How, if at all, did this activity challenge assumptions you had about other group members?
    • Were you surprised by anything you found out? If you were surpirsed, what surprised you?

      “The Conflict Perspective Game”

    Audience

    Employees, managers, students, members of a community

    Goal of the Exercise

    To understand the implications of conflict scenarios while developing an understanding of how to approach conflicts in work, school, or other institutional settings.

    Key Learning Objectives

    • Identify common problems that emerge in group situations and critique the motivations, intentions, and of stakeholders involved in conflicts.
    • Demonstrate empathy, active listening, and the ability to identify the multifaceted implications of everyday problems and conflicts in group settings.

    Required Materials

    • Pens
    • Index cards

    Total Time

    90 minutes

    Preparation for Role-Playing

    • On each index card, write out a scenario that could manifest in school, the office, or another institution.
    • Create small groups to play the game.

    Role-Playing Session 1

    • Each member of the group receives one card outlining a particular scenario.
    • Each participant reads the scenario out loud and takes two minutes to describe and assess the scenario.
    • Each participant assumes the role of a stakeholder in a conflict.
    • Each player writes down the thoughts, sentiments, or emotions that the stakeholder could experience in a conflict.

    Transition to next phase

    Small Group Discussion

    Over the span of 20 minutes, discuss why each character behaves in a certain way, the potential outcomes, and what can be done to diffuse the situation.

    Transition to next phase

    Role-Playing Session 2 (Repeat Session 1)

    • After the first role-play, each participant takes on a new role.
    • Each group member discusses the conflict, scenario, and motivations of each character.
    • Each participant assumes the role of a stakeholder in a conflict.
    • Each player writes down the thoughts, sentiments, or emotions that the stakeholder could experience in a conflict.

    End role playing – transition to next phase 

    Group Reflection

    Each small group spends 10 minutes reflecting on each conflict, discussing the broader implications of the situations, and developing interventions to diffuse each of the conflicts.

    Transition to next phase

    Small Group Presentations

    Each group takes 10 minutes to present the conflicts that they discussed, the perspectives of each group member, and what they learned about conflict management in different situations.

    Debrief

    • Bring the groups together, assess the challenges associated with conflict in group situations, and identify takeaways that reflect the larger exercise.
    • Identify what steps and interventions can be designed to address these controversies in group settings.

    Trouble in the Neighborhood: Building Bridges

    1. Audience

    Members of a diverse community

    • Game Goal

    To teach participants how to apply problem-solving skills to real life community problems.

    • Game Objectives
    1. Present the intricacies and dimensions of common conflict scenarios that occur in diverse communities.
    • Motivate game participants to view conflict through the lens of other stakeholders.
    • Encourage players to embrace the perspectives, rights, and needs of others in complex conflicts.
    • Help players conceptualize what works and what does not work in the context of “building bridges” with opposing quarreling in diverse communities.
    • Game Materials
    1. Large sheets of paper
    • Colored markers, colored pens, and sticky notes
    • Preparation for the Game
    1. Draw a fictional community with make-believe “spaces” for different stakeholders in the conflict.
    • Introduce a fictional community conflict scenario involving multiple individuals or groups.
    • Choose a scenario that reflects the values and constructs of pluralist societies (HOA, zoning, environment/pollution, noise ordinance)
    • Playing the Game:
    • Present the visual representation of the community and explain the conflict to the game participants.
    • Identify the stakeholder groups involved in the conflict.
    • Create separate groups that represent the interests of the fictional community. Possible stakeholders include HOA, small business owners, members of the township, the mayor, etc.
    • Perspective Mapping
    • Each stakeholder group is given a sheet of paper, markers, and pens to map out their part of the community. For instance, the HOA might draw a fictional master plan community. Another group, the township, could draw a fictional government building.
    • Game players in each stakeholder group write down their grievances, expectations, motivations, demands, and possible solutions to the problem.
    • Stakeholder Group Rotation
    • Rotate from one group to another clockwise in order to give each stakeholder group the opportunity to assess the perspectives and viewpoints of the other groups.
    • Each group is encouraged to write any notes on the sheet belonging to other groups.
    • Building bridges
    • The group facilitator introduces the idea of building bridges to create synergy and understanding between the groups.
    • Each group draws “bridges” on their papers to connect their own perspectives to the ideas written by other groups.
    • Community Talk

    In the final phase, each group presents their “bridges” and how they plan on creating synergy while fostering understanding with opposing stakeholder groups.

    • Debrief
    • Hold a roundtable discussion to discuss the difficulties associated with building bridges between quarreling parties.
    • Discuss the most effective strategies in building bridges with opposing stakeholder groups.
    • Delineate some of the key motivations and demands that are least likely connected to potential bridges.

    OPEN-ENDED Qs Activity

    Content and Instructions:

    • This roleplay was inspired by the theater of the oppressed, where actors try to use language in various ways to either deliver or receive a certain message in a manner that would bring clarity and reasoning without any complication.

    • This facilitation resource that is being introduced is an activity that involves a group of students working together to understand the facilitation tool of open-ended questions. First, set up chairs around in a horse-shoe manner – facing towards an empty chair where an individual who will be asked questions will be seated. Secondly, have the individuals that will be asked questions by the group leave the room. While they are waiting outside, have a group of people (preferably 10-12) decide on a fact that they would like to learn about the individual. Next, once the group has decided on the question, invite back the individual to sit in their designated seat and allow them to make a general statement. The group of people will go around asking one question to the individual based on the statement, to slowly get them to answer the question that the group is seeking. For example, if the statement that the individual gives is “Over the weekend, I spent playing football with my colleagues.” Then, the group will ask open-ended questions that revolve around the first statement and hopefully by the end of the round, have the individual asked a question that will deliver the answer. If the group is not able to steer the questions to the topic of interest to get the individual to provide the facts, then another round will be initiated and timed. This activity takes approximately 10 minutes. In addition, please be advised that there will be no random participation. In case a person from the group asks a closed-ended question, then it is the job of the facilitators to correct them. In between rounds, students are allowed to jot down notes for a debrief at the end of the activity to understand how the activity went and if there were any difficulties.

    Goal:

    • The learning objectives of this activity are the following: To practice listening to enhance understanding and responding. This workshop will ensure that future specialists in the field of Conflict Resolution know how to: (a) focus more on listening to and understanding facts before making further assessments, increasing their knowledge of emotional and factual aspects of a dispute. (b) Develop the ability to redirect unproductive assessments through strategic questioning. (c) Utilize questions to guide the conflict resolution process toward a mutually satisfactory outcome. (d) Practice asking questions that promote a deeper and more meaningful understanding of each party’s needs and interests.

    In what context can this exercise be useful? And for which field is this activity ideal?

    • This resource is best for any age level, as well as it is possible to incorporate into formal and informal settings, including in the field of diplomacy, and mediation, as well as other non-political fields that involves listening and understanding, including the field of psychology, or the field of law practice.

    • This exercise possesses a wide range of fields, since listening and asking questions is applied in our everyday lives; from our time in our offices working with colleagues to being trialed in court.

    Share Out

    Skills: Place-taking Empathy Mirroring Respect Responsibility

    Time: 25 minutes | 5 for preparation / 10 for activity / 10 for debrief

    Inspiration: This activity is modeled after a dialogue workshop depicted in the documentary Two Sides, produced by the Palestinian Israeli Bereaved Families for Peace organization. While the activity was used as an icebreaker for the group of adults ranging from their twenties to their fifties, the discussions that it elicited ran much deeper than expected and gave the facilitators insight into the group dynamics they were about to manage.

    Audience: This activity’s important aspect is its discussion prompt and time limit. Each can be crafted to suit a specific age and group! For example, younger participants would benefit more from simpler or more generation-specific discussion prompts and can be expected to retain less information than their older counterparts. For this reason, sharing phases should be kept shorter than you would for an older group of participants.

    Room Setup Recommendations: The participants are recommended to be arranged in a circle so that the participants can switch to different pairs easily by looking in the opposite direction. The room can have chairs or not, depending on available furniture, the time allotted for the exercise, and the preferences of the participants. NO other materials are needed for this activity!

    Preparation: It is best for the facilitator to know what they information and experiences that they want to have shared between partners and in the wider group! General questions are best for the first round and deeper questions are best after the group has built a good model of representation and have established trust and respect for each other. Please consider these factors as you sequence your discussion prompts. If this activity exceeds 2 rounds, please end the activity with each participant introducing themselves as themselves to clarify who they are!

    Procedures: 

    1. Facilitators will introduce themselves and explain that the group will be split into pairs. 
      • Pairs will be formed by asking the participants to look in the clockwise direction.
    2. When everyone has settled on their partner, the facilitators can now give the participants their discussion prompts.
      • Prompts can also be written on the board for easy reference.
      • Sample Prompts:
        • Name
        • Hometown
        • Plans for the weekend
    3. After 60 seconds have been spent, the facilitator will now ask the group if each partner has had the chance to share about their prompts.
      • If all have shared, please feel free to move to Step 4
      • If all have not shared, please repeat Step 3 to give everyone the chance to share with their partner
    4. Now that everyone has shared, it is time to spring the suprise! Each participant will introduce themselves as their partner, Sharing Out to the class the information that they received from their partner moments ago!
      • Participants should be encouraged to speak in the first person
    5. Now that everyone has had the opportunity to represent their partner, the group can be reshuffled and the facilitators can introduce new discussion prompts and/or longer time limits.

    Debrief:

    • If this is the end of the activity, please feel free to use the following prompts to decompress and review the activity!
      • How did it feel to be represented by someone else?
      • How did it feel to represent your partner?
      • Did you feel a difference between the experiences?
      • Are there responsibilities involved with representing someone else?
        • If so, name a few?
      • What makes for an accurate, respectful representation?
      • How did you feel about your partner after you had represented each other?
      • How did it feel to Share Out to the group?