This article discusses how Internet memes associated with racism can be analyzed and pedagogically utilized through the theoretical frame of Critical Race Theory. The assumption of the study is that Internet memes, as a site of ideological reproduction, can show one aspect of racial discourse. I consider Internet memes regarding race and racial issues as racial humor in this study. I gathered a total of 85 memes addressing or connected to racism primarily from the Memecenter website (www.memecenter.com). In this study, I analyzed their forms and content to consider how these memes deal with racism in different ways. Methodologically, this study implements critical discourse analysis in combination with multimodal discourse analysis. Through this study, I found that the majority of Internet memes about racism perpetuate colorblindness by mocking people of color and denying structural racism. I argue that challenging colorblindness through critical analysis of Internet memes and creating counter- memes will enhance students’ critical awareness of racial issues.
This autoethnographic study demonstrates my experiences of teaching social justice issues as a female teacher of color at a university in the Southwest. Based on Critical Race Feminism (CRF) and intersectionality, I explore the intricate layers of my social identities and positionality in relation to my teaching practices. The first finding highlights my sense of self-doubt and shame as an “Other” teacher. Next, I analyze whiteness and how it operated discursively and performatively in my classroom. I also discuss how I made sense of and dealt with whiteness particularly in the discussion of race. The third finding demonstrates resilience as a necessary process of becoming a CRF teacher. The conclusion addresses a few suggestions to translate the complex groundwork of CRF into classroom and community-based action as a way to disrupt oppressive norms. These suggestions include questioning the notion of safe classrooms, carefully examining the academic and pedagogical endeavors under the banner of diversity, and creating academic spaces for critical reflexivity on racial relations and theorization starting from the experiences of women of color.
This essay attempts to problematize the fixed and bounded notion of culture in global narratives and deconstruct the practices of knowing the Other through the lens of border thinking. In order to challenge the colonial apparatus of classification, I first demystify the static notion of national identity through an example of the ideological formation of Koreanness in Dansaekhwa, the monochrome painting in Korea, in the context of global art. The first section includes my reflective narrative in light of the discussions of representation, Othering, and positionality. This section also addresses the issue of speaking about and for the Other, and how it contributes to the colonial discourse through the network of representation and interpretation. The second section addresses decolonial aspects of Lee Bul’s works and their connection to decolonial aestheSis. In the last section, I make a few suggestions regarding what art educators might consider in order to move beyond the colonial discourse in global narratives. The suggestions include critical reflexivity in the works of representation and the importance of border thinking to imagine decoloniality and to claim for subaltern perspectives.
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