What, Even Dallas? Popular Culture within the Art Curriculum

Abstract

This paper examines a range of proposals by art educators to include popular culture within the general art curriculum. Four basic social theories assumed by these art educators are examined: liberal humanism, two variants of liberal pluralism, and Neo-Marxism. The positions of Bersson, Beyer, Chalmers, Chapman, Feldman, Lanier, and Nadaner, in particular, are examined. Drawing on Neo-Marxist theory, the paper concludes with a proposal for adopting a sympathetic view of popular culture as it functions within peoples' lives, but one informed by a critical consciousness of the political embeddedness of both popular culture and its appraisal. Over the past few years there has been an increasing number of proposals to incorporate popular culture within the general art curriculum. Although these proposals vary, it will be shown in this paper that they derive from four basic social theories: the liberal humanism of high culture criticism, two variants of liberal pluralism, and Neo-Marxism. Reference to the social theory assumed by art educators in proposing the involvement of popular culture clarifies the reasons for their proposals. In particular, it throws light on the implications of their proposals in the context of social change, a primary parameter of all education and of particular concern for the critical approach to culture and society upon which this paper relies. Drawing upon Neo-Marxism, a sympathetic view of popular culture will be proposed, but one informed by a critical consciousness of the political embeddedness of both popular culture and its appraisal. The proposal assumes the need for social reconstruction and views a critical study of popular culture as one way of achieving such change. Popular culture is defined here as mass-produced, mass distributed, and mass consumed artifacts; typically involving content that is relatively clear and simple; and produced by a small group of professionals for the consumption of others. Usually, popular culture presents a safe and secure world of conventional ideas, feelings, and attitudes, though the vehicle is often escapist.' Dallas is a paradigm, as are comic books, teen magazines, cute animal posters, and breakfast cereal cards. Social Theories Liberal humanists who draw on the high culture critique argue in favour of studying popular culture as part of a moral agenda in the cause of humanist social reform. Culture is viewed as an especially refined sensibility and the works of such sensibility. Culture is a moral force and a rallying cry against a