When in doubt, art it out! Employing feminist art to enhance

transformative engagement in EFL classrooms

“When in doubt, art it out!” Arte con perspectiva feminista para

promover el compromiso transformativo en el aula de ILE

Margarida Castellano-Sanz

Universitat de València

margarida.castellano@uv.es

ABSTRACT

This article outlines some of the "Literacy, Gender and Diversity (LITGENDI)" (UV-SFPIE_PIEE-

2732068) project outcomes, coordinated by the University of València’s Faculty of Teacher

Training (2022-24). Integrating a feminist point of view towards art into English as a Foreign

Language (EFL) classrooms, this project aimed to deepen learning through critical engagement

with social issues and celebrate female artistic figures, enhancing students’ critical consciousness.

Implemented in a Valencian artistic baccalaureate, this multimodal approach proved to

significantly boost student motivation and engagement by adopting arts from a feminist

viewpoint. Despite its limited timeframe and sample size, the project showcases the impactful

role of arts in fostering inclusivity and addressing gender inequality in education. It advocates

for an academic shift towards transformative learning and curriculum innovation, emphasizing

the importance of content selection to prepare students for global challenges. LITGENDI

exemplifies art's power in revitalizing EFL multimodal education and promoting transformative

student engagement.

Keywords: critical ELT, feminism, motivation, social justice, transformative learning.

RESUMEN

Este artículo resume algunos de los resultados del proyecto "Literacidad, Género y Diversidad

(LITGENDI)" (UV-SFPIE_PIEE-2732068), coordinado desde la Facultad de Magisterio de la

Universitat de València (2022-24). Mediante la integración del arte con perspectiva feminista en

las aulas de Inglés como Lengua Extranjera (ILE) se buscaba profundizar en el aprendizaje a

través de la participación crítica en problemas sociales y visibilizar la obras de mujeres artistas,

para mejorar la conciencia crítica de los y las estudiantes. Implementado en un bachillerato

valenciano en la modalidad de artes, este enfoque multimodal demostró aumentar

significativamente la motivación y el compromiso del estudiantado adoptando el arte desde una

Revista Nebrija de Lingüística Aplicada a la Enseñanza de Lenguas (RNAEL) ISSN 1699-6569

Vol. 18 Núm. 36 (2024) doi: 10.26378/rnlael1836564

Recibido:14/08/2023 / Aprobado: 20/03/2024

Publicado bajo licencia de Creative Commons Reconocimiento Sin Obra Derivada 4.0 Internacional

perspectiva feminista. A pesar de su limitado marco temporal y tamaño de muestra, el proyecto

destaca el papel impactante del arte al fomentar la inclusión, la coeducación y por abordar la

desigualdad de género en la educación. Aboga por un cambio académico hacia el aprendizaje

transformador y la innovación curricular, enfatizando la importancia de la selección de

contenidos para preparar a los y las estudiantes para los desafíos globales. LITGENDI ejemplifica

el poder del arte para revitalizar una educación ILE multimodal y promover un compromiso

educativo transformador.

Palabras clave: ELT crítico, feminismo, motivación, justicia social, aprendizaje transformativo.

1. INTRODUCTION

In high school settings, engaging the multifaceted nature of students becomes pivotal

for an enriching learning journey. Reflecting on Hagay and Baram Tsabari's (2015)

insights, it is apparent that curricula often feel disconnected from students' lived

experiences, leading to a widespread disengagement. On the one hand, some scholars

affirm that this is particularly evident in English as a Foreign Language (EFL) classrooms,

where the traditional approach can fail to spark curiosity or relevance (Dörnyei &

Ushioda, 2011; Suescún-Giraldo, 2015; Kunčar, 2021). But, on the other hand, this

article defends that within the dynamically transforming educational landscape of the

21st century, the EFL classroom as an essential nexus for bridging the fragmented

realities presented by our digital and fragmented era (Reyes-Torres & Portalés-Raga,

2020). Following the trajectory of researchers like Cope and Kalantzis (2000), and

drawing inspiration from the work of Guerrilla Girls (1998; 2020), Ballester-Buigues

(2022) and Hessel (2022) on the visibility of female artists, it underscores the

importance of integrating multimodal texts to enable students to navigate and decipher

their complex world, starting from their own points of interest.

The fostering of a critical perspective in additional language teaching is still an

emerging field, as criticality often suffers from epistemological confusion due to its

polysemic nature (Dervin, 2012). This paper argues for a clarified understanding of

criticality and interculturality, drawing on Atienza (2020) and Dervin’s (2012, 2023)

work, to inform pedagogical practices that avoid reductionism and contradiction. In

doing so, this research stems from the observed disconnection in an Artistic

Baccalaureate setting. Inspired by transformative actions such as those by Guerrilla Girls

in the 1980s, ArtActivistBarbie, and Femme.sapiens in the 2020s, this study employs

feminist critical pedagogy and responds to LOMLOE's precepts of social justice and the

Sustainable Development Goals (SDGs) through an interdisciplinary lens. The research

explores the use of art, specifically the underrepresented voices of female artists, as a

stimulus for motivation and critical thinking in the EFL classroom, aiming to redefine EFL

education through a critical viewpoint and challenging students to engage with issues of

identity, power, and representation.

The research aligns with the call for a critical perspective in language teaching,

examining how language education shapes and is shaped by sociopolitical ideologies

(Kubota & Austin, 2007). It adheres to the challenges posed by fostering a critical

mindset in language learning while integrating the transformative potential of arts (Bori,

2022). The paper unfolds in several sections, beginning with a theoretical framework

that situates motivation within EFL learning, incorporating critical pedagogical

approaches as underscored by authors such as Correa (2011, 2018), and applying a

feminist approach to art education (Alarcón-Arana, 2023). The methodology details the

classroom intervention, analysed for its impact on student engagement and critical

consciousness. The results and discussion explore the potential of art to bridge curricular

gaps and foreground gender disparities, resonating with Cots (2006) and Gray’s (2010)

critical examination of educational materials. In the final analysis, this article will

examine the transformative impact of feminist art in EFL education, exploring how it can

foster not only language proficiency but also a deeper understanding of cultural

narratives and gender roles, informed by critical pedagogical approaches.

2. THEORETICAL FRAMEWORK

2.1 Motivation and education

Motivation is a key element in any learning scenario, and it is of the utmost necessity to

attempt to increase and maintain it so as to ensure that students learn in a meaningful

and productive manner, achieving their goals (Anjomshoa & Sadighi, 2015) while also

improving their academic results (Saeed & Zyngier, 2012).

Research on motivation within educational contexts, particularly in second language

(L2) acquisition, remains a pertinent field of study. Consequently, its exploration has

persisted, evolving and adapting to the demands of contemporary society. In fact,

researchers who have dedicated decades to study motivation in learning continue to do

so and new debates keep arising and new challenges keep being posited and faced. As

an example, Dörnyei (2001) has acknowledged the significance of context in the study

of motivation, while emphasising the importance of long-term motivation and

persistence, vision, and unconscious motivation, the investigation of which would be

enormously beneficial to further the understanding of motivation in the L2 world in

addition to potential applications of said knowledge (Košinaga, 2020).

Motivation, despite its critical role across various fields of study and in all facets of

life, remains a challenging concept to pin down. The significance it holds and the

curiosity it sparks have led to extensive scholarly attention, resulting in a plethora of

theories. These theories endeavor to delineate and elucidate both the nature of

motivation and its underlying components. One definition of motivation is given by

Dörnyei and Ottó (1998), who explain that:

in a general sense, motivation can be defined as the dynamically changing cumulative

arousal in a person that initiates, directs, coordinates, amplifies, terminates and

evaluates the cognitive and motor processes whereby initial wishes and desires are

selected, prioritised, operationalised and (successfully or unsuccessfully) acted out

(1998: 65)

Starting from the classic definition of motivation by Gardner and Lambert (1972), we

follow Dörnyei’s addition of three components: integrativeness (interest toward the L2);

attitudes toward the learning scenario and motivational intensity (2001). Thus, the role

of both the teacher and the course is pivotal in fostering motivation for L2 learning.

Among the myriad of strategies available, ensuring the lesson content's relevance to

students is paramount (Dörnyei, 2001). By tailoring the curriculum to resonate more

closely with students' interests, educators delve into a transformative teaching. Opting

for less conventional topics in the English classroom, such as the arts, aligns well with

this approach. This is further bolstered by the growing momentum behind art education,

increasingly recognised as an indispensable facet of holistic education (Acaso & Megías,

2017). Furthermore, contextualising the contents taught in class can be of help

regarding the lowering of the affective filter, as stated in Krashen’s Affective Filter

hypothesis (1982). Thus, low motivation, low self-esteem, and debilitating anxiety can

combine to 'raise' the affective filter and form a 'mental block' that prevents

comprehensible input from being used for acquisition.

Contextualizing lesson content is a powerful strategy to engage students, especially

in helping lower their affective filter (Berhó & Defferding, 2005). When considering the

profound impact of self-esteem on a student's affective filter, it becomes clear that

utilizing topics where students feel competent can significantly mitigate this filter. By

boosting their confidence in their own knowledge and abilities, students are more likely

to approach challenges with optimism, fostering greater participation in class and in

proposed activities. The positive implications of employing the arts as a lesson topic in

this context will be further explored later in our discussion.

2.2 Art education and multimodal perspective in L2 Education

It is essential to scrutinize the role of art and art education within the broader context

of general education. Historically, language teaching and the arts were seen as separate

domains without much intersection. Yet, this perspective has shifted in recent years,

with art's integration into the EFL classroom gaining momentum. Schander et al. (2013)

observed that these two fields are not inherently isolated. Their synergistic benefits can

stimulate profound motivation, leading to heightened participation and, notably, to

substantial text production. This sentiment further underscores the effectiveness of

leveraging art as a tool in language instruction. Furthermore, they defend that the arts

can be taken to the EFL classroom “as a valuable teaching resource, enabling teachers

and learners to engage in more meaningful and memorable learning experiences”

(Schander et. al, 2013: 411), following the line of thought that defends that learning

should be meaningful and that the learning linked to emotions, especially positive ones

is richer. Moreover, it should be highlighted that the use of art in class does not require

for the teacher nor the students to be experts so that they can uncover the historical

and cultural context and content of an artwork (Schander et. al, 2013), which will be at

the centre of this research.

Even more, art education should be central in any Arts Baccalaureate group or, as

Acaso and Megías defend (2017), in any general education. Furthermore, both authors

argue that, nowadays, when people are constantly bombarded and surrounded by

images, while also being constantly creating them, it is necessary to re-evaluate artistic

education at school. The teaching methodology of the arts requires contemporary

rejuvenation to better align with current educational needs, inviting a thoughtful re-

evaluation and innovative redesign to ensure its relevance and inclusivity. Therefore,

Art education is asking of us to rethink it in a moment in time when visual worlds do

not stop growing and becoming more complex, while the experiences by means of

which processes of critical alphabetisation regarding those visual worlds can be

carried out are disappearing from educational contexts whose mission is to develop

it (Acaso & Megías, 2017: 29)

In line with that, the researchers argue that to reach that goal, and thus, reach students,

“art education should be adapted to the social reality where it is inscribed” (Acaso &

Megías, 2017: 31), which supports the idea of the importance of contextualisation of

the contents that has already been commented upon. Not only that, but, as it happens

with motivation, this process is actually a two-way route, and the aim should be to

“connect art education with reality and connect general education with reality by means

of art education” (Acaso & Megías, 2017: 32). This idea is also supported by Izadi and

Baltagi (2019) who defend the use of art to incorporate culture into the EFL classroom,

as “teaching culture through art is not only relevant but also a realistic and practical way

to stream the classroom with the outside world” (Izadi and Baltagi, 2019: 56). Following

this line of thought, Engh (2013) further defends this practice, since it increases the

intrinsic motivation towards the target language, as it fosters a positive learning

environment (as cited in Izadi & Baltagi, 2019). Usually, the use of art to introduce

culture is done with the focus of teaching about the culture linked to the target language,

which ends up helping create connections between the target culture and the students’

own (Byram, et al., 2002, as cited in Izadi & Baltagi, 2019) and “allows students to

examine not only values and themes of the target cultures but their own cultural biases

and beliefs as well” (Omaggio Hadley, 2000, as cited in Berhó & Defferding, 2005: 2).

Nonetheless, this approach can be altered, and the art used in EFL classroom can belong

to the learners’ culture, which is what has been done in the study at hand. As Badard

(2016) explains:

if the teachers are able to incorporate art from where they live, or where their

students come from then the lesson become[s] all that more relevant to the students.

Once the students feel a connection to what they are learning then they will

immediately become more engaged and interested because it will no longer seem so

random or far-fetched (Badard, 2016: 6)

Hence, the use of art to introduce culture into the EFL classroom can be used to engage

students to a higher extent if one uses art from their culture, as it contextualizes the

lesson and makes it relevant, increasing their interest. Additionally, the benefits linked

to the questioning and reflection upon the learners’ culture are even more relevant if

the culture directly dealt with in class is their own, since allows them to ponder and

debate about one’s own culture in a critical manner, and it can become an opportunity

to create a debate in the classroom regarding topics such as values or the status quo.

This idea is also defended by Badard, who expresses that “arts are a great way of

nurturing open-mindedness, which is one of the most important lessons we need to

teach young children” (2016: 6), which also applies to high school students.

Regarding the contextualization of the topics or language by means of using the

arts, it is important not only because of the effect it has on the motivation of the students

but also because of the new context and learning opportunities it provides. These effects

are behind the project Developing English Language Literacy through the Arts

(hereinafter, DELLTA). This project has been created by the non-profit organisation

ArtsConnection, a partnership founded through a collaboration between several

departments of the New York City government in the 70’s that provides “innovative arts

programming to millions of students in the New York City public school system,

enhancing children’s intellectual, personal and social growth, while developing award-

winning educational models” (ArtsConnection, About Us section). The DELLTA project

defends that using arts in the classroom influences second language acquisition in

emergent bilingual students in a positive manner. One of the ways to use art is in

collaborative discussions, which is the kind of context that this project is based on, and

it is in this context that contextualization shows its importance. Morgan and Stengel-

Mohr (2014), in their research as part of and with DELLTA mention that Walqui (2002)

explains that “most of the language that students are exposed to in the classroom is

decontextualised: in order to comprehend it, the learner must rely on language alone.”

(as cited in Morgan & Stengel-Mohr, 2014: 93). They further explain that “collaborative

spaces allow for rich, authentic, and contextualized language exchange; in addition, true

language learning is evidenced when learners can create novel phrases and

manipulations of the language” (Morgan & Stengel- Mohr, 2014: 93). In other words,

providing students with a learning situation where they use language applied to a real

context and use helps them achieve true language learning and often leads to a fruitful

exchange among students, which is most probably boosted if the topic being tackled is

of their interest.

Moreover, Berhó and Defferding (2005: 2) argue that “both creating and studying

artwork have a strong link with emotions”. Even more, Egan (1997: 343) defends that

“we remember things best when we can locate them emotionally and associate them

with some vivid image”. In addition, Berhó and Defferding (2005) further state that

studying about and creating art involves linguistic elements as well as feelings and

movements, which contribute to learning at a deeper level. In other words, the emotions

linked to the study and creation of art, make it a more encompassing experience that

involves students to a higher extent and helps create meaningful connections between

the emotions being elicited and what is being learnt, which leads to a more profound

level of learning. Furthermore, they state that having knowledge regarding a certain

topic (in this case something related to the arts) is beneficial, as “their expertise in this

area can give them new confidence in the foreign language setting. In fact, the research

in the field shows a positive emotional response from L2 learners who studied or created

artwork” (Berhó & Defferding, 2005: 2), which falls in line with the aforementioned ideas

regarding self-image. What is more, Izadi and Baltagi (2019: 56) explain that,

considering the importance of multiple intelligences, “the inclusion of art and the

discussions around it will facilitate a learning environment where the learners feel

valuable and confident both as learners and as individuals”. This view is in consonance

with Berhó and Defferding’s ideas, reach the conclusion that “projects [that use art]

positively change the classroom atmosphere, and promote language learning” (Berhó &

Deffending, 2005: 2). Moreover, the uses of art, especially that which features

underrepresented female figures, have a dual positive effect. On one hand, learning tied

to emotional resonance tends to be more impactful. On the other, the selection of topics

that resonate with students' interests and prior knowledge can lower their affective

filter—a concept widely acknowledged in language acquisition theories. This reduction

in the affective filter, as previously explained, enhances students' confidence due to

their familiarity with the subject matter and mitigates the anxiety typically associated

with using a second language. The heightened interest in the topic thus facilitates a

critical dialogue within the classroom, where students are more likely to question,

analyse, and understand the gender dynamics and power structures present in the

artistic representations they study.

This pedagogical approach aligns with the critical development goals by fostering a

classroom environment that not only values emotional engagement but also prioritizes

the visibility and critical appraisal of female referents in art. Such an environment

encourages students to interrogate societal norms, challenge historical omissions, and

embrace a more inclusive and critical perspective on the narratives that shape our

understanding of art, culture and society.

2.3 Gender critical perspective in education

Discourse and debate on gender issues are ubiquitous and of the utmost currency in

nowadays society. Indeed, “gender mainstreaming is an international strategy in Europe

relating to gender equality using an intersectional approach” (Venegas et al., 2020:

137). This intersectional approach includes, obviously, education. Education is a tool to

help young members of any society to develop their critical thinking skills, helping them

inform their own vision of the world that surrounds them. In fact, “these skills are very

important for young adolescents as they are starting to reflect on moral and political

judgments to integrate themselves into society” (Moreira et al., 2015, as cited in

Moreno-Vera and Cruz, 2023: 143). In other words, “the goals of education include more

than mere cognitive and intellectual development of individuals. Education has also been

a major institution shaping individuals’ attitudes, values, and beliefs” (Du et al., 2020:

476). Therefore, gender perspective should be applied to education as a way to ensure

gender equality. Being quoted in Shih and Wang (2020), Tasi (2008) explains:

one of the most important objectives of gender-equal education is the achievement

of dual educational effects socially, culturally, and at the level of school and family

through education. Gender-equal education seeks to reduce the negative aspects of

gender bias and to eliminate gender discrimination and oppression and promotes the

positive aspects of gender equality and gender diversity. The goal of this education

is to establish a society that is not restricted by any gender roles, gender

expectations, or gender stereotypes (Tasi, 2008, as cited in Shih & Wang, 2020: 47)

Incorporating gender discussions into education, reflecting on the United Nations'

Sustainable Development Goals (hereinafter, SDGs), is a global initiative also echoed in

the Spanish current Education Law's curricular design. This approach is also mirrored in

EFL classrooms worldwide. For instance, in Japan, critical explorations of gender have

been integrated into English language teaching. Researchers have examined gendered

language, addressed issues such as sexual harassment and domestic violence, and

critiqued representations in media and educational materials (Sakui & Gaies, 1999;

Sunderland, 1992; 2000). These studies highlight the pedagogical value of fostering a

critical gender awareness among language learners. For this research, gender was

considered with a double motive: first, to participate in the students’ education regarding

gender by raising awareness of gender disparity in the art world and, second, to use this

raising of their awareness as a way to motivate them and increase their engagement in

the English classroom. It is in this context of introducing discussion about gender and

gender equality in the curriculum and the classroom that feminist pedagogy gains

importance. According to White:

methods for teaching from the perspective of feminist modes of thought and inquiry

are regarded as feminist pedagogy. Forms of education rooted in this ideological

perspective are complex, unorthodox and difficult to define. Art Education in general

shares this multiplicity of definition and approach with feminist pedagogy (2019: 22-

23)

Thus, feminist pedagogy and Art Education can concur, being implemented together in

the classroom with the objective of giving students the opportunity to reflect on and

question society and the general beliefs being transmitted. Art history has followed

patriarchal societal rules, leading to the canon being conformed in its majority by white

male artists. Thus, art students are mostly exposed to male artists, with almost no

exposure to female ones, even if this tendency has been changing to different extents

in the last decades. The dissimilar exposure that students experience concerning art

made by men and art made by women can, and does, affect students’ knowledge and

attitudes (White, 2019). Hence, the classroom offers an opportunity for the teacher to

defy the perspective of art history and offer a more egalitarian view, introducing

students to as many women artists as men ones. As Keifer-Boyd (2003: 317) explains,

“feminist pedagogy… is enacted from the feminist educator’s particular feminist values

and theoretical orientation adjusted according to and within a specific context”, in this

case, the EFL classroom dealing with art history topics. “In art education, this causes a

re-evaluation and re-assessment of didactic critique and addresses the potential for

collaboration and a community-oriented, art-pedagogical experience” or, in other words,

“feminist-based critique as a pedagogical approach is useful in the creation of a more

inclusive society in which people are not limited based on their gender/s” (White, 2019:

2). It is, nonetheless, necessary to question the interest this approach may have for

students. Even if it is not a topic widely researched, some studies defend that students

are interested in and value diverse representation in the curriculum and that they do

not receive an equilibrated education in the arts regarding gender representation (White,

2019). This claim was proved in this study, as the disparity in the representation of

artists of different genders was used as a shock factor that proved to be of utility to

engage the students.

3. METHODOLOGY

3.1 Research design

This study follows a qualitative research methodology (Creswell, 2009) with interpretive

data (Stake, 2010). More specifically, a multiple case study design (Stake, 1999) was

employed to analyse the motivation and engagement in English language learning when

dealing with a current topic related to social justice, with a starting point in the academic

interests of the students: the gender gap in art. All participants were from a group of

1st Baccalaureate in Arts from a state high school in València and a level of English B1-

B2 CEFR. They responded to a pre and post questionnaire, whose questions required

responses in both Likert scale format and short text. The 15 questions of the

questionnaire were structured into four different sections: I. Previous knowledge and

awareness on gender gap in art (3 short answers); II. Aspects related to art mediation

and women artists representation (4 Likert scale questions); III. Aspects related to

linguistic competence and specific uses of English (3 Likert scale questions) and IV.

Perception of the sessions (5 Likert scale questions). Finally, an oral general discussion

took place in the classroom, following an ethnographic approach to research (Goetz &

LeCompte, 1988; Angrosino, 2012), through which the researcher could take notes on

the contribution of a multimodal linguistic work to the development of the concept of

social justice (Fraser, 1996; Weissler, 2022), gender gap awareness (Butler, 1990,

2004; hooks, 1994; Fraser & Honneth, 2003) and right of membership (Benhabib,

2004). With the aim of implementing and evaluating a learning situation that helps

motivating artistic baccalaureate students into the learning of English while engaging

them with social justice and feminist art, different sessions designed following LOMLOE’s

precepts have been created. This pedagogical background justifies the selection of

multimodal texts and the scaffolding being used to guide students’ productions.

3.2. Participants, context and research design

This research was carried out during the academic year 2022-23 in a group of 1st of

Baccalaureate in Arts with 25 students (N=25) in a state high school in the outskirts of

València. A total of six sessions (50 minutes each) were conducted. The age of the

students ranged from 16 to 18 years old. Regarding gender, fifteen of them identified

themselves as women, five of them as non-binary, and five as men. Culturally, the class

represents nowadays diversity, with 6 students being born in other countries, mainly

from South America and Eastern Europe. With respect to the class atmosphere, there

existed a high level of demotivation, with a high rate of failing grades in a big proportion

of the subjects. Students’ attitudes varied, nonetheless, but mostly matched their

motivation. The entry profile of 1st of Baccalaureate is a B1, according to the Common

European Framework of Reference (CEFR).

3.2 From innovation to research: design & implementation of a learning path

As a result of the evolution of the concept of literacy and the interest in the learning

process as a meaning-making process, in 1996 a group of scholars known as the New

London Group (hereinafter, NLG) coined the term Multiliteracies. Their aim was to

establish a more contemporary vision of literacy that would also reflect the multiple

forms of communication and the diverse linguistic contexts in a globalized society.

Hence, Pilgrim and Martínez (2013: 62) point out that the NLG defines multiliteracies as

"the multiple ways of communicating and making meaning, including visual, audio,

spatial, behavioural, and gestural formats".

The Pedagogy of Multiliteracies not only incorporates the concept of Learning by

Design but also the Framework for Knowledge Processes, which involves the

implementation of four pedagogical acts: 1. Experiencing; 2. Conceptualising; 3.

Analysing; and 4. Applying. While the elements characterizing each act can occur at any

time during the learning process, Kalantzis et al. (2016) and Menke and Paesani (2019)

emphasize that teachers must reflect in advance on how to combine and when to apply

these processes according to their own goals. Next, in Figure 1, we present the pattern

designed (based on Castellano-Sanz, 2023; Reyes-Torres & Castellano-Sanz, 2023) to

include multimodal resources to actively engage and motivate students in their process

of learning an additional language and develop critical literacy. Non-fiction picturebooks

and graphic novels, such as those by Hodge (2016), Grande and Rosetti (2021), or

Sotoca García (2022), were introduced. Additionally, other multimodal texts by Guerrilla

Girls and @femme.sapiens and long overshadowed works by local and contextual

women artists, such as Manuela Ballesteros, María Sorolla, Elena Carabia or surrealist

Remedios Varo, among others, were incorporated to discuss and enrich the learning

experience.

Figure 1. Structure of the Learning Path based on Multiliteracies Pedagogy. Source: Created

by the author.

Context 1st Baccalaureate B1 Level CEFR

Topic Art & Gender Gap

Experiencing Conceptualising

Applying Analysing

Participants 25 students

Timing 6 sessions

Goal

Connecting students with main topic

Task

Selecting a trigger to engage students in the

process of learning

Resource

Ice breaker banner by Guerrilla Girls “Do women

have to be naked to get into the Met Museum?”

and reading of Hodge’s

W hy is Art full of naked

people?

Goal

Design of a task to reflect and apply new knowledge

Task

Creation of an autonomous final product

Resource

Creation of updated exhibition labels to match actual

paintings at the MUBAV under a gender perspective.

CONTENTS

LINGUISTIC ARTISTIC MULTIMODAL

Main Goals Learning outcomes

1. Digital literacy: looking for

information in different

Museum webpages.

2. Use of specific vocabulary

3. Elaboration of informational

texts: Art exhibition labels.

4. Reflection and critical discussion

on gender gap in art.

1. Creating a genealogy of women

artists

2. Being aware of discrimination

and gender gap in art

3. Raising voice against

discriminations in artistic

contexts

4. Being able to analyse women’s

masterpieces in their context.

1. Analysing banners, images and

texts by Guerrilla Girls.

2. Decoding IG images by activists

such as BarbieArtivists or

@femme.sapiens

3. Creating actual exhibition labels

4. Looking for information about

gender gap in art on different

platforms and formats.

1. To create a timeline of Women Artists being

underrepresented in history

2. To assess the reception of these women artists

3. To use the Pedagogy of the Multiliteracies to provide

linguistic, artistic and multimodal scaffolding

4. To disseminate and promote the concept of gender

awareness and social justice to critically engage

students with their process of learning

5. To visit a museum adopting a gender perspective

1. Analysis of different campaigns made by Feminist Art

Activists such as Guerrilla Girls

2. Women artists and their historical contexts

3. Acquisition of a critical point of view regarding

gender gap when visiting a Museum

4. Creation of updated art exhibition labels in English

with gender perspective.

Goal

Guiding students’ attention to artistic & linguistic features

Task

Analysing exhibition labels of women masters’ paintings

Resource

Selection of different exhibition labels from international

Museums

Goal

Investigation around the current state of main topic

Task

Multimodal texts regarding women artists. Research about

presence of women artists in international museums such

as El Prado, Louvre, Met, Tate or Valencian MUBAV.

Resources

Picturebooks & Graphic Novels; Museums’ websites;

Digital questionnaire using Plickers resource

3.2 Data collection

Students were asked to complete Likert scale questionnaires both before and after the

intervention sessions. These questionnaires were chosen for their ability to solicit

responses in a non-evaluative manner, as there are no 'correct' or 'incorrect' answers,

thus minimizing any potential bias related to students' concern for academic evaluation

(Dörnyei, 2007). Efforts were made to ensure the anonymity of responses and clarify

that results would not influence their grades, aiming to encourage honest participation.

The Likert scale format was selected for its ease of use and the straightforward nature

of translating responses into numerical data for comparison, which is crucial for

scientifically measuring attitudes (Joshi et al., 2015). Additionally, the decision to use

closed-ended questions helped avoid biases linked to varying levels of English

proficiency among students. Questionnaires were distributed via Google Forms, and

students accessed them in class using their personal mobile phones through a QR code.

On the qualitative side, data were collected from the results of a final task and

continuous direct observations. The final task required students to create art labels for

selected artworks, fostering engagement with content and allowing for the expression

of critical thought. These tasks were evaluated using a B1 CEFR level rubric. The focus

of this research was on enhancing students' motivation and reducing their affective filter,

thus fostering a more confident and involved approach to English language learning.

In parallel, the teacher and researcher’s direct observations provided insights into

the students' participation, responses, and reflections during activities. This non-

disruptive method was chosen for its ability to capture data without students feeling

evaluated, aligning with the principles of qualitative research that values flexibility and

sensitivity to the social context (Mason, 2002). Recognising that a researcher's

neutrality is unattainable, the emphasis was placed on understanding the researcher's

role in the process and selecting methods that minimized any inhibitive influence on the

students (Mason, 2002). By doing so, the study aimed to eliminate negative factors and

accurately ascertain the students' interest and motivation levels, thereby validating the

hypothesis that changes in classroom elements could serve as a catalyst for heightened

student motivation. Regarding the class discussion, the students’ interactions were

transcribed into Word format using a naturalized transcription (Bucholtz, 2000) in a

document for working on and analysing the information. Once the questionnaires were

analysed and the interviews transcribed, a thematic content analysis was conducted

using NVivo 11 software, which specializes in processing qualitative data (Lopezosa,

2020). An initial coding was carried out through an inductive categorization process, as

indicated in the specialized literature (Strauss & Corbin, 2002). This categorization,

which involved not only identifying repeated patterns and common elements but also

the uniqueness of each interaction, has helped to establish the benefits for social topics

to develop critical literacy provided by female artist productions in a multimodal format.

Subsequently, an analytical induction process was undertaken, which, as authors such

as Goetz and LeCompte (1988) or Martínez (2006) suggest, consisted of deriving

categories from the entire set of data. For this purpose, groups of textual units were

associated around categories that emerged from the interpretation of the data provided

by the students, both from the questionnaire and the focus group interviews. Once all

the information was organized (categorization and analysis of results), a realistic

narrative approach to presenting results was chosen (Sparkes & Devís, 2007), in which

references and comments to some direct quotations from the interviews were

incorporated, serving as support for the set of reflections and interpretations that are

presented below.

Categories

Codes

Multimodal Materials

• The opportunity presented by addressing linguistic issues

through authentic literary texts and artworks by female artists.

• Need to introduce other multimodal resources that assist in

visual literacy and intertextual connections, celebrating the

contributions of female artists.

Linguistic and artistic

mediation

• Exposure to artistic works on lesser-known female

experiences to understand within a broader historical context.

• Learning specific vocabulary to elaborate an exhibition label

with gender perspective.

• Opportunity to conduct controlled oral debates on current

interest topics: gender equality, social sustainability, artistic

representation and recognition.

Concept of Social

Justice, feminism and

SDGs

• Need to update and contextualise debate topics in additional

language classes.

• Need to provide themes that stem from students' interests,

such as the study of female artists' impact on social issues.

• Need to supply arguments for acquiring a critical viewpoint

on how female artists' work challenges and shapes social

narratives.

• Need to emphasize and make visible the societal challenges

addressed through the work of female artists, using them as

case studies for promoting social justice and achieving the SDGs

(No. 4, 10 & 16).

Table 1. Categories and units of meaning resulting from qualitative analysis. Source: created

by the author.

4. RESULTS

The research main goal was to evaluate the effectiveness of pedagogical strategies

aimed at enhancing motivation and critical perspective development through the

integration of female artists' productions in an Artistic Baccalaureate English language

learning environment. The sample size of the study was N=25 students, which included

a diverse representation of gender identities. This section presents the findings from the

initial questionnaire, subsequent activities, and the final questionnaire.

The initial questionnaire, completed prior to any intervention, aimed to capture the

students' attitudes and opinions regarding the English subject. Utilizing short answers

and a Likert scale ranging from 1 (Strongly Disagree) to 5 (Strongly Agree), the

questionnaire revealed a spectrum of responses. For instance, when students were

asked if they liked English as a subject (block III), 36% of them expressed a positive

stance (28% Agree, 8% Strongly Agree), 24% neutral, and 40% negative (20%

Disagree, 20% Strongly Disagree). When inquired about the subject's difficulty, 44% of

students did not find English challenging, suggesting a readiness to engage with the

language learning process. The interest in learning English was notably high, with 55%

of students indicating interest or strong interest. This suggests that disengagement from

the subject might not stem from disinterest in the language itself but perhaps from the

teaching approach or content.

The analysis of activities focused on the role of women in the arts demonstrated a

pre-existing critical engagement, with 48% of students having contemplated women's

role in the arts before the study. However, recognition of women in art history was

contentious, with only 52% acknowledging the underrepresentation of female artists.

Regarding the previous knowledge on gender gap in art (blocks I & II), students were

shocked by their little knowledge of female artists, beyond the most canonical names.

In fact, no student had ever visited the Museu de Belles Arts de València (MUBAV),

despite living just a few kilometers away from it, nor were they aware of the works of

Valencian authors such as Manuela Ballester, Elena Carabia, or María Sorolla. Among

the written responses in block I (short answers), are worth mentioning: “I have always

taken for granted that women have not had access to culture in general and to art in

particular,” (Student 1) “What seems incredible to me is that some textbooks continue

to treat female art as a movement in itself, without taking into account the general

artistic movements” (Student 2) or Student 3 who, paraphrasing Virginia Woolf wrote:

“for most of humanity, anonymous was a woman painter.” Apart from getting to know

the students’ awareness on gender gap in art, this research was focused on establishing

a link between learning English by means of motivating contents. In this case,

acknowledging their interest in art, the under-representation of women in this field and,

as a final task, elaborating updated exhibition labels (informational language) for some

works discussed, analysed and contextualised in class. Therefore, from the previous

questions related to the learning of the English language, we highlight:

Initial Questionnaire

Strongly

disagree/dislike

(1 & 2)

Neutral

(3)

Strongly agree/

(4 & 5)

Opinion about English as a

subject

40%

24%

36%

Is it a challenging subject?

44%

12%

Are you interested in

learning English?

12%

32%

56%

Table 2. Extract of answers to the Initial Questionnaire (block III). Source: created

by the author

Post-intervention, the final questionnaire assessed any shifts in attitudes and

perceptions. An encouraging finding was that 64% of students expressed a preference

for activities related to the arts over traditional textbook content. This suggests a

potential for increased engagement through curriculum content that aligns with

students' interests. Questions related to women artists in the art world revealed that a

significant portion of students (72%) would be on the lookout for women artists in future

exhibition visits, suggesting a positive shift in awareness. Moreover, there was a notable

increase in optimism regarding the status of women in the art world, with 68% of

students believing that things are changing for the better.

Post Questionnaire

Strongly

disagree/dislike

(1 & 2)

Neutral

(3)

Strongly

agree/like

(4 & 5)

Opinion about English as a

subject

20%

60%

Is it a challenging subject?

28%

60%

12%

Are you now more interested

in learning English?

84%

Interest of multimodal texts

& realia regarding Arts

36%

64%

Will you attend and be

aware of future women

artists’ exhibitions?

28%

72%

Regarding Museum’s

exhibitions, are they

adopting a gender

perspective?

24%

68%

Table 3. Extract of answers to the post questionnaire. Source: created by the author

The final discussion in the classroom not only highlighted the immediate outcomes of

the study, but it also paved the way for future research directions. By integrating

discussions around gender inequality and relating them to the international advocacy

campaigns #NosQueremosVivas or #MeToo, this research echoes Fraser’s call for

recognizing and addressing injustices that span across the economic, cultural, and

political spheres of society (Fraser, 1996; Fraser & Honneth, 2003). This approach

underscores the importance of incorporating feminist perspectives into educational

content as a means of fostering a comprehensive understanding of social justice.

Moreover, this dialogue directly ties into the SDGs, particularly goals 5, 10 and 16.

Following an ethnographic approach to data gathering (Goetz & LeCompte, 1988;

Angrosino, 2012), the researcher recorded and took notes of the students’ oral

interventions, in order to develop the discussion. Among the students’ post

interventions, these concerns were showed: Student 4: “I would like to further analyse

the other side of mythology, to be able to approach the universal paintings with a gender

perspective (...) for example: why has Medusa come to occupy the role of the villain,

when we are talking about a rape?”.

Student 3 asserted that “All museums should have purple glasses at the entrance,

to be able to make a visit with a gender perspective. Only then can we understand

paintings like 'The Satyr' by Antoni Fillol, which are also framed within the current

#metoo movement”; or Student 5 agreed that “it has been insightful to work with this

topic. The life stories of Manuela Ballester or Maria Sorolla were very interesting and I

have adopted now a critic point of view towards exhibition. I think I will count now the

number of works by women artists being exposed in the Museums I visit”.

The gathered data indicate that integrating subjects of personal interest, such as the

works of female artists, can positively influence student engagement and contribute to

the development of a critical perspective. The findings support the hypothesis that

content related to students' artistic interests can lead to higher motivation and a more

profound engagement with the English language. Future research could thus explore the

effectiveness of curriculum designs that incorporate these global social justice issues,

assessing their impact on student engagement and their understanding of their role in

societal change.

5. CONCLUSION

In the culmination of the LITGENDI project, the integration of feminist art into the EFL

classes has been thoroughly examined as a method to invigorate the academic

landscape. The initiative, rooted in the soils of multimodal learning and critical

pedagogy, sought to draw upon the power of visible female figures in art to foster a

critical consciousness among students. This foray into the artistic tapestry of the

language classroom has unveiled the potential for a profound reorientation in teaching

methods and content delivery.

The results unequivocally suggest that the arts, especially when channelled through

a feminist lens, can dramatically boost student engagement and motivation. The

initiative has highlighted the unique opportunity that the arts provide for exploring civic

issues such as gender inequality, thereby promoting a more equitable and inclusive

educational experience. The active participation and input from students signal a keen

interest in the subject matter, challenging the traditional confines of curriculum design.

However, this study is not without its limitations. The constrained timeframe and modest

sample size necessitate a cautious interpretation of the findings, which may not be

universally applicable. The nature of observational research, too, carries its inherent

challenges, demanding a thoughtful consideration of context in application and analysis.

Despite these limitations, the implications of this research are far-reaching. It lays the

groundwork for future explorations into the intersection of language learning with social

justice and the arts. It beckons for continued innovation in curriculum development,

teacher roles, and, critically, the content that we bring into our classrooms, all in pursuit

of a holistic learning experience that resonates with students and prepares them to

navigate and transform the world around them. The LITGENDI project, therefore, stands

as both a testament and a beacon to the transformative power of education when it

dares to embrace the arts as a vehicle for change.

NOTES

1 This research has been founded by the Innovative Project of the Universitat de València “Literacy,

Gender and Diversity (LITGENDI): Multimodal Readings to Work on Intersectionality and Social Justice

in English Teacher Training" (UV-SFPIE_PIEE-2732068), coordinated by the Faculty of Teacher Training

during the 2022-23 and 2023-24 academic years and with the participation of the Training, Innovation,

and Resources Centres for Teachers specialising in multilingualism and artistic-expressive subjects.

2 All excerpts from Acaso and Megías (2017) originally in Spanish have been translated into English by

the author.

3 Student interventions have been transcribed verbatim, with only grammatical errors corrected.

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