Fostering Trauma-Informed, Inclusive Visual Arts Education: Insights from a DCAESJ Workshop
Twelve teachers from the DCAESJ elementary and secondary working groups gathered at the Teaching for Change office. Co-facilitated by teacher leaders Mollie Safran and Raphael Bonhomme, the gathering covered complex topics of race, identity, and stereotypes in art, offering new perspectives on how to foster an inclusive classroom environment through a thought-provoking workshop led by Diamond Gray of the American Visionary Art Museum in Baltimore.
In her workshop on trauma-informed teaching and inclusive learning methods in visual arts education, working group members wrestled with the challenging history and contemporary relevance of blackface and other racist imagery. Teachers discussed how stereotypes and exaggerated depictions of Black individuals and other marginalized groups often appear in entertainment and art, sometimes subtly, sometimes overtly.
The group reflected on the role of the artist’s intent, questioning when art crosses the line into harmful territory and considering how to guide students in exploring this delicate balance. Gray encouraged educators to equip students with the skills to critically engage with and analyze these portrayals, stressing the importance of addressing blackface directly to help students avoid unintentionally replicating stereotypes in their art.
Teachers were introduced to collage as a medium that could allow students to express ideas around identity and values. Gray’s examples of collage projects led to discussions on how to incorporate Black artists and culturally relevant themes respectfully into art curricula. Some high school teachers, inspired by the session, brainstormed ways to use collage to deepen students’ understanding of history and social justice. For example,
Have their AP African American Studies students make collages using the imagery of slave ships.
Have the students make collages using the words of the Preamble to the United States Constitution to represent how they feel about U.S. values and how the document speaks to them or not.
Throughout the session, Gray shared trauma-informed strategies designed to create a safe and inclusive learning environment. She introduced thinking routines, such as “Step In, Step Out” and “Slow Observation,” that encourage students to approach art in layers — first observing on a surface level, then delving into deeper meanings. According to Gray, this layered approach provides students with a scaffolded way to interpret art, which can be particularly beneficial when discussing charged or sensitive topics.
A key part of the workshop was considering how these themes could be adapted for different age groups. Elementary and secondary teachers exchanged ideas on what might be possible and appropriate for their students’ developmental stages. For younger students, particularly those below fifth grade, teachers suggested focusing on identity and microaggressions through familiar examples, like music or sports, that highlight subtle forms of prejudice or “-isms.”
Gray also shared examples of student projects that challenge stereotypes and promote positive representations of various racial and gender identities. These projects highlighted how students could use art to combat negative imagery and construct narratives that empower and celebrate diversity. For teachers, this sparked ideas for classroom activities that encourage students to examine critically and, where possible, reshape imagery to reflect a more inclusive world.
Before participating in Gray’s facilitated workshop, Mollie and Raphael led the group in a reflective exercise based on the concept of “locus of control.” Teachers set goals for the school year across three dimensions: personal goals, goals within their school communities, and goals within the DC social justice educator group. This reflective practice helped ground the participants’ aspirations for the year, aligning individual and group ambitions to foster a supportive, socially conscious learning environment.
The workshop underscored the power of visual arts as a medium for reflection, dialogue, and social change. These educators are shaping classrooms that honor identity, embrace diversity, and foster empathy by equipping students with tools to question and engage with difficult aspects of history and culture. Diamond Gray’s session reminded everyone that art is not only about creation but about conversation — and that through thoughtful guidance, students can become mindful creators who contribute to a more inclusive world.
