Representation matters: Possible wellness implications of inclusive media about entrepreneurship

By Betsy Campbell, Assistant Professor and Research Associate, College of Education

Web Banner with words Accelerator Rap Challenge on a colorful background

Can you name some innovative entrepreneurs? This question is posed to students in the Accelerator Rap course on the first day of the semester. Without exception, students build a list of impressive founders who all happen to be white males. This is true even if the students do not identify as white or male.

Unfortunately, the lists the students make are reasonable reflections of the current ecosystem. Entrepreneurship and the surrounding domains such as venture capital are racialized and gendered professions. Similarly, popular media about entrepreneurs and entrepreneurship also tends to highlight the experiences of white male founders.

The lack of diversity in the entrepreneurial ecosystem is usually framed in terms of the constraints it places on the innovations that emerge and the negative economic implications it has for individuals and communities. These are important aspects of diversity and entrepreneurship, and they deserve sustained attention. However, the impact of the lack of diversity in the media representations about entrepreneurship also warrants consideration.

As viewers, especially young viewers, experience representations of gender and race in the media, they are making meaning about their own identities and possible futures. Exposure to biased depictions of gender and race has been associated with lower self-esteem among girls and children of color. Perhaps seeing media about female founders, founders of color, and other under-represented founders in fictional and factual media could encourage more individuals to see themselves in innovative entrepreneurial work. Moreover, perhaps these positive representations could bolster viewers’ sense of self-efficacy, their sense of belonging in celebrated professions, and their sense of intrinsic value.

Students in the Accelerator Rap Course, as well as those in a related national contest, are challenged with creating short SchoolHouseRock-style animated music videos intended to help 8-12 year-old girls and kids of color see themselves as future founders. As they craft their inclusive videos, these students are required to think about their own biases and the biases present in the media about entrepreneurship. This often leads them to recognize the lack of diversity in other professions and in the media writ large. It leads some of them to explore entrepreneurial options for themselves for the first time.

Studies have yet to be done to determine what, if any, impact exposure to inclusive media about entrepreneurship might have on young people. But the inclusive animated music videos coming out of the Accelerator Rap course and related national Challenge are providing the foundational materials for such inquiries.

The 2022 Accelerator Rap Challenge Finale and Awards Presentation was held April 4. The winning entry is Fluffy Entrepreneurship by Kawaii Society Animation.

The winning animation from the 2022 Accelerator Rap Challenge can also be viewed in Borland Project Space (125 Borland Building, University Park) from April 7-14, 9am-5pm.

Find more information about The Accelerator Rap Challenge at https://sites.psu.edu/challenge.

 

 

Teaching Ceramics in the Age of Covid-19: Meeting at the Intersection of Material Studies and Digital Culture – Contributed by Kris Grey

By Kris Grey
Visiting Artist and Assistant Teaching Professor, Penn State School of Visual Arts

Headshot of Kris Grey
Image credit Argenis Apolinario/The Bronx Museum of the Arts

When the global pandemic hit our University Park community last spring, classes in ceramics and other fields of material studies were tasked with continuing our research and our support for students in the digital environment. This brought into sharp focus our field’s reliance on physical spaces, dedicated equipment, and hands-on instruction. While it was challenging to make the change so late in the semester, it posed a new question for ceramics moving forward: how can we shift our instruction in the face of this pandemic to continue offering creative, engaging, inspiring, and potentially healing experiences through craft-based activities in digital space?

Yihang Hua, Little Creatures, 2020, Claymation video from Summer Art 080 Introduction to Ceramics course at PSU

In addition to my work as the Visiting Artist and Assistant Teaching Professor at Penn State School of Visual Arts, I maintain a professional practice in the expanded fields of ceramics and performance. In the wake of the global pandemic, most of the exhibition, teaching, and performance opportunities I had scheduled through 2021 were canceled. This left me with a deep sense of grief and loss that compounded parallel feelings I experienced about friends and family across the world who were struggling with the health and financial impacts of COVID-19. Thankfully, I was able to secure summer teaching at PSU and I set out on an emotional journey to redesign our curriculum for our Art 080 Introduction to Ceramics for non majors course to be delivered fully remotely.

Yan Yan, Life of Green Onion, 2020, Claymation video from Summer Art 080 Introduction to Ceramics course at PSU

In the introduction to our summer syllabus I wrote,

“COVID-19 has temporarily altered the way we offer instruction in material studies and visual art. This summer, we will cover the same material as any intro to ceramics class but in an altered digital studio environment. This will change your physical experience with some ceramic processes. What remains constant is a focus on looking at art and the world through a ceramics and craft-based ‘lens’. This class is designed to be educational, informative, experimental, and fun! I look forward to our collaboration and I welcome your active feedback throughout the course.”

I opted for a collaborative tone at the outset in order to involve the students in their own learning.

Rachel Kim, Requiem of the Ballerina, 2020, Claymation video from Summer Art 080 Introduction to Ceramics course at PSU

Meeting, as we did, at the intersection of material studies and digital culture, I chose to teach a brand new module in stop motion animation using colored clays, colloquially referred to as “claymation”. To my knowledge, PSU ceramics has never engaged students in claymation projects. I had the full support of acting ceramics area head, Shannon Goff, who received the 2020 President’s Award for Engagement with Students at PSU, and also Tom Lauerman, whose own studio work synthesizes digital fabrication strategies and traditional craft techniques. With their blessing, I then turned to a personal friend with whom I studied at the Maryland Institute College of Art in the early 2000s. Meaghan Ross is a miniature prop and set fabricator based in Los Angeles, CA who has worked in television and film on a range of projects including Robot Chicken, Moral Orel, Flapjack, and Anomalisa. Outside of class time, I interviewed Ross and created video content to deliver to my summer students to inspire and instruct on techniques of model making and animation. To prepare for the instructional delivery, I connected with Liz Miller, Director of Creative Projects at ArtWorks in Cincinnati. ArtWorks is an award-winning Greater Cincinnati nonprofit that transforms people and places through investments in creativity. At Miller’s invitation, I was able to attend a showcase of youth artists’ stop-motion animations aptly titled OUR NEW NORMAL, created in collaboration through a remote summer program.

Justin Rossi, Canappleism, 2020, Claymation video from Summer Art 080 Introduction to Ceramics course at PSU

On our last day together, the class screened the final animation projects and had facilitated critique discussions on each of their entries. The result was an incredibly complex, emotional, delightful, joyful and humbling experience for all of us. A selection of student claymation work is featured throughout this post. I hope you enjoy them as much as we did working together to produce them over the summer of 2020. The students asked me if this was a regular part of the Art 080 Intro class experience and I told them it was entirely new and that their class was the first. They emphatically urged me to continue teaching this particular module and it became a point of pride for all of us; a symbol of how extreme duress can yield innovative solutions that result in growth, positivity, and connectivity!