Racism in the outdoors:

Addressing the issue through art & action

Our interactions with nature as children and adults significantly impact society and our environment. Exploring the natural world around us is an activity that is fundamentally free for all people. Unfortunately, this activity has a history and perception of being exclusionary towards black, indigenous, and people of color (BIPOC). This paper will discuss organizations that have been created to address racism in the outdoor industry and the positive impact they have on our youth. The effect of these programs shows us how beneficial outdoor art education would be for elementary schools. Having access and educational programs that allow for experiences within nature is essential for communities. Combining these experiences with arts education expands children's imaginations and creative skills.

According to the US Census Bureau in 2012, "more than one-third of all Americans can be classified as a person of color (Black, Hispanic, Asian, or Native American), and the proportion of ethnic and racial minorities is projected to increase in the future" (Scott & Jerry Lee, 2018, p. 73). As our society becomes more diverse, it is essential to acknowledge, discover, and rebuild industries that were not built to include and amplify these cultures' voices. Spending time in the outdoors, whether it is spent running, hiking, climbing, camping, etc., should be accessible and safe for all people and cultures. The National Parks Service has collected data that shows this issue in hopes of shifting their marketing and hiring process to be more inclusive (Scott and Jerry Lee, 2018, pp.73-86). Sadly, the data collected was met with anger and resentment from some. Selfishly, many white people felt, "to modify the National Park System to lure ethnic minorities would be a disaster and one more facet of our country that would be changed to please a few, ignoring the desires of the majority…" (Scott & Jerry Lee, 2018, p. 78). These narrow-minded, bigoted opinions must end, but they will not end without decisive action.

Many groups are working diligently to combat the negative perception of BIPOC in the outdoors and create a more positive environment for this historically excluded group. Nicole Jackson has created Black in National Parks week. According to Malo (2020) Jackson said she, "wanted to create a space for Black people to share their national park experiences and celebrate them across social media platforms" (para 7). This type of recognition, while seemingly simple, can benefit many and allows black people to have a space to share their experiences within nature. Another example is Black Outside, Inc., a group working to reconnect the youth with the outdoors. Their culturally relevant programs work to explore self, culture, and the outdoors by inspiring "greater love for nature and its transformative power" (Black Outside Inc, n.d. para. 3-4). According to their 2019 annual report, 70% of their campers had never visited a park before attending camp. (Black Outside Inc., p. 4). Upon completing the program, 93% of their 82 students wanted to reengage with outdoor programs (Black Outside Inc., p. 4). These programs are beneficial to our youth and communities, but we don't find them within public schools.

Through a multicultural art curriculum that emphasizes outdoor education, students without access to the outdoors would have an opportunity to explore the benefits of nature. Art education coupled with exposure to parks and outdoor activities can undo the perception that the outdoors is a "white only" space through an increase in availability, representation, and more confidence in outdoor skills. Stuhr, Petrovich-Mwaniki, and Wasson (1992) explain that "it is imperative that teachers and students begin to choose curriculum content from the local community that is both culturally relevant and has the potential to provoke social and critical inquiry" (p. 21). Providing local BIPOC outdoor organizations the platform to share their knowledge and experiences with students in public schools would make the subject matter more relatable to students of color. Additionally, learning about the outdoors and understanding the importance of caring for our environment benefits students and society. With the increased access to outdoor activities, lessons should emphasize art and play so students will grow to become independent creative thinkers. Strauch-Nelson (2012) explains that nature "encourages the use of aesthetic perception, imagination, and intuition" (p. 36). Nurturing our student's imagination requires teachers to step away from academics and place a stronger emphasis on play, especially in the art classroom. Pitri (2001) explains, "meaningful, playful experiences with artmaking help children develop abilities in reasoning, hypothesis testing and problem-solving—attributes espoused for effective learners” (p. 51). Carol Gentry (1986) shares the benefits of a nature-focused art curriculum created on the knowledge that many of her students had recently moved to her Florida-based high school and were not familiar with their environment. According to Gentry (1986), "since the inception of this program, students have come to look at their environment as an art supply warehouse; the community has shown interest and become involved; and these supplies are donated by Mother Nature at no cost" (p. 18). Playing and creating within nature in formative years allows students to continue to appreciate nature and their environment as they grow.

Through a creative community-based art curriculum that takes place within nature, students will discover their environment and a world of activities that might have felt less accessible previously. In my experience as a forest school teacher, I see how beneficial learning outside can be. Students are vastly more independent, curious, and confident. While many BIPOC organizations are being created to combat the outdoors' lack of diversity, many young children in public schools still do not have access. Integrating outdoor art education into public schools would benefit students, BIPOC outdoor organizations, and the community. When children fall in love with the outdoors, they begin to understand their impact, but they also learn more than respecting their environment; they learn to cherish and respect one another.

References

About. (n.d.). Black Outside, Inc. https://www.blackoutside.org/our-mission

Black Outside Inc. (2019). Black Outside Inc Annual Report. https://drive.google.com/file/d/1KgX2hpQxRBQlmXMmz0gbnUdWqX3WdPS5/view

Gentry, C. (1986). Fine Arts through Nature. Art Education, 39(6), 14–18. https://doi.org/10.2307/3192969

Malo, A. (2020, August 31). Exposure and Experiences Highlight #BlackinNationalParksWeek. Know The Place Magazine. https://www.knowtheplacemagazine.com/home/highlights-from-blackinnationalparksweek

Pitri, E. (2001). The Role of Artistic Play in Problem Solving. Art Education, 54(3), 46–51. https://doi.org/10.2307/3193924

Scott, D., & Jerry Lee, K. (2018). People of Color and Their Constraints to National Parks Visitation. George Wright Forum, 35(1), 73–82. http://www.georgewright.org/351scott.pdf

Strauch-Nelson, W. (2012). Reuniting Art and Nature in the Life of the Child. Art Education, 65(3), 33–38. https://doi.org/10.1080/00043125.2012.11519174

Stuhr, P. L., Petrovich-Mwaniki, L., & Wasson, R. (1992). Curriculum Guidelines for the Multicultural Art Classroom. Art Education, 45(1), 16–24. https://doi.org/10.2307/3193341

Worroll, J., & Houghton, P. (2018). A Year of Forest School: Outdoor Play and Skill-building Fun for Every Season (Illustrated ed.). Watkins Publishing.