Embedded Files
Big Idea
Big Idea
Manifest(o) - Creating the World We Want to See
Inquiry Question
Inquiry Question
How can reading and writing our own manifestos be a practice of imagining the world we want to see?
Grade
Grade
10th
Describe your project: what art and non-art academic content did you integrate into your project?
Describe your project: what art and non-art academic content did you integrate into your project?
In this project, students were introduced to a range of 20th-century art manifestos, which we studied both as historical documents and as sources of artistic inspiration. We read excerpts from key manifestos and viewed Manifesto, a film by contemporary artist Julian Rosefeldt, to explore how artists have used this form to express bold visions and challenge societal norms. Academically, students practiced identifying main ideas and central messages in both written and visual texts, building skills in critical reading and interpretation.
Drawing inspiration from these manifestos, students crafted their own written declarations, articulating their personal beliefs and ideals. Artistically, they translated these ideas into visual manifestos, imagining and illustrating a world they dream of—what we called “freedom dreaming.” This integration of literary analysis, writing, and visual art invited students to think deeply about self-expression, social change, and the power of vision in both words and images.
What references did you draw from, and what influenced you when creating and planning your project?
What references did you draw from, and what influenced you when creating and planning your project?
In creating and planning this project, we drew from a wide range of influential art movements and manifestos, including Futurism, Dada, Situationism, Vorticism, Suprematism, Constructivism, Surrealism, Fluxus, Minimalism, Pop Art, and Conceptual Art. These movements offered students a diverse spectrum of artistic and political ideas, each presenting a unique vision for how art can challenge, reflect, or transform society.
Our central guiding text was the work of filmmaker and activist Tourmaline, particularly her reflections on the concept of “Freedom Dreaming”—the practice of envisioning liberated futures as a radical act of imagination. These references shaped both the content and structure of the project, inspiring us to design an experience where students could engage critically with historical ideas while also using art as a tool for personal expression and visionary thinking.
Choose 1 academic learning standard and 1 arts learning standard you’re exploring in your project. Describe how they intersected in your project.
Choose 1 academic learning standard and 1 arts learning standard you’re exploring in your project. Describe how they intersected in your project.
Academic: CCSS.ELA-Literacy.RI.9-10.2
Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.
Art: Advanced HS Levels VA:Re7.2.III Determine the commonalities within a group of artists or visual images attributed to a particular type of art, timeframe, or culture.
After reading art historical manifestos, we played games where students had to guess / pair the artwork made by artists in a particular movement to their manifesto ideas. We discussed how the art corresponded (or surprised us) given the writing. Students also discussed how ideas about art and life have changed throughout history, through the lens of art manifestos, influenced by historical events like war, and how our contemporary manifestos might be different.
Describe how the inquiry was introduced and maintained with your students.
Describe how the inquiry was introduced and maintained with your students.
We introduced the inquiry by engaging students with the work of filmmaker and activist Tourmaline, using her concept of “freedom dreaming” as a catalyst for imagining new possibilities. Students began by brainstorming and free writing about what freedom dreaming meant to them—envisioning a world rooted in liberation, justice, and joy. Once their ideas were developed in writing, they translated them into visual form using a variety of art materials and mediums.
From there, we expanded the inquiry to include the study of manifestos as powerful tools for expressing visionary ideas. Students read and listened to a range of manifestos—examining them through both contemporary art perspectives and research-based strategies for reading complex texts. One key influence was Claes Oldenburg’s manifesto, which served as a model for students to write their own.
To deepen the connection between writing and visual interpretation, we held a free drawing activity in which students listened to anonymous readings of their peers’ manifestos and created drawings based on what they heard. These drawings, in turn, became sources of inspiration for students’ final visual renderings of their personal manifestos.
What were some unexpected discoveries and observations from you and your students?
What were some unexpected discoveries and observations from you and your students?
One unexpected discovery was how differently each student responded to the various manifestos we explored. Some were drawn to the chaotic, fatalistic energy of the Futurist manifesto, while others connected with the absurdity and playfulness of Dada. A few students gravitated toward the optimism and boldness of the Pop Art manifesto. These varied responses opened up rich discussions and allowed students to engage with the material in personal and meaningful ways.
Academically, this also created a valuable opportunity to revisit and reinforce concepts we had studied earlier in the year, such as tone and mood. Students analyzed how each manifesto conveyed a distinct emotional and ideological stance, and how the authors’ word choices and stylistic choices contributed to those effects. This unexpected engagement deepened both their literary and artistic understanding, making the project feel especially relevant and multidimensional.
This year, A/RP PDs focused on the Social Engager part of the Artist/Researcher Model—that is, that art can be a tool to engage the public and establish a dialogue with the broader community; CAPE Artist/Researchers use both art and the artmaking process to connect beyond the learning space.
This year, A/RP PDs focused on the Social Engager part of the Artist/Researcher Model—that is, that art can be a tool to engage the public and establish a dialogue with the broader community; CAPE Artist/Researchers use both art and the artmaking process to connect beyond the learning space.
How did your project excite the Social Engager piece and connect with the whole Artist/Researcher Model?
How did your project excite the Social Engager piece and connect with the whole Artist/Researcher Model?
Influenced by Artist / Activist Tourmaline's "Freedom Dreaming," students wrote manifestos about the world(s) they want to live in. Students often commented on how they wanted to change the structure of school, as well as the things they did outside of school that they found valuable. This was an unusual discussion for students to have within the classroom.
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