Arts education that truly reflects and honors cultural heritage has long been seen as an essential means of fostering both personal and collective empowerment. This is especially true for youth and adults in communities of color, where culturally relevant arts serve as a powerful platform for shaping identity, engaging with the community, and facilitating transformative learning experiences. Influential educational researchers have all played a significant role in highlighting the importance of culture, art, and community in the educational landscape. 

Culture as Pedagogy 

bell hooks (1994) contends that education is a practice of freedom. In her seminal work Teaching to Transgress, she argues that learning rooted in students’ lived experiences—especially when informed by the arts—can break cycles of alienation and cultivate radical self-awareness. Similarly, César A. Bernal (2002) posits that culturally relevant curricula foster inclusivity by enabling students to engage with knowledge that reflects their communities and histories. Both argue for pedagogical approaches that engage the whole person—emotionally, intellectually, and spiritually.

Debra Hess (1995) expands on this idea by championing the inclusion of ethnic arts in school curricula. She highlights how engaging in artistic expression can nurture both academic growth and emotional well-being. Her research shows that when students are encouraged to express their identities through art, they tend to feel a greater sense of success and connection in their educational settings.

Ahora Puedo Respirar: Healing Through Cultural Arts 

In Ahora Puedo Respirar, Yvonne M. De La Rosa (2021) shares an insightful case study about Teatro De Artes De Juan Seguin (Teatro), a remarkable organization and institution in Seguin, TX, where young people and their families undergo meaningful transformations through cultural arts education. As a cultural worker, community leader, and researcher, she witnessed the impact a cultural arts organization can have when the programming is intentional and public pedagogy is used as the core foundation of teaching and learning (De La Rosa, 2021, p. 47). De La Rosa highlights that for youth of color, art isn’t just an add-on—it’s absolutely vital. She makes a compelling case that culturally grounded artistic practices equip young individuals and their families with essential self-expression, resilience, and leadership tools.

In her research, De La Rosa (2021) points out three essential aspects of culturally relevant arts education: reclaiming cultural identity, passing down knowledge through generations, and fostering spaces for healing. In this light, art forms such as Ballet Folklórico, Mariachi, and Conjunto do more than just entertain; they serve as impactful teaching tools that resist assimilation while honoring cultural heritage and boosting personal self-esteem. At Teatro, the performing arts played a vital role in transforming the community. Yet, it was the organization’s thoughtful, multigenerational programming that truly made a difference—uniting  youth and elders on a shared cultural journey.

Teatro’s commitment goes beyond just performance; it embraces a rich tapestry of cultural traditions, including visual arts, culinary practices, theatre, and literary expression. Community members had the chance to dive into the works of renowned visual artists like Edward Gonzales, learn the art of tamal-making, stage theatrical productions, and engage in the literary world through poetry and prose. These diverse programs encouraged participants to explore their identities and cultures through various outlets. Each initiative provided a unique opportunity for self-expression and cultural affirmation, highlighting that art, in all its forms, serves as a powerful tool for education, empowerment, and healing. 

Community-Based Praxis

Miguel A. Guajardo et al. (2008; 2016) present a unique approach that emphasizes participatory and place-based education. They champion a form of praxis that springs from the communities themselves, often utilizing storytelling, pláticas (dialogue circles), and visual arts. At the Llano Grande Center, students take on the role of change-makers by exploring their identities and participating in collaborative efforts. 

Guajardo highlights the incredible potential of auto-ethnographic methods, where participants share their own stories and the histories of their communities as important and meaningful sources of knowledge. This approach fosters a dynamic learning environment where everyone takes on the roles of teacher, artist, and researcher. His work shows that education grounded in cultural practices not only empowers individuals but also has the power to transform whole communities. 

The Role of Culturally Relevant Arts in Identity Formation

Throughout the works of these scholars, a key theme emerges: the connection between art and identity. For young people, particularly those navigating different cultural backgrounds, engaging in cultural arts allows them to express who they are and where they come from. Hess (1995) discovered that students involved in ethnic arts tend to gain more academic confidence and engage in deeper personal reflection. Bernal (2002) supports this idea, pointing out that culturally relevant teaching methods boost self-esteem and motivation.

For adults, particularly those coming back to education after stepping away or facing systemic barriers, the arts present a wonderful opportunity to reconnect with learning in a way that honors their unique histories instead of dismissing them. Programs that include music, painting, dance, and theater create welcoming, joyful experiences that resonate deeply with cultural pride. 

Implications for Leadership and Civic Engagement

One of the key takeaways from this research is how culturally relevant arts can play a significant role in developing leadership skills. As De La Rosa (2021) puts it, “La Cultura Cura”—culture heals—but it also nurtures leaders. Young people who immerse themselves in culturally sustaining practices tend to be more civically active, advocate for their communities, and see themselves stepping into leadership positions.

Guajardo and colleagues (2016) highlight an important point: students participating in community-based arts projects are more inclined to take social action. In this way, the arts serve as a kind of public education, helping learners recognize themselves as cultural contributors and engaged members of their communities, actively involved in shaping the world around them.

Conclusion

Culturally relevant arts play a vital role in adult and youth education, acting as a powerful intervention. When schools and community organizations, such as Teatro De Artes De Juan Seguin, root their practices in culture, healing, and artistic expression, they do more than teach—they change lives. The contributions of De La Rosa, Guajardo, hooks, Bernal, and Hess highlight that embracing cultural identity through the arts isn’t just effective teaching; it’s a moral obligation for achieving equity, justice, and healing within the community.

References

Bernal, C. A. (2002). Developing culturally responsive curriculum: Case studies in public school practice. New York: Peter Lang.

De La Rosa, Y. M. (2021). Ahora puedo respirar now I can breathe [Doctoral dissertation, Texas State University]. Texas State University Digital Library. https://hdl.handle.net/10877/14939

Guajardo, M. A., & Guajardo, F. J. (2008). Transformative education: Chronicling a pedagogy for social change. Anthropology & Education Quarterly, 39(1), 3–22. https://doi.org/10.1111/j.1548-1492.2008.00002.x

Guajardo, M. A., Guajardo, F. J., Janson, C., & Militello, M. (2016). Reframing community partnerships in education: Uniting the power of place and wisdom of people. Routledge.

Hess, D. (1995). Ethnic arts: An essential part of multicultural education. Art Education, 48(2), 6–11.

hooks, b. (1994). Teaching to transgress: Education as the practice of freedom. Routledge.

About the author 

De La Rosa is a Seguin native and Executive Director of Teatro De Artes De Juan Seguin (Teatro). She is a graduate of Texas State University, where she earned her Doctor of Philosophy with a major in Adult, Professional, and Community Education. Her research study explored the struggle and resiliency of a Mexican American community in Seguin as they attempted to maintain, teach, and celebrate their Mexican American roots, customs, knowledge, and traditions through community education. She aimed to provide insight into public pedagogy - as it relates to teaching, learning, and leading - as a means to record growth and change within the community.