A lot of people (especially those who align with the political right) tend to look at courses that fall under the title of “Ethnic studies” and deem them “unnecessary” or even “dangerous.” Last year, conservative nonprofit organization PragerU partnered with Tom Horne, Superintendent of Public Instruction in the state of Arizona, to push a curriculum that seems to combat the topics not just found in Ethnic studies, but any topics covered that are deemed “woke.” However, educational activist Christine E. Sleeter fuses multiple studies of students’ experiences with Ethnic studies, specifically the experiences of “students of color who are members of the group under study” and “for diverse student groups that include White students.”
Sleeter first defines the curriculum that schools in the United States have used for decades as “Euro-American Studies.” This definition is given due to the distinct lack of acknowledgment or coverage of the diversity of the population of the United States. White educators tend to think that authors and publishers of the educational curriculum have already exposed and eliminated most forms of bias, but, as Sleeter writes, “Systematic analyses...consistently find the opposite...deeper patterns and narratives that reflect Euro-American experiences and world-views [have remained] intact” (2). Even through the attempts that have been made to diversify not just our educational curricula, but also just the general histories and current climate of art, theater, and music, White people have continuously been given the spotlight, even over persons of color who have put in similar or higher efforts in their respective fields. I always like to highlight classical composer Florence B. Price, the first African-American woman to premiere a symphony in 1933. But notably, theatrical powerhouses such as Cynthia Erivo (Wicked, The Color Purple), Maleah Joi Moon (Hell’s Kitchen), and Paul Tazewell (In the Heights, Hamilton) have also rightfully been given their spotlights in recent memory. However, non-White actors are continually given limited roles that tend to “put them in a box,” for lack of better words: African-Americans are often portrayed in the context of slavery, Asian Americans and Latinos are portrayed as field workers with no history, etc. And, even though racism of the past has started to be acknowledged, it is being disconnected from the racism that we see today, displaying racism as “the actions of a few” rather than as a system of oppression.
Ethnic studies provide a unique perspective on the history that we have learned in our primary and secondary education. They urge us to really think about what we are reading, the point of view from which what we are reading is coming from, and how it can effect the history that we are covering. I’ve recently started reading Howard Zinn’s A People’s History of the United States, which aims to provide a detailed account of the rigged systems that America has built to favor a small portion of the wealthy elite from across the political parties. In the first chapter, Zinn writes about the enslavement of early Native American civilizations, accusing Christopher Columbus and his crew of committing genocide, and tells history from the perspective of the Arawaks, the indigenous peoples of South America and the Caribbean.
https://tucson.com/news/local/education/precollegiate/article_fc169fa4-c075-11ee-9a1c-3fc1b1d0b20d.html

