The Driving Question

How can accessible, community-driven solutions help restore polluted marine environments?

The Project: Improving Water Quality in Hawaii’s Ala Wai Canal

In response to the driving question, Kenzo W. developed a service learning project focused on improving water quality in Hawaii’s Ala Wai Canal. By collaborating with the Genki Ala Wai Project, he explored how natural, low-cost solutions can address pollution while engaging the local community.

The Design Goal

Working from a personal connection to the marine environment, Kenzo aimed to implement a sustainable solution to reduce pollution in a highly contaminated waterway.

• Creative Direction: A bioremediation approach using natural microorganisms to restore ecological balance.
• Production Process: Coordinating the creation, drying, and preparation of Genki Balls with local partners.
• Final Outputs: Deployment of over 1,000 Genki Balls and documentation of environmental impact.

Innovation & Ethics

The project highlighted how simple, nature-based solutions can drive change:

• Sustainable Practices: Use of effective microorganisms and organic materials to break down pollutants.
• Accessibility & Community Impact: A low-cost, hands-on process enabling participation across age groups.
• Environmental Responsibility: Focus on natural, long-term restoration methods.

Field Research & Immersive Learning

Kenzo grounded his project through direct engagement with his local environment:

• Ala Wai Canal: A heavily polluted waterway impacted by sewage runoff and unsafe bacteria levels.
• Genki Ala Wai Project: A key partnership supporting implementation and learning.
• Community Collaboration: Over 30 volunteers contributed to producing and deploying the Genki Balls.
  

Final Product: A Community-Based Environmental Intervention

• The Assessment: Successful production and deployment of 1,000+ Genki Balls.
• Academic Component: A collaborative, hands-on initiative involving local volunteers.
• The Summative Reflection: Featured on Hawaii News Now, expanding awareness.

The Summative Reflection:

Kenzo recognized the power of accessible, natural solutions in addressing complex environmental challenges, highlighting the impact of community-driven action.

Location: Hanoi, Vietnam | Term: 2024-2025

The Driving Question

How can traditional Vietnamese garments and fashion practices be reimagined through the integration of modern design, global influences, and ethical fashion business models?

The Project: Vietnamese Fashion & Business Exploration

In response to the driving question, Zach H. and Nora W. developed individual fashion-focused projects within a shared mentor group centered on fashion. While each pursued distinct creative directions, their work collectively explored the intersection of Vietnamese tradition, contemporary design, and ethical fashion systems.

The Design Goal

Working from a self-defined vision, the student aimed to create original fashion pieces inspired by traditional Vietnamese clothing, adapted to modern fashion culture.

• Creative Direction: Designs blended Vietnamese traditional aesthetics with contemporary, global influences.
• Production Process: The student collaborated with a local fashion house to manufacture garments, gaining hands-on experience in measurements, technical design, and communication with industry professionals.
• Final Outputs: The project included a design portfolio, three completed garments, and a modeled photoshoot.

Innovation & Ethics

The project explored how innovation and ethics intersect within the fashion industry:

• Sustainable Practices: Research into local production revealed the use of natural dyes and self-grown materials.
• Transparency in Production: Through shared experiences with Zach H. and Nora W., the group examined how ethical brands prioritize openness and accountability.
• Comparative Analysis: A research component highlighted structural differences between Western fashion industries and Vietnamese systems, with the latter often emphasizing environmental awareness and ethical production.

Field Research & Immersive Learning

To ground their projects in real-world context, Zach H. and Nora W. engaged in extensive fieldwork across Hanoi:

• KILOMET109:
  A key experience where the group interviewed artisans who produce garments entirely from raw materials, including growing cotton and creating natural dyes, demonstrating a fully sustainable production model.
• Chula Fashion:
  Visited by Zach H. and Nora W. this Spanish-Vietnamese fusion brand emphasizes inclusivity, employing a majority of staff with physical disabilities. Its open workshop model provided insight into transparency and ethical production.
• Manufacturing Experience:
  Regular visits to a local fashion house allowed the student to oversee garment production and build practical industry skills.
• Mentorship & Collaboration:
  Ongoing meetings with their mentor Sophie, alongside Zach H. and Nora W., supported iterative design development and critical reflection.

Final Product: A Comprehensive Fashion Project

• The Assessment:
  A completed design portfolio documenting the full creative process, alongside three original garments produced in collaboration with a local fashion house.
• Academic Component:
  Completion of the Parsons School of Design Fashion Business Essentials course and a comparative research paper analyzing Western and Vietnamese fashion industries.
• The Summative Reflection:
  The student reflected on the complexity of the fashion industry, particularly the range of choices surrounding transparency, cost, and ethics. The project challenged initial expectations, strengthened technical and professional skills, and ultimately affirmed a commitment to pursuing fashion in the future.

Driving Question:

How does capoeira embody the essence of Afro-Brazilian culture and history?

Module Summary:

The teacher-led module “Capoeira” explores the history, cultural significance, and practice of Capoeira, a Brazilian martial art with roots in African traditions. Students examine how Capoeira developed during colonial times, its periods of restriction and criminalization, and its eventual legalization and global spread. Through this lens, the module highlights Capoeira as both a physical discipline and a cultural expression deeply connected to Afro-Brazilian identity.

Throughout the module, students engage in hands-on learning and cultural immersion to develop their understanding of Capoeira. Learners participate in weekly Capoeira classes, where they practice movement, rhythm, and technique, as well as learn to play traditional instruments such as the berimbau. They explore different styles of Capoeira, including Angola and Regional, and deepen their skills through an intensive training experience with expert practitioners, including sessions at ABADÁ-Capoeira, a globally recognized Capoeira organization.

In their final assessment, students create and perform a choreographed Capoeira piece that incorporates the styles and techniques they have learned. The process requires collaboration, creativity, and communication, as students from diverse backgrounds work together to build a cohesive performance. Through this experience, the module emphasizes the importance of cultural appreciation, physical expression, and teamwork, allowing students to engage with Capoeira as both an art form and a living cultural tradition.

Driving Question:

How can Japanese visual storytelling techniques document historical and cultural events?

Module Summary:

The Manga Evolution module explored how Japanese visual storytelling techniques document historical and cultural events. The module covers traditional Japanese art forms like sumi-e (ink painting), ukiyo-e (woodblock printing), kamishibai (oral storytelling), and manga (contemporary art form).

The students practiced dynamic movement in sumi-e, created layered prints in ukiyo-e, analyzed anime like “Demon Slayer,” and learned to read and draw manga. They visited the Manga Museum in Kyoto, attended drawing workshops, and honed their storytelling skills by creating narrative storyboards based on photos taken in Hiroshima.

Field experiences in Kyoto and Tokyo included visits to the Studio Ghibli Museum, TeamLab Planets, and the Tokyo National Museum. The final project required students to choose a significant historical or cultural event in Japan, create an eight-frame storyboard, and bring one panel to life using their chosen medium.

Esha V.’s final product is a scaled-up version of a Hanafuda card of her own design. This artwork incorporates watercolor, an element she integrated based on her experience with sumi-e. Through practicing sumi-e, Esha learned about opacity and color, skills she then applied to her final product. By iterating on her design and creating multiple drafts before commencing the final piece, she ensured she evaluated numerous ways of presenting her ideas. This thorough process allowed her to ultimately decide on a composition that effectively communicates the story within the frame.

For her final project, Nefertari J. chose a historical and cultural event to explore the meaning of being in Japan: the Atomic Bomb. Creating a storyboard helped her turn complex events into a coherent visual story, enhancing her narrative skills, whilst the module’s workshops and practice improved her artistic abilities. She examined the distinctions between Japanese culture and her own, particularly the Atomic Bomb.

Balancing research, creativity, and technical skills, she thoughtfully selected scenes, showcasing her growth in visual storytelling. The project refined her techniques and allowed her to experiment with traditional art forms.

Driving Question:

How can the art of analogue film photography serve as a powerful conservation tool, revealing the intricate interplay between plants and animals within vulnerable ecosystems?

Module Summary:

The module titled “Snapshots of Nature Symphony,” explored how analog film photography can serve as a powerful conservation tool by revealing the intricate interplay between plants and animals in vulnerable ecosystems. They began by explaining their use of pinhole cameras, which were made from cans and operated by capturing images through a small hole acting as a lens. These images, initially inverted, were then processed digitally to reveal their true colors.

The students also learned from Doug Gimy, a renowned wildlife conservation photographer, who taught them how to create compelling stories using photographs. Additionally, they experimented with cyanotypes, a photographic process that involves creating images on fabric or paper using light-sensitive chemicals and natural elements like leaves and flowers, which were then developed in sunlight.

A visit to the zoo provided them with insights into ongoing conservation efforts and allowed them to apply their film photography skills to capture images of wildlife. They also had the opportunity to visit a dark room, where they learned about the film development process, including techniques such as developing, stopping, enlarging, burning, and dodging.

The module included a field trip to the Daintree Rainforest, where they engaged in field studies to analyze water quality and learned about local conservation initiatives. They also designed and printed conservation-themed t-shirts using a silk-screening process, which involved coating screens with emulsion and exposing them to create designs.

For their final project, Keetah B. wanted to focus on the relationship between wildlife conservation and the dying cultures of the aboriginals while also celebrating the diversity and beauty of Australian nature. In the Daintree, the Eastern Kuku Yalanji people are nowadays part of the wildlife conservation effort, but in the past, they had their land taken away from them by colonizers who destroyed their native land. Although these issues mainly occurred in the past, there are still cases of this today. A sacred birthing hole was taken away from the Eastern Kuku Yalanji people, and they are no longer allowed on the site. Not only that, but climate change and other environmental factors pose a huge risk to Australian wildlife conservation, and the Daintree is not exempt from this. Although it has been around for hundreds of millions of years, it can very quickly be destroyed by human actions.

Keetah wanted to bring these themes together into one image by taking a piece of aboriginal culture, the boomerang, an object known for “coming back,” and placing it with the wildlife that is at risk, all while showing the beauty that is important to preserve.

Driving Question: How can I improve my diving skills through the SSI Stress and Rescue Course and apply them to the artistic practice of jewelry making to create jewelry inspired by the ocean?

Project Summary:

Keetah’s project “Search and Rescue,” creatively combines her passion for rescue diving and jewelry making. Her journey began with her first diving experience, which was life-changing despite initial struggles with focus and awareness. This inspired her project goal: to improve her diving skills through the SSI Stress and Rescue course and apply these skills to create ocean-inspired jewelry.

The first part of her project involved taking the stress and rescue course to enhance her diving abilities, specifically focusing on identifying and managing stress in underwater and above-water situations. This included completing an online course with extensive note-taking, pool diving sessions to reinforce basic skills, and an open water dive where she successfully applied her new skills in real-world scenarios, demonstrating improved awareness and ability to assist others.

The second part of her project combined her newfound diving skills with jewelry making, inspired by a conversation with her instructor about underwater treasure hunting. She decided to create jewelry from materials found in the ocean, using a wire wrapping technique that suited her aesthetic vision. After some trial and error with materials, Keetah crafted her final pieces using sea glass, seashells, and other natural elements, completing a project that symbolized her love for the ocean and her growth as a diver.

Driving Question:

How can I use my personal life experiences to write and illustrate a children’s book that explores the topics of race, culture and identity?

Project Summary:

Samara M., one of our senior students, shared a deeply personal project inspired by her multicultural background, having lived in Kenya, China, Malaysia, and Tanzania. Despite loving books like “Alexander and the Terrible, Horrible, No Good, Very Bad Day” and “The Gruffalo,” she felt a lack of stories that reflected her unique experiences.

Identifying as a third culture kid, Samara highlighted the challenges and feelings of isolation that come with this identity. To bridge this gap, she created a children’s story that resonates with the third culture experience and beyond.

Samara conducted research across schools in Kenya and Tanzania, revealing a significant underrepresentation of black characters in children’s books. Motivated by these findings and Susan Sontag’s belief that stories shape our world, Samara wrote “The Little Frog’s Dilemma,” a tale set in a pond divided into four regions, each with distinct skills.

The protagonist, a frog with parents from different regions, embodies a blend of these cultures but struggles to excel in any single skill. Despite initial failures in dancing and magic, the frog’s unique croak, a metaphor for its mixed identity, ultimately earns it the honor of performing for the queen.

Through this story, Samara aims to reflect diverse experiences and foster connection. She encourages everyone to embrace and share their personal narratives, believing they have the power to ignite empathy and break down barriers.

Samara’s hope is that “The Little Frog’s Dilemma” will resonate with readers and become a cherished story, inspiring others to create bridges through their own unique tales.

Driving Question: How can I create a photo album capturing the true essence of street art in Oaxaca City?

Project Summary: Raf’s personal project is about photography and photo editing. His project aimed to capture the essence of street art in Oaxaca. Due to the fact that Oaxaca has an abundance of incredible street art, Raf felt it was of high importance to capture this beauty using photography and exemplify it using Photoshop. You can see the pictures Raf has taken and edited below, which hopefully provide a sense of Oaxaca’s beauty.

Student Reflection: This project gave me the time to just pause amongst all the craziness in a term. When taking photos, I felt relaxed, and that I was really appreciating Oaxaca for what it was. I learned that if we don’t pay attention to the small details of a given environment, we might miss its beauty.

Driving Question: How can we model a clay sculpture inspired by Mexican beliefs and religious syncretism (the merging of different beliefs) to represent a fusion of our personal beliefs and values?

Project Summary: Bido calls his sculpture “Al Khail,” which means horse in Arabic. It is intended to show a fusion of his values and beliefs. The wings are a symbol of freedom, ambition, and a representation of spirituality. Al Khail is inspired mainly by nature.

Bido’s belief in “Kama Tudeen Tudan,” meaning “Good Karma,” is represented by the birds on the top of the horse and inspired by the Old Man’s Beard plant grown in Oaxaca’s cloud forest.

Both the plant and the tree live together and are kind to each other as part of the mutualistic symbiosis relationship. Similarly, the horse was kind enough to let the birds live on top of him; it turns out the birds feed on the little creatures on the horse’s body, creating a mutually beneficial relationship that started with an act of kindness.

Student Reflection:
“I had a limiting belief before starting this module that I’m not very artistic — the first time I experimented with clay I found it very difficult; however, I dedicated time to experimenting with different techniques and used digital art and 3D modeling to help create my sculpture. I learned that just by accepting something and working hard for it, we can really achieve more than we expect.”