Education as Justice: An Interview With Dr. Hasna Muhammad
Portrait of Dr. Hasna Muhammad by Soshana for SIAS.
“What do we do now? I think we keep moving,” says Dr. Hasna Muhammad—poised, optimistic, and determined. As the Board Chair of the educational non-profit Studio in a School (SIAS), Dr. Muhammad cherishes the belief of “education as justice,” noting the pivotal significance of art education as a cornerstone for youth development. Art, she notes, serves as a “common denominator” key to identity formation, intellectual curiosity, and self-advocacy.
Formed in 1977 by Agnes Gund, SIAS now achieves its mission through two branches: Studio NYC and Studio Institute, having served more than 1.2 million students over the years. Last year alone, SIAS worked with over 28,000 students in 200+ schools. The non-profit’s reach has expanded beyond New York City to include Cleveland, Chicago, Philadelphia, Baltimore, and others. In an interview with Xuezhu Jenny Wang, Dr. Hasna Muhammad discusses the significance of art education, holistic pedagogy, and our long journey ahead.
Xuezhu Jenny Wang: You became a board member of Studio in a School in 2015 and the board chair in 2023. How did you first learn about the organization, and what inspired you to get involved in this line of work?
Hasna Muhammad: Studio in a School was founded nearly 50 years ago by Agnes Gund, with the mission to bring art education to students in underserved communities. This includes not only providing access to art but also engaging working artists to teach in these schools.
A friend first introduced me to the organization and encouraged me to meet Aggie. When I did, I was completely blown away. I even went back to my friend and asked, “Is this real?” Aggie’s vision was deeply authentic, and her genuine care and sensitivity for stewarding goodness resonated with me immediately.
As an educator, artist, and the daughter of artist-activists, I’ve always understood the power of art. It’s the closest that you can get to the divine. It is one's expression of life as it’s seen and experienced. There's no filter or space between what's in your heart and what you put on your canvas.
It’s critical for art to be in a student’s exposure because it rounds out a holistic approach to instruction. You’ve heard of STEM or even STEAM, and I’ve been talking about STREAM (science, technology, reading/writing, engineering, art, and math). Art provides students with a time and place to be inquisitive, explore, make mistakes, and interpret their lives. Unfortunately, in educational spheres, when there are budget cuts, art is the first thing to go. My HR background also showed me how precarious teaching art can be as a career path. Therefore, I wanted to be a part of the mission of Studio in a School.
Photo of Studio Artist Instructure Loraine Zhou working with 2nd grade students on an oil pastel and watercolor unit focused on stories of food, memories, and culture, at P.S. 244, Queens. Courtesy of Studio in a School.
XJW: I love that you mentioned the social underpinnings of art access. Many have noted art’s role in bridging divides. Today, in a climate of political polarization and tension, how do you see us moving forward? And what role do you think art plays in early education during such turbulent times?
HM: Firstly, what do we do now? I think we keep moving. We continue doing the work—breaking down barriers, opening up conversations, and finding the commonalities between us. And we do this together. I like to say the phrase, “Education as justice.” If you have education, you will have justice. They are like two sides of the same coin. We have to be constantly vigilant for the miseducation or the ongoing attack on education, so that we don’t become even more disenfranchised.
We as a society are facing a lot of obstacles. But these types of obstacles have happened throughout American history. As an African American woman, this is just one in a long line of setbacks. You get hit, you say, oh my goodness, you get up, and you keep on moving. You find a better way, to make it a better day. You got to keep it moving.
Amid this, art is capable of transforming our own experience into something that everyone else can latch onto. It allows us to move beyond an individualistic mindset and foster community, human connectivity, and empathy.
4th grade students at P.S. 133 in Brooklyn work with Studio Artist Instructor Noel Copeland to create paper mache sculptures of animals. Courtesy of Studio in a School.
XJW: I love the phrase “education as justice.” Historically, we have seen the banning of certain textbooks, for instance, as a strategy of censorship, segregation, or oppression in all parts of the world.
HM: Taking this all the way back in history, the US anti-literacy laws between 1740 and 1867 prohibited enslaved, and sometimes free, African Americans from learning to read or write. Before the invention of the Gutenberg Press, education resources were scarce and exclusive to the elite. So, education is a real, real tool. Banning books and keeping us away from information has been a strategy used against many people for a long time. But we can’t let that discourage us. These setbacks are part of a pattern. What matters is that we keep moving forward, creating better outcomes each time.
XJW: When do you feel the most fulfillment from the work of Studio in a School? What are some of the highlights throughout this process?
HM: I love hearing the conversations students have while working on their art—talking about why they chose a specific color or shape, how to collaborate, and so on. These conversations aren't just about art; they're skills essential to every aspect of life—collaboration, analysis, and communication. Looking at the students’ work and seeing their parents take photographs are always inspiring and fulfilling. I'm totally blown away by their talent.
Our Studio Institute program connects high school and college students to internships in cultural institutions. I love seeing them present what they learned about curation, restoration, and so on, as they’re discovering career paths and opportunities that they perhaps wouldn’t otherwise consider. Another highlight is watching some older students being trained to teach younger children. Hearing them talk about “their kids” with such pride and affection is incredible—it reinforces the cycle of learning and giving back.
XJW: What are some of the feedbacks you received that really struck you?
HM: One moment that stands out came from our teaching artists during Trump’s first presidency, at a time when immigrants in the US were targeted and attacked. Some of our students and their families were scared, and the instructors needed support to help their students navigate those fears. As much as we wish every young student to be happy, many of them have obstacles to learning or to being comfortable. It’s important for us as adults to recognize and address the discomfort a student may be going through. We had a similar experience in 2020 during the social unrest in the US and globally. In these moments, our teaching artists needed resources to respond to their students’ needs, and we provided that. The gratitude from our instructors was overwhelming—they felt supported in a way that allowed them to meet their students where they were.
Parents often share touching feedback as well. Some didn’t realize their children had artistic talent until they participated in our programs. Others talk about how their kids have blossomed, and some recount specific stories—one child drew a picture of her father sleeping or reclining. That drawing sparked a meaningful conversation between the child and the parent. It was incredible to hear how that piece of art made a difference in her family.
5th grade student from P.S. 72 in the Bronx is working on a collage mural with Studio in a School Artist Instructor James Reynolds. Courtesy of Studio in a School.
XJW: It’s so crucial to meet students where they are, which ties into my next question: Why is arts education so important for youth development?
HM: Youth development is fundamentally about identity—discovering who you are in relation to your community and the world. Art provides a unique outlet for young people to explore and express themselves, whether they’re interpreting their emotions, experimenting with how they see the world, or simply creating something that reflects their imagination. Therefore, I think art is an integral part of youth development, just like how you have to have good nutrition, develop nice habits, and so on.
Earlier, we talked about STEM, STEAM, and STREAM. I see art as the common denominator. As we become literate and develop scientific ways of inquiring, our thinking and system of knowledge mirror or juxtapose with the art around us. Humanity itself is not linear—there is no one straight path, just like how there’s no one straight blade of grass. Everything is interconnected. I think it’s art that is making these connections and keeping us together.
XJW: What obstacles have you faced when it comes to amplifying the mission of Studio in a School?
HM: Like many nonprofits, our biggest challenge is sustainable funding. At Studio Institute, $10,000 can support an Artist Residency Program in an entire school site, and $75K–$100K can support 10–13 college internships at our cultural institutions. In NYC, $10,000 can support an early childcare site, and $100,000 can support a long-term program for a year. We are constantly looking for partnerships and raising funds.
Changing the perception of art education as essential rather than a luxury is another hurdle. Budget cuts often target art because its value isn’t easily quantified. If you have 100 students who can create stained glass windows, does that make you the best high school? Or is it, for instance, the highest average math score that makes you the best high school? It’s difficult, but much is needed from educators and the country at large to reconsider the role of art in education.
XJW: Is there anything you’d like to share that hasn’t been mentioned in the previous questions?
HM: Our pedagogical approach fosters authentic and holistic discussions about art. Students see themselves in their work and the world. This gives young people the autonomy to be self-empowered. We have portrait-making classes, for example, where students express themselves uniquely, and these expressions are all validated. In this way, our pedagogy encourages students to become advocates—for their work and their voices.
Any amount of contribution helps our mission. Now, more than ever, we are immensely grateful for our supporters and feel motivated to continue doing what we do.
This interview has been edited for length and clarity.
