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Artistic Mentoring as a Decolonizing Methodology

An Evolving 18-year Collaborative Painting Ethnography with Maya Artists

Series:

Kryssi Staikidis

To expand the possibilities of “doing arts thinking” from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: An Evolving 18-year Collaborative Painting Ethnography with Maya Artists is grounded in Indigenous perspectives on arts practice, arts research, and art education. Mentored in painting for eighteen years by two Guatemalan Maya artists, Kryssi Staikidis, a North American painter and art education professor, used both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamined her positions as student, artist, and ethnographer searching to redefine and transform the roles of the artist as mentor, historian/activist, ethnographer, and teacher.

The primary purpose of the book is to illuminate the Maya artists as mentors, the collaborative and holistic processes underlying their painting, and the teaching and insights from their studios. These include Imagined Realism, a process excluding rendering from observation, and the fusion of pedagogy and curriculum into a holistic paradigm of decentralized teaching, negotiated curriculum, personal and cultural narrative as thematic content, and the surrounding visual culture and community as text.

The Maya artist as cultural historian creates paintings as platforms of protest and vehicles of cultural transmission, for example, genocide witnessed in paintings as historical evidence. The mentored artist as ethnographer cedes the traditional ethnographic authority of the colonizing stance to the Indigenous expert as partner and mentor, and under this mentorship analyzes its possibilities as decolonizing arts-based qualitative inquiry. For the teacher, Maya world views broaden and integrate arts practice and arts research, inaugurating possibilities to transform arts education.

Series:

Patricia Leavy

Film follows three women who moved to Los Angeles to pursue their dreams. Tash Daniels aspires to be a filmmaker. Her short film was rejected from festivals, she has a stack of rejected grant proposals, and she lost her internship at a studio when her boss harassed her, forcing her to take a job as a personal shopper. Lu K is a hot deejay slowly working her way up the club scene, but no one is doing her any favors. Fiercely independent, she’s at a loss when she meets Paisley, a woman who captures her heart. Monroe Preston is the glamorous wife of a Hollywood studio head. As a teenager she moved to LA in search of a “big” life, but now she wonders if reality measures up to fantasy. When a man in their circle finds sudden fame, each of these women is catapulted on a journey of self-discovery. As the characters’ stories unfold, each is forced to confront how her past has shaped her fears and to choose how she wants to live in the present. Film is a novel about the underside of dreams, the struggle to find internal strength, the power of art, and what it truly means to live a “big” life. Frequently shown bathed in the glow of the silver screen, the characters in Film show us how the arts can reignite the light within. With a tribute to popular culture, set against the backdrop of Tinseltown, Film celebrates how the art we make and consume can shape our stories, scene by scene. Although fictional, Film is loosely grounded in interview research. It can be read entirely for pleasure or used as supplemental reading in a variety of courses in women’s studies/gender studies, sociology, psychology, communication, popular culture, media studies, or qualitative inquiry. Film can be read as a stand-alone novel or as a sequel to the bestselling novel, Blue.

Culture and Environment

Weaving New Connections

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Edited by David B. Zandvliet

The inspiration for this book arose out of a large international conference: the ninth World Environmental Education Congress (WEEC) organized under the theme of Culture/Environment. Similarly, the theme for this book focuses on the Culture/Environment nexus. The book is divided into two parts: Part 1 consists of a series of research studies from an eclectic selection of researchers from all corners of the globe. Part 2 consists of a series of case studies of practice selected from a wide diversity of K-Postsecondary educators. The intent behind these selections is to augment and highlight the diversity of both cultural method and cultural voice in our descriptions of environmental education practice. The chapters focus on a multi-disciplinary view of Environmental Education with a developing view that Culture and Environment may be inseparable and arise from and within each other. Cultural change is also a necessary condition, and a requirement, to rebuild and reinvent our relationship with nature and to live more sustainably. The chapters address the spirit of supporting our praxis, and are therefore directed towards both an educator and researcher audience. Each chapter describes original research or curriculum development work.

Edited by Bernard W. Andrews

Arts education research has increased significantly since the beginning of the new millennium. This peer-reviewed book, the first of two volumes, captures some of the exciting developments in Canada. There is geographical diversity represented from across this large country, as well as theoretical and methodological diversity in the chapters. There is also a sense of togetherness with those, and other, diversities. There are calls to action and calls to play. We hear voices of artists, researchers, and artist researchers. The life histories of others, and of the self, are presented. Perspectives on Arts Education Research in Canada, Volume 1: Surveying the Landscape provides a wide spectrum of current research by members of the Arts Researchers and Teachers Society (ARTS)/La societé des chercheurs et des enseignants des arts (SCEA), a Special Interest Group (SIG) within the Canadian Association for Curriculum Studies (CACS), which is in turn, is a constituent association of the Canadian Society for the Study of Education (CSSE).

Contributors are: Bernard W. Andrews, Julia Brook, Susan Catlin, Genevieve Cloutier, Yoriko Gillard, Kate Greenway, Michael Hayes, Nané Jordan, Sajani (Jinny) Menon, Catrina Migliore, Kathryn Ricketts, Pauline Sameshima, and Sean Wiebe.

Arts-Based Education

China and Its Intersection with the World

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Edited by Tatiana Chemi, Lihong Wang and Xiangyun Du

Core texts addressing creativity in a number of contexts show that creativity as a scientific subject has received principally the attention of Western scholars. Is this due to the fact that Western cultures are more creative or sensitive to creativity than the Eastern cultures? The editors strongly believe that this is more due to the differences in understanding and practising creativity in the West and East than to an Eastern indifference to creativity.

Arts-Based Education: China and Its Intersection with the World investigates the field of arts-based educational practices and research. It argues that reflections on these themes must necessarily be reframed and re-read beyond the limits of colonialist oppositions and suggests a constructive and reflexive approach to theory and methodology, which takes into account intercultural and critical perspectives in these studies.

This volume is the tangible product of the acknowledgement that China and Chinese culture deserves a more systematic and up-to-date dissemination through recent studies that bring together the arts, learning and creativity. It is clustered around two themes: (1) China and its communication with the world through arts-based education in international contexts, and (2) the development of arts education in China.

The Writing Shop

Putting 'Shop' Back in Writing Workshop

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Suzanne Farrell Smith

Since the 1970s, writing workshop has been a go-to method for teaching writing. It’s helped students of all ages find their voices and stories while developing skills and craft. In The Writing Shop, the author reimagines what writing workshop can be. By studying workshops of different kinds—carpentry, textile, machine—she pushes us to see writing workshop the way other makers see their own shops, as places where creativity is fueled by the sensory experience. When the essential elements of all workshops are adopted in writing workshop, the author argues, writers will flourish.

The author builds on writing workshop literature to introduce the model to newcomers, while offering practical advice for those looking to strengthen their writing instruction. The Writing Shop illustrates what happens when writing is taught in an authentic shop: play is prioritized, all types of learners are included, and a host of skills beyond the mechanics of composition are embedded in the process of learning to write.

With its stories from diverse workshops and emphasis on exploration and experimentation, The Writing Shop shows us that learning to write can be, above all things, fun.

Three Approaches to Qualitative Research through the ARtS

Narratives of Teaching for Social Justice and Community

Seungho Moon

This book incorporates art-based, partnership-oriented inquiry into social justice discourses and advances qualitative research strategies through the medium of three theoretical frameworks: phenomenology, critical ethnographic research, and poststructuralist theories. Maxine Greene's aesthetic theories motivated to create the ARtS initiative and the author explores the possibility of enhancing children’s understanding of active citizenship and community. It illustrates narratives from children in an urban context while they developed a sense of constructive community and active citizenship in an afterschool program called the ARtS (aesthetic, reflexive thoughts, & sharing) initiative.

As a qualitative methodology text, Three Approaches to Qualitative Research through the ARtS explicates theoretical tenets and research strategies in art-based research. This book shows three examples of how to connect a theoretical framework with the analysis of ethnographic data. A nexus between theory and practice enables researchers and practitioners to understand the value of aesthetic-inspired programs to foster democratic citizenship and to advance equity issues. Social justice-oriented teacher educators, qualitative researchers, and artists will explore and learn how the ARtS initiative recognizes the power of art and multiple research methodologies in imagining and representing a community differently and advancing social justice in a challenging time.

Art Therapy in Australia

Taking a Postcolonial, Aesthetic Turn

Edited by Andrea J. Gilroy, Sheridan Linnell, Tarquam McKenna and Jill Westwood

Art Therapy in Australia: Taking a Postcolonial, Aesthetic Turn explores and enacts established and emergent art therapy histories, narratives and practices in the specific postcolonial context of contemporary Australia. It is the first published book to attempt to map this terrain. In doing so, the book aims to document important aspects of art therapy in Australia, including how Australian approaches both reiterate and challenge the dominant discourse of art therapy. This book is as much a performance as an account of the potential of art therapy to honour alterity, illuminate possibilities and bear witness to the intrapsychic, relational and social realms. The book offers a selective window into the rambling assemblage that is art therapy in the ‘Great Southern Land’.

Contributors are: Jan Allen, Bronwyn Davies, Claire Edwards, Nicolette Eisdell, Patricia Fenner, John Henzell, Pam Johnston, Lynn Kapitan, Carmen Lawson, Sheridan Linnell, Tarquam McKenna, Michelle Moss, Suzanne Perry, Josephine Pretorius, Jean Rumbold, Victoria Schnaedelbach, Lilian Tan, Jody Thomson, Jill Westwood, Amanda Woodford, and Davina Woods.

Art, Culture, and Pedagogy

Revisiting the Work of F. Graeme Chalmers

Edited by Dustin Garnet and Anita Sinner

The legacy of Graeme Chalmers’s research in art education underpins a foundational understanding of critical multiculturalism and offers a rigorous analysis of oppression and institutionalization of unequal power relations. His work begins in stories involving disruption and advocacy, and how when working in collaboration, we may then begin to share lived knowledge in ways that bring sociopolitical dimensions to the fore to help us move towards breaking cycles of divisiveness. International scholars share both reflective commentaries that look back upon Graeme Chalmers’s contributions, as well as offer diverse perspectives that look forward to the enduring potentialities and possibilities of his work today and into the future. These perspectives are presented alongside thirty years of his scholarship creating new insights and provocations that will continue to influence our collective work for social justice. Art, Culture, and Pedagogy: Revisiting the Work of F. Graeme Chalmers holds timeless wisdom, articulating Graeme’s deep respect for cultural pluralism, his passionate embrace of inclusivity and diversity, and his dedication to social justice issues – all issues of compelling urgency today. His distinguished international leadership and his pioneering ideas continue to be adopted, engaged, and applied at all levels of art education.

The Five Continents of Theatre

Facts and Legends about the Material Culture of the Actor

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Eugenio Barba and Nicola Savarese

The Five Continents of Theatre undertakes the exploration of the material culture of the actor, which involves the actors’ pragmatic relations and technical functionality, their behaviour, the norms and conventions that interact with those of the audience and the society in which actors and spectators equally take part.

The material culture of the actor is organised around body-mind techniques (see A Dictionary of Theatre Anthropology by the same authors) and auxiliary techniques whose variety concern:

■ the diverse circumstances that generate theatre performances: festive or civil occasions, celebrations of power, popular feasts such as carnival, calendar recurrences such as New Year, spring and summer festivals; ■ the financial and organisational aspects: costs, contracts, salaries, impresarios, tickets, subscriptions, tours; ■ the information to be provided to the public: announcements, posters, advertising, parades; ■ the spaces for the performance and those for the spectators: performing spaces in every possible sense of the term; ■ sets, lighting, sound, makeup, costumes, props; ■ the relations established between actor and spectator; ■ the means of transport adopted by actors and even by spectators.

Auxiliary techniques repeat themselves not only throughout different historical periods, but also across all theatrical traditions. Interacting dialectically in the stratification of practices, they respond to basic needs that are common to all traditions when a performance has to be created and staged. A comparative overview of auxiliary techniques shows that the material culture of the actor, with its diverse processes, forms and styles, stems from the way in which actors respond to those same practical needs. The authors’ research for this aspect of theatre anthropology was based on examination of practices, texts and of 1400 images, chosen as exemplars.