To expand the possibilities of "doing arts thinking" from a non-Eurocentric view,
Artistic Mentoring as a Decolonizing Methodology: An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez 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, uses both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamines 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.
Displacement, relocation, dissociation: each of these terms elicits images of mass migration, homelessness, statelessness, or outsiderness of many kinds, too numerous to name. This book aims to create opportunities for scholars, practitioners, and silenced voices to share theories and stories of progressive and transgressive music pedagogies that challenge the ways music educators and learners think about and practice their arts relative to displacement.
Displacement is defined as encompassing all those who have been forced away from their locations by political, social, economic, climate, and resource change, injustice, and insecurity. This includes:
- refugees and internally displaced persons;
- forced migrants;
- indigenous communities who have been forced off their traditional lands;
- people who have fled homes because of their gender identity and sexual orientation;
- imprisoned individuals;
- persons who seek refuge for reasons of domestic and social violence;
- homeless persons and others who live in transient spaces;
- the disabled, who are relocated involuntarily; and
- the culturally dispossessed, whose languages and heritage have been taken away from them.
In the context of the first ever book on displacement and music education, the authors connect displacement to what music might become to those peoples who find themselves between spaces, parted from the familiar and the familial. Through, in, and because of a variety of musical participations, they contend that displaced peoples might find comfort, inclusion, and welcome of some kinds either in making new music or remembering and reconfiguring past musical experiences.
Contributors are: #4459, Efi Averof Michailidou, Kat Bawden, Rachel Beckles Willson, Marie Bejstam, Rhoda Bernard, Michele Cantoni, Mary L. Cohen, Wayland “X” Coleman, Samantha Dieckmann, Irene (Peace) Ebhohon, Con Fullam, Erin Guinup, Micah Hendler, Hala Jaber, Shaylene Johnson, Arsène Kapikian, Tou SaiKo Lee, Sarah Mandie, David Nnadi, Marcia Ostashewski, Ulrike Präger, Q, Kate Richards Geller, Charlotte Rider, Matt Sakakeeny, Tim Seelig, Katherine Seybert, Brian Sullivan, Mathilde Vittu, Derrick Washington, Henriette Weber, Mai Yang Xiong, Keng Chris Yang, and Nelli Yurina.
At a time when universities demand immediate and quantifiable impacts of scholarship, the voices of research participants become secondary to impact factors and the volume of research produced. Moreover, what counts as research within the academy constrains practices and methods that may more authentically articulate the phenomena being studied. When external forces limit methodological practices, research innovation slows and homogenizes.
This book aims to address the methodological, interpretive, ethical/procedural challenges and tensions within theatre-based research with a goal of elevating our field’s research practice and inquiry. Each chapter embraces various methodologies, positionalities and examples of mediation by inviting two or more leading researchers to interrogated each other’s work and, in so doing, highlighted current debates and practices in theatre-based research. Topics include: ethics, method, audience, purpose, mediation, form, aesthetics, voice, data generation, and research participants. Each chapter frames a critical dialogue between researchers that take multiple forms (dialogic interlude, research conversation, dramatic narrative, duologue, poetic exchange, etc.).
School communities identified these children as the “throwaways”-children who often experienced bullying, abuse, foster care, juvenile detention, and special education services. In this book, children with learning differences engage in artmaking as sensemaking to deepen their understanding of what it means to live on the margins in U.S. public K-12 schools. Their artmaking calls upon educators, school leaders, and policymakers to actively engage in addressing the injustices many of the children faced in school. This book is revolutionary. For the first time, children with learning differences, teachers, staff, and school leaders come together and share how they understand the role artmaking as sensemaking plays in empowering disenfranchised populations. Together, they encourage school community members to examine pedagogical practices, eliminate exclusive policies, and promote social justice-oriented work in schools. Their artmaking inspires new ways of knowing and responding to the lived experiences of children with learning differences. They hope their work encourages school communities to make authentic connections to improve their learning, capacity to love others, and of most importantly, to value oneself. Authors’ first-tellings capture the human experience of navigating through oppressive educational systems. Authors urge us to consider what it means to be empathic and to engage in the lives of those we serve. Their truths remind us to that standing still should never be an option.