Art/Research International (Journal)
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Teaching for the Ambiguous, Creative, and Practical: Daring to be A/R/Tography
No full textThis purpose of this inquiry is to explore how an a/r/tographic model of shared inquiry led to deeper insights about learner-centered pedagogy. Invited to teach and redesign a very large ‘Art & Society: Visual Arts’ course at a large university with a 21st century issues-based focus, together with my commitment as a constructivist, learner-centered teacher, the current phenomenological study was born. The phenomena studied was whether a large, lecture-style class taught from a more non-traditional, non-lecture, art-as-experience, learner-centered epistemology might affect students’ balanced thinking and perceptions about their learning. Students’ perceptions, along with the regulatory role of emotions, are critical factors in motivation and behavior; students’ self-beliefs about learning and their capabilities affect their behavior, resilience, and persistence in the face of challenge.Arts-based methods of inquiry with multiple forms of data, regarding both students’ and researcher’s lived experiences resulted in new artforms and informed praxis. After a student survey was determined the best way to poll perceptions about their learning in a more constructivist environment, the author’s Mixed Parallaxic Praxis method emerged from this study. Key findings indicated students’ increased openness to other perspectives and to cultural and creative experiences, increased engagement and a personal desire/thirst to create art, and a personal confidence to analyze art—despite their lack of former experience with artmaking or art instruction in high school. Qualitative and survey data informed how learner-centered practices enhance students’ self-beliefs about their abilities as creative learners, so important to overall motivation and capacity to learn overall
Moving Materiality: People, Tools, and this Thing Called Disability
No full textThis body is wheelchair-bound. Not in the sense of the ableist idiom, but literally: bound to a nine-pound titanium frame through Velcro and ratchet straps ripped from snowboards. This wheelchair is body-bound, bound to the flick of a hip against strapping, pulling through plastic and metal and rubber and gravity and wood, into a tilt onto one wheel. This metal, this flesh, this materiality is bound, too, by rhythm and soundscape: chairs crashing; prodding questions; polite onlookers, silent; the percussive thud of wheels on uneven terrain. It is bound to the gaze of audience and reader and performer and lover. It is bound with the discourses of (dis)ability, in(ter)dependence, materiality and boundedness. This essay too, is wheelchair-body-bound. It is bound to explorations of previous works on the practices, discourses, and materialities of the wheelchair. It is bound by the authors’ personal narratives of living, playing, moving and thinking with, in and through various wheelchairs and other technologies of (im)mobility. It is bound through critical artistic engagement: bound with thinking and, literally, dancing through the ways that flesh-chair-discourse-power bind in the form of a subject, or an articulation, or an assemblage. Finally, this essay is bound through an unabashed and unbounded passion for the exploration of the local, specific, strategic, accidental, and creative ways that one may remake or even re-imagine the bonding of their tools, communities, ideas, bodies, and mobilities
With Open Eyes: Returning to an Academic Life
No full textWhen asked to find a visual expression of my writing process for a first year PhD writing class, I saw a chance to unblock whatever was making it difficult for me to write. Searching for a meaningful way into my story, my ideas were reflected back through images of eyes – the eyes of strangers, my own eyes, and finally through the eyes of those who cared about me. Four years after a Mild Traumatic Brain Injury impacted my life, I returned to pursue an academic career. Symptoms that I thought had been put to rest were once again haunting me and my frustration level was escalating. Trying to find my way back into an academic existence was not an easy journey. The visual inquiry into eyes became a door through which I was able to gain back my words. Using poetic and narrative inquiry allowed for a further opening of releasing obstructions
Concrete Research Poetry: A Visual Representation of Metaphor
No full textIn this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art
Artful Inquiry and the Unexpected Ethical Turn: Exploring Identity through Creative Engagement with Grades 9-12 Students in Guatemala and Canada
No full textThis paper presents a research project conducted with Grades 9-12 students in Canada and Guatemala where the visual arts were used to explore identity. Participants engaged in a short-term artful inquiry in which they were asked to create a piece of visual art that represented their cultural roots, self in present society and hopes for the future. Various modes of representation including drawing and collage were used. When considering the data, emergent themes and the overall project, unexpected reverberations about the ethical impact of doing arts based work emerged. These questions led to further questions about how creative engagement, individual and collective transformation within the classroom environment does/does not occur as a result of creative engagement.
Reviews Editorial: Introduction to Snapshot Reviews
No full textAn introduction to the "snapshot" reviews in this issue of Art/Research International from Section Editor Monica Prendergast
The School Bus Symposium: A Poetic Journey of Co-created Conference Space
No full textWith the intention of disrupting and re-imagining traditional conference spaces, this article is a poetic compilation developed from a Curriculum Studies conference symposium that took place on a school bus. During the School Bus Symposium, in situ poetry writing and reading, song and storytelling occurred in response to open ended prompts and facilitation of creative activities. After the symposium, a call was issued to invite participants to submit any poetry or stories produced during, or inspired by the session. Consisting of 18 submissions including poetry, story, photography and creative essays, infused by curriculum theory and poetic inquiry, this collection offers an inclusive, reflective, participatory, and experiential rendering where participants are living and journeying poetically. Emphasizing creative engagement with personal memories, the authors collectively aimed to promote art education through imaginative approaches to curriculum studies, poetic inquiry and academic conferences
imprints
No full textoai:ojs.pkp.sfu.ca:article/24801This set of poems emerges from the flashpoint at the intersection of art, text, translation, and meaning-making. Several result directly from a class field trip with art educator Terry Barrett’s to the Columbus Museum of Art. We wrote during prolonged interactions with particular pieces. Others result from reflecting on making and remembering. The title of this collection, “imprint,” operates on multiple levels. There is the imprint of the text itself, the prints of the photos, the fictional prints and printmaking referenced, the mental images burned into memory, the lasting impression. There is something magical about trying to translate evanescent ideas, unformed understandings, and ephemeral moments into something more, something lasting, something to keep. These poems represent an attempt to capture something fleeting and slippery also in words. They are an attempt to pause, to contemplate in slower cadence, to ponder the surfeit of signs. They are an attempt to notice, to echo, to share and spark connections. They are an assemblage of images told in fractured pieces, bundled together, and shared.
Transpersonal Art: A Conversation with Artist Judy Schavrien
No full textThis article presents an excerpt from an interview with Judy Schavrien, a transpersonal psychology scholar, poet, and artist. In the course of this dialogue, Schavrien uncovers the philosophical and psychosocial underpinnings for the artworks included in her books Alice at the Rabbithole Café and Everything Voluptuous: The Love Songs 1970-2014. The collegial conversation, unstructured in advance yet guided by the art it explores, inquires into the following: the role of the transpersonal artist-scholar; the meaning Schavrien attributes to her subject matter; the environments and people that act as catalysts; the relevance of her choice of media and process; and, finally, whether the aims in her art and research converge. It becomes clear that, for Schavrien, it is not enough for artists to be mere custodians of their culture. Their role, in her view, is to challenge conventions, cry out, provoke thought, engage multiple ways of knowing, and offer alternatives that push society forward. Her research intends the same. Both Schavrien and the interviewer perceive a participatory element in her art, her research, and the approach taken in this article that explores them
Faggot Speaks: A Poetic Inquiry into the Experience of Antigay Mistreatment and Sexual Prejudice
No full textResearch suggests that, compared to heterosexual counterparts, gay men and other sexual minorities are at higher risk of developing emotional distress and mental disorders. The sexual minority stress model attributes these health disparities to the chronic social stress that arises in response to exposure to antigay mistreatment and sexual prejudice pervasive in the culture. Little research has been done to illuminate the lived experience of exposure to prejudiced behaviors and attitudes and this inquiry aims to begin to fill this gap by addressing the following questions: What is the experience of being mistreated for being gay or perceived as gay? What is the experience of being exposed to sexual prejudice when one is gay? Using the writing of autobiographical poetry as a process of inquiry and the resulting poems as narrative data, I explore my own experiences with antigay encounters and sexual prejudice over the course of my life. The intent is to vivify and magnify the phenomenon under investigation via evocative poetic renderings aimed to foster empathy and embodied understanding in the reader