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Art, Art Education and Cultural Identity in the Life Experiences of Four Contemporary Indigenous Women Artists

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Art, Art Education and Cultural Identity in the Life Experiences of Four Contemporary Indigenous Women Artists to know dibaajimowin a narrative of knowing: art, art education and cultural identity in the life experiences of four contemporary Indigenous women artists Lori Beavis A Thesis in the Department of Art Education Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy (Art Education) at Concordia University Montreal, Quebec, Canada February 2016 © Lori Beavis, 2016 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Lori Beavis Entitled: to know dibaajimowin: a narrative of knowing - art, art education and cultural identity in the life experiences of four contemporary Indigenous women artists and submitted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY (Art Education) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: ______________________________________Chair Dr. A. Whitelaw ______________________________________External Examiner Dr. C. Ballengee-Morris ______________________________________External to Program Dr. W. Linds ______________________________________ Examiner Dr. L. Blair ______________________________________ Examiner Dr. K. Vaughan ______________________________________ Thesis Supervisor Dr. L. Szabad-Smyth Approved by _____________________________ Dr. K. Vaughan, Graduate Program Director February 17, 2016 __________________________________ Dr. R. Duclos, Dean, Faculty of Fine Arts Abstract to know dibaajimowin a narrative of knowing: art, art education and cultural identity in the life experiences of four contemporary Indigenous women artists Lori Beavis, Ph.D. Concordia University, 2016 Beginning with research on the intersection of cultural identity, family history and education, this dissertation investigates how life experiences relevant to art contribute to identity and cultural identity formation. In exploring the lives of four Indigenous women, specifically contemporary women artists, this study makes a link between life experiences, events, art and art education. The research examines how those influences contributed to identity formation and how the selected artists incorporate identity within their artwork. In this research the notion of education as a transformative experience was also investigated. An Indigenous paradigm frames the qualitative research method of life history research, narrative and story telling. The data, as proposed by Kovach (2010) was gathered through an Indigenous ‘conversational method’. These methods allowed for a focus on the interconnection of experiences related to family and social relationships, schooling and professional practice. The rich stories revealed by the four artists were examined individually and through a cross-case analysis. The findings indicate that both external and internal factors impact on the development of cultural identity. Identity development, as has been found with artistic identity development, is an accumulative process and education is an important factor. Family, self- awareness and a broadened knowledge of the external world along with a sustained interrogation of their inner world are also essential. The knowledge developed in this thesis will help art educators recognize the value of meaningful cultural exchanges in the classroom, see the need to examine identity in a profound manner and discourage the practice of characterizing abilities and inclinations as cultural traits. Ultimately the particularized case studies will indicate a new direction that inserts itself into a larger narrative regarding Indigenous ways of teaching and learning. Acknowledgements This dissertation has been a long time in the making. It has been a great adventure and in this adventure I have grown personally and professionally Without the interest and cooperation of the four amazing women – Shelley, Lisa, Jori and Nadia this research project would never have happened. Thank you for the time and the stories and the laughter. Thank you for your memories and for your contributions and for the ongoing help that you have given me. Thank you for the trust you placed in me to tell your stories well. The Department of Art Education at Concordia University has been a supportive environment throughout my doctoral studies. I am grateful and privileged to have worked in such a energising environment. I am particularly thankful for the dedication, support and advice from my supervisor, Dr. Linda Szabad-Smyth. I would also like to thank Linda for her on-going help and encouragement. Dr. Lorrie Blair and Dr. Kathleen Vaughan, the other members of my thesis committee, offered great support and advice during my doctoral studies. I would like to acknowledge the little push that Dr. Paul Langdon gave me when I was searching for the subject. He knew it was in me and he set me on the path to write from what I know. He motivated and inspired me. Thank you, Paul. A special thank you to my mother-in-law, Vicky Webster Hardy. I cannot tell you how much the refuge of the little yellow house meant as a place for uninterrupted writing sessions has meant. Your offer of the space was immensely valuable to me. I want to thank my parents for their love and support. I apologize for the length of time and the fact my dad missed the completion of this adventure. Al and Lois always supported me and continue to do so. I am grateful. My sister, Lynn has always been both my best critic and my best editor. As always, Lynn thank you for your support along the way and your help! I also want to thank Leslee and Christine, because sisters are always there when you need them – thank you! For my husband Dominic Hardy, thank you for your love, support and your trust that I would finish this project. Thank you to Cat and Iris, my beautiful girls! I am always thankful for the love and patience you have shown me. I dedicate this work to my grandmother, Laura Hannah Cowie Jones (1907-1987) – a proud Mississauga woman who valued education, her history, family and her grandchildren. Table of Contents List of Figures xi Terminology xiv Chapter 1 Introduction 1 Locating Myself 1 Personal Connection to the Research 2 Developing the Research Question 7 Research Question 12 Paradigm, Epistemology and Methodology 15 Educational Aims and Significance 18 Structure of the Dissertation 20 Chapter 2 Literature Review 22 Theory of Knowledge 23 Indigenous Methodologies 24 Qualitative Inquiry and Indigenous Methods 27 Qualitative Research and Narrative 29 Theoretical Perspective: Feminism and Decolonization 31 Story and Narrative Inquiry 32 Narrative and Life History 34 Conversational Method 36 Summary 38 Chapter 3 Methodology, Procedure and Data Analysis 39 Introducing the Framework 39 The Seven Ojibway Teachings and the Research 40 Why an Indigenous Paradigm 41 Indigenous Research and Western Methods and Procedures 42 My Methodology and the Procedures 43 Research Preparation 44 Developing the Research Question 45 Selecting Participants 47 Collecting the Data 47 Analyzing the Data 54 Interpreting the Data 57 Representing Data: Maintaining Rigour and Integrity 58 Summary 60 Chapter 4 Artist Narrative: Shelley Niro 61 Meeting Shelley Niro 61 Biographical Overview 63 Art, Cultural Identity and the Emerging Artist 64 Early Life Experiences 64 Art and School Experiences 66 Mentors 73 Transition from Emerging to Accomplished Artist 75 Art, Cultural Identity and the Accomplished Artist 76 Art Education and Philosophy of Art 76 Identification as an Artist 77 Role of the Artist and Community 79 Art Practice 82 Chapter 4 images 84 Chapter 5 Artist Narrative: Lisa Myers 96 Meeting Lisa Myers 96 Biographical Overview 97 Art, Cultural Identity and the Emerging Artist 99 Early Life Experiences 99 Art and School Experiences 100 Mentors 107 Transition from Emerging to Accomplished Artist 108 Art, Cultural Identity and the Accomplished Artist 110 Art Education and Philosophy of Art 110 Identification as an Artist 111 Role of the Artist and Community 113 Art Practice 115 Chapter 5 images 119 Chapter 6 Artist Narrative: Jori Cachene 125 Meeting Jori Cachene 125 Biographical Overview 126 Art, Cultural Identity and the Emerging Artist 127 Early Life Experiences 127 Mentors 134 Transition from Emerging to Accomplished Artist 135 Art, Cultural Identity and the Accomplished Artist 136 Art Education and Philosophy of Art 136 Identification as an Artist 138 Role of the Artist and Community 139 Art Practice 143 Chapter 6 images 145 Chapter 7 Artist Narrative: Nadia Myre 148 Meeting Nadia Myre 148 Biographical Overview 149 Art, Cultural Identity and the Emerging Artist 150 Early Life Experiences 150 Mentors 154 Transition from Emerging to Accomplished Artist 155 Art, Cultural Identity and the Accomplished Artist 159 Art Education and Philosophy of Art 159 Identification as an Artist 160 Role of the Artist and Community 161 Art Practice 164 Chapter 7 images 168 Chapter 8 Cross-Case Analysis 174 Structure of the Chapter 174 Part 1: Emerging Artist, Art and Cultural Identity 174 Early Life Experience 174 Art-making in Everyday Family Life 175 Elementary School Experiences 177 In/Significant Art Making: Part I 177 Watch and Learn 178 Secondary School Experiences 180 In/Significant Art Making: Part II 180 Opting Out 182 Community College 183 Finding New Meaning 183 Post-Secondary Education: Diploma, Associates and B.F.A. 184 Indigenous Representation 184 Art-making and Indigenous Heritage 186 Post-Secondary Education:
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