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Art Education at the Turn of the Tide: the Utility of Narrative in Curriculum-Making and Education Research

Art Education at the Turn of the Tide: the Utility of Narrative in Curriculum-Making and Education Research

Syracuse University SURFACE

Teaching and Leadership School of

2010

Art Education at the Turn of the Tide: The Utility of in Curriculum-making and Education

James Haywood Rolling Syracuse University

Follow this and additional works at: https://surface.syr.edu/tl

Part of the Arts and Commons, and the Education Commons

Recommended Rolling, J. H. (2010). Art education at the turn of the tide: The utility of narrative in curriculum-making and education research. Art Education 63 (3), 6-12.

This Article is brought to you for free and open access by the School of Education at SURFACE. It has been accepted for inclusion in Teaching and Leadership by an authorized administrator of SURFACE. For more information, please contact [email protected]. Art Education at the Turn of the Tide: The Utility of Narrative in Curriculum-Making and Education Research

iven current developments in contemporary art, learning narrative turned and the sentimental theory and art education, Julia Marshall (2006) declares the story line of the affable Gandalf that once merely sheltered his friends from Gtimeliness for substantively new “ideas and models for art danger now shifted. Suddenly, he offered education” (p. 17). Clearly, the story of art education practice is ever them redoubled strength and the real evolving and has historically given place to new tellings (Hamblen, possibility of fulfilling their charge at the moment when the Fellowship was at its 1984). On the surface, relating our professional is vital weakest. Likewise, the place of the arts because unless an art educator tells the story of what s/he does and in education has emergent qualities that, why s/he does it, someone else may tell the story and leave out some- from time to time, need to be recalibrated (Hamblen, 1984; Pearse, 1992). If the arts thing important. Collectively documenting and telling stories of our in education now stand before us at the individual pedagogical practices helps educators argue against the turn of the tide, how ought we to relate notion that that arts learning is less relevant and more expendable to it? than other subjects (Stankiewicz, 1997). It is useful to note that contemporary art education practice overlaps a unique Looking deeper, narrative is a funda- storytelling, for example, is an ancient period of change in neighboring social mental process of human research and re-searching practice that identifies and science disciplines, a turn of the tide development. Brent Wilson (1997) writes: examines problems of the human condi- that involves the embrace of narrative “I like to think of research as re-search, to tion. Filmmaking is a contemporary methods to rewrite prevailing working search again, to take a closer second look. that can serve as narra- models and of Research implies finding evidence about tion of our of the world and practice (Clandinin & Connelly, 2000; the way things were in the past, how they the meaning we make of it (Connelly & Riessman, 2008). The proliferation are presently, and even about how they Clandinin, 2006). of narrative in social might be in the future” (p. 1). Narrative In the second installment of the research emerges from what has been practices are re-searching methodologies popular Lord of the Rings1 film trilogy called the narrative turn in contemporary giving rise to meaningful or useful stories by Peter Jackson (2002), the tattered life, a clarion call to “look on traditional that encapsulate “the entire research Fellowship of the Ring is confronted empirical research with new eyes that see process from problem identification to with the glowing form of their dear the significance of stories at all stages in analysis” (Creswell, 1994, p. xvii). friend Gandalf the Grey, a wizard who the research process” (Day Sclater, 2003, Analyzing and interpreting the data at perished while defending his friends p. 622). hand, narrative processes tell a story that against a powerful Balrog, a large creature Over recent decades, there continues informs others of who we are, where we able to shroud itself in fire, darkness, to be a nagging ill-fittedness about the come from, where we are going, and what and shadow. Upon the occasion of place of the arts in modern education our purpose may be (Rolling, 2008). Oral this unexpected reunion, the resur- (Eisner, 1965; Johnson, 1971; Hoffa, rected wizard—now much stronger 1979; Anderson, 1981; Sullivan, 1999; Narrative inquiry practices and wiser—casually explains that his Stankiewicz, 2004). This article is a narra- name is no longer Gandalf the Grey, tive of professional practice intended generate the possibility of and is no longer the person they once to evoke similar probative rewritings. grieved for, emphatically stating: “I am Unless art educators write and overwrite new story arcs emerging from Gandalf the White. And I come back to our stories of K-12, community, and reinterpretive acts of research. you now—at the turn of the tide.” The university education practices, making

By James Haywood Rolling, Jr.

6 Art Education / May 2010 The Utility of Narrative in Curriculum-Making and Education Research

the intractability of the positions we often the practice of art education in a particular prevailing discourse—in order to reinterpret occupy more public, we will remain at the school. Narrative methodologies invite the them and render them more easily under- service of paradigms that no longer fit us description and meaningful interpreta- stood (Johnson, 1987; Turner, 1996). very well at all. Narrative inquiry prac- tion of , artifacts, phenomena, The third and final story is a negotiation. tices generate the possibility of new story performances, and events as research data It is a text that (re)writes the implications of arcs emerging from reinterpretive acts of (Connelly & Clandinin, 2006). a particular curricular outcome by one of research. The second story is speculative. Using a my former 3rd-grade students, negotiating particular conflict between two competing past practice and future pedagogy. Narrative Narrative Inquiry, Social notions of art teaching practice as a starting methodologies offer the opportunity to Research, and Art Education point, this text reflects on the significance of (re)write prior texts—interfacing with and Narrative inquiry is a kind of social the work of Harold Pearse (1983, 1992) and altering the shape of past practices—and research, “a collaborative method of telling his suggestion that paradigms of art educa- thus adding to the continuum of alternative stories, reflecting on stories, and (re)writing tion practice need not oppose one another, stories. stories” (Leavy, 2009, p. 27). Narrative but can coexist, offering vantage points By telling stories, reflecting on stories, and methodologies have been of great utility to from which to map “the potential space that (re)writing stories of art education practice, I arts-based researchers (Barone & Eisner, our own and others’ stories provide” (Day seek to model the utility of narrative research 2006; Leavy, 2009). In contrast, the scien- Sclater, 2003, p. 623). Narrative methodolo- methodologies in analyzing the many facets tific method is most useful for addressing gies capture contradictory texts—abstracted of art education practice and arts learning hypothesis-based questions—guesses about from diverse personal and/or collective as phenomena worthy of study (Connelly & what will happen given a particular set of experiences, image schemata and meta- Clandinin, 2006, p. 375). controlled variables and ultimately requiring phors retained in memory, and of experimentation to collect replicable data as evidence that the hypothesis is true. Social science researchers face major limitations carrying the success of the within the physical sciences over to since “persons are more difficult to understand, predict, and control than molecules” (Zeiger, n.d., para. 1). Narrative methodologies offer researchers another approach to questions. A narrative methodology inaugurates an inquiry as it simultaneously seeks to proliferate new tellings, not primarily to redeem a set of “facts,” but to articulate “the significance and meaning of one’s experiences” (Bochner, 2001, p. 153). As the products of narrative methodologies each tell a story, each product must itself be considered a text or analogous to text.2 Such text can be collected as data. In this article I examine three narratives that are connected to my practice as an art educator. The first story is descriptive. It is a text that tells of a Figure 1. A screenshot of a video taken within our art studio that offers a glimpse of our cavernous unfinished ceiling and metallic surfaces. confluence of circumstances that hindered

May 2010 / Art Education 7 Story #1: The Imposed Ceiling bounding footstep, and each awkward shift administrative supervisor was a former art of stool legs across the floor. These interrup- teacher who helped establish a school on the In 2003, just after the completion of tions were compounded by the fact the art Upper West Side that valued the arts. Yet, it my doctoral studies in education, I was studio was designed so that three art classes became quickly apparent that her concep- recruited as part of the faculty of a new could be scheduled to use the art studio tion of the job of an art teacher reflected a elementary school that launched in New simultaneously; even if only two different different model of practice than what the York. I was asked to help lead a staff of visual classes were scheduled to use the art studio at other art teachers and I sought to establish. arts teachers and to pioneer a visual arts the same time, the noise level was amplified program that was thematically linked with I find little, if any, relevance to the point of being near intolerable. The the teaching of all other subjects within the architects also designed our floor so that the in using students’ artwork as school’s uniquely designed architecture for only route to the music room was through decoration to remedy bland integrating the curriculum across all grade the art studio; that route went right in front levels. As is often the case at the start of large corridors. Student work should provide of the Smart board presentation technology undertakings, there were obstacles. Since evidence of learning, represent curricular in the main discussion area! the final phases of the construction of our connections, and reflect an emerging critical brand new school building were still being In this constant din and distraction, awareness (see Figure 2). Given that we were completed in the weeks just before the first youngsters with already short attention a new laboratory school wherein each faculty students were to arrive, the construction spans asked us to repeat instructions simply member was mandated to “tell the story” of workers were using the large art studio space because they could not hear. We, the four the learning taking place in our classrooms, as a staging area. This was a major hindrance art teachers charged with using that space as I was very conscious of what I wanted to to the art teaching staff, who needed access our primary teaching arena, asked repeat- convey. Although a work of art can simul- to the space to prepare to open our doors edly over the 2 years I was on staff that our taneously serve as evidence of learning and to our first students. In addition, our initial school administrators support our teaching decoration, at the time this story took place supply and equipment orders were purchased by hanging a lowered ceiling of acoustic I felt it was more important to prioritize the too late and did not arrive until a few weeks tiles, rather than sacrificing the ability of our arts as a unique vehicle for learning and I after school began. Furthermore, our furni- students to focus on lesson discussions for resisted the administration’s effort to use the ture was selected without consulting the art the sake of a fanciful appearance. Our pleas artwork to beautify the building. But as I teaching staff, was inappropriate for the art for help were addressed with half measures reflect back on this story now, how might we studio, and new furniture had to be ordered. that did nothing to abate the acoustical have bridged the divide between the stories disruptions. Even when our pleas became we wished to tell about the importance of the Since our school building was built from demands, it remained clear our needs were visual arts in our school? the ground up in preparation of our launch, not being prioritized. Not only was the the floor plans and room layouts were also According to Pearse (1983), there are at physical learning environment ill-fitted in configured long before any of the faculty least three prevailing models of practice this case—so was the stance of the school was hired. Our art studio lay beneath a vast in art education that oppose one another. administration regarding the professional and convoluted exposed ceiling intended Each tells a different story about recommendations of its art faculty. The to be a showcase on the journeys of visiting what the arts are good for. An empirical- imposition of a ceiling described in this story educators and parents through our school. analytic paradigm defines art as a system is not presented primarily as an indictment, Ventilation ducts in the ceiling’s design, of production, a cause-and-effect interven- but rather as a metaphor representing the assorted tubes and pipes, and telephone wire tion into a stockpile of material elements, recurring ill-fittedness of the arts within bundles were left visible as an architectural a commodity-oriented process “that has as modern educational ventures. novelty, primarily to titillate visiting parents its basic intent a cognitive interest in the and teachers on their regular whistle-stop Story #2: Competing Art control of objects in the world” (Pearse, tours. Meanwhile, the students themselves 1983, p. 159). In an empirical-analytic rarely paid much attention to the ceiling (see Education Practices paradigm, art practices seek to produce precious objects, using techniques to shape Figure 1). The visual arts teaching staff was surprised beauty as determined by the arbiters of good when we were instructed by the school’s Consequently, the acoustic conditions taste (jagodzinski, 1991; Stankiewicz, 2001). in the space ceaselessly interfered with leadership team to use our first weeks of our teaching. None of the walls within the classes to decorate the corridors of our new An interpretive-hermeneutic paradigm perimeter of the double-height space actually school with our students. Why? Because defines art as a system of , reached the ceiling, and there were metallic competing models of art education practice the expression of situated about sheaths and other hard surface areas in many do not always live together well. Decorating a person’s relationship with his or her social places that amplified each raised voice, every was just not our first order of business. Our world (Pearse, 1983, p. 160). Arts practices

8 Art Education / May 2010 Figure 2. Portion of display case of student work with explanatory captions, photographs and text intended to tell the story of learning during that project. under an interpretive-hermeneutic paradigm Of these three models, the empirical- Marshall (2008) presents the ceramics express “the ways in which we immediately analytic paradigm dominates in defining work of Charles Krafft as one exemplar of an experience an intimacy with the living world, art and arts policies in the modern era arts practice that juxtaposes, decontextual- attending to its myriad textures, sounds, (Rolling, 2008). However, Kearney (1988) izes, and blends competing paradigms to flavors, and gestures” through a selected pronounces that “modernity is where we work in fellowship with one another in pieces symbolic medium (Cancienne & Snowber, grew up,” but “postmodernity is where we such as “Fragmentation Hand Grenade.” 2003, p. 238). now live” (p. 18). Pearse (1992) goes on to Krafft simultaneously produces precious A critical-theoretic paradigm defines art suggest a system for conceptualizing thought forms through the beautiful craftwork as a system of critical reflection, a relativist and action originated through arts practices and decorative styling of traditional Delft form of activism, rendering invisible assump- that reflects a postparadigmatic era, “one in porcelains, communicates situated knowl- tions, values, and norms newly visible “in a constant state of flux, a kind of perpetual edge about weapons dealt by arms traders order to transform” and critique unjust social pluralism” of competing paradigms (p. 250). in Slovenia, and critiques “the banality and relations and empower marginalized individ- Within a more pluralistic conception of art ordinariness of violence in American life” uals and communities within the practitio- education practice, none of these competing (Marshall, 2008, p. 41). Reflecting once again ner’s social world (Pearse, 1983, p. 161). Arts models of art education practice is forced to on the philosophical conflict between our practices under a critical-theoretic paradigm occupy space beneath an imposed ceiling of visual arts teaching staff and our supervisor, challenge “taken-for-granted theories and expectations. In fact, we may come to expect Marshall’s presentation of Krafft’s postpara- concepts that govern our disciplines and the unexpected in our visual arts curriculum digmatic art practice also invites a similar circumscribe our thinking” in order to reveal theorizing, more akin to Julia Marshall’s reconceptualization of contemporary art “the ongoing inequity and social injustice (2008) postparadigmatic definition of arts education practice, one that accommodates that shape our society” (Ladson-Billings, practice as making “conceptual collages,” learning outcomes by our students which 2003, p. 11). with the artist and art educator as bricoleur simultaneously communicate, critique, and creating ideas from diverse and seemingly decorate. incompatible concepts (p. 39).

May 2010 / Art Education 9 Story #3: Visual Arts Learners and upon Tal as my name because they both loved the book. But in the book the boy Their Negotiation of Narratives named Tal actually had blond hair and What might a 21st-century art blue eyes. I have dark hair and brown education curriculum look like eyes. (Tal, personal communication, Spring 2005) with narrative practices in mind? I recall a work of art by one of my past 3rd We can understand this student’s work graders, which started with a book—a family on three levels significant to our story. Tal heirloom from which his name was taken— negotiated a narrative drawn from all three The narrative turn in TAL, His Marvelous Adventures with Noom- models of arts practice—art as precious Zor-Noom, by Paul Fenimore Cooper (1929), object (the book), art as personal expression, contemporary life opens up the great-grandson of the early American and art as critical examination. But Tal also novelist James Fenimore Cooper. Tal’s project found a way to tell stories, reflect on stories, the space for art education was the outcome of a storytelling assignment and (re)write stories, all in one narrative act using family artifacts, heirlooms, and family (Leavy, 2009, p. 27). On top of this, Tal also practitioners to invent ‘both/ stories as the inspiration for artmaking, managed to describe the story of his origin, historical research, and the development speculate on the significance of the elements and’ learning engagements and performance of self-image and family of the story, and negotiate the incongruence identity. of the blond-haired Tal of literature and his around artmaking practices own dark-haired physicality; each of these The book was not the only object in Tal’s acts are facets of a narrative approach to that are beautifully crafted autobiographical bricolage. He also included understanding. Kieran Egan (1989) chal- a baseball; his baseball glove, which first lenges educators not to underestimate the and/or serve to communicate belonged to his father and was passed on to sophistication of young learners in their him; a clay jaguar he made specifically for understanding of any given narrative and/or work as a catalyst for the installation; a rolled paper “chessboard” methodology “that holds stories together hand-ruled and hand-inked to replicate the and moves them along” (p. 13). Visual arts social renewal; soft vinyl chessboards of the chess program learning and the arts practices facilitate he participated in; a copy of the front cover narrative inventions carrying the cargo of richly inked by the book’s illustrator, Ruth stories we each hold significant. opens the space for art Reeves; poetry and narratives written for the project; and a family photograph with his Qualitative researcher Arthur P. Bochner educators to be teachers of the little brother and parents (see Figure 3). (2001) reassessed the possibilities of social science practice after the turn toward a new ‘arts’ in plurality and/or artists Tal did not want to permanently affix this narrative paradigm, also offering a seam deeply meaningful book into a work of art so through which we may move away from a and/or researchers; he instead chose to make a small bookshelf singular conception of art education practice: out of some thick corrugated cardboard we had tucked away in one of the art studio The narrative turn moves away from opens the space for art storage closets. Tal critically examines his a singular, monolithic conception of name, his family, and his “being here” in the [art education] toward a pluralism that education to take place on sites following in-class writing: promotes multiple forms of representa- tion and research; away from facts and in schools and/or museums When my mom was a kid her third toward meanings; away from master grade teacher read her the book “Tal;” narratives and toward local stories; away and/or community centers and/ she thought it was such a great and from idolizing categorical thought and mysterious book. The only other person abstracted theory and toward embracing or in the margins of student my mom knew who read the book the values of irony, emotionality, and outside of her class was her sister Lisa activism; away from assuming the notebooks when there are no who had the same teacher when she stance of the disinterested spectator and was in third grade. Years later my mom toward assuming the posture of a feeling, teachers around… met my dad. He also knew the book embodied, and vulnerable observer; “Tal” because his first cousin, once away from writing essays and toward removed [Paul Fenimore Cooper], wrote telling stories. (pp. 134-135) the book. One of the earliest presents from my dad to my mom was the book Arts practices may be organized around “Tal”! My dad went to an out-of-print canonized art objects and traditional bookshop, and found the book “Tal” artmaking techniques, and/or the expression and he gave it to my mom. They decided of a plurality of cultural tropes and motifs,

10 Art Education / May 2010 and/or iconoclastic themes of social critique to be teachers of the ‘arts’ in plurality and/or So, researchers, tell your in any combination or sequence and without artists and/or researchers; opens the space for stories. Teachers, reflect on your partiality. (Re)writing the metanarrative of art education to take place on sites in schools art education involves an ongoing recogni- and/or museums and/or community centers stories. Negotiate the narratives of artists tion that there are new stories to narrate and/or in the margins of student notebooks and arts learners as “ongoing, if complicated and ill-fitted models of practice yet to be when there are no teachers around; opens up conversation” (Pinar, 2004, p. 188). overwritten. the space for teaching artists to collaborate with art teachers and folklorists and class- James Haywood Rolling, Jr. is Associate Conclusion room teachers in the same scheduling block, Professor and Chair of Art Education at the College of Visual and Performing Arts, This article explores the utility of narra- and for after-school arts instructors to share Syracuse University, Syracuse, New York. tive methodologies to educational research, the art room with the regular school day art E-mail: [email protected] teaching, learning activities, and curric- teacher; and opens the space for college and ulum-making. Narrative methodologies university art education faculty to partner are instructional tools as ancient as those with interdisciplinary collaborators in the cultures that depended solely on their oral social and applied sciences, in business and traditions to transmit knowledge and the entrepreneurship, in architecture, design, and meanings they gathered to be significant human ecology. (Stokrocki, 1994). Narratives generate stories that we cling to, live by, and which show us the way to greater understandings (Kellman, 1995; McAdams, 1993; Novitz, 2001). Stories told and retold become frameworks shaping worldviews, conventions of thought, and common cultural understandings. Because of the human tendency to “comprehend time in terms of stories” (McAdams, 1993, p. 27), we cling to familiar stories that are embedded throughout life experience. Once narratives are entrenched, they tend to endure until supplanted by new narratives that bring conventional thinking into conflict with “the mutinous text of interpretation” (Mitchell, 1981, p. 83). Narrative is thus a conservative tool; nevertheless, it is a transformative tool as well: Our capacity to tell a story… is not something that we wish to lose. It is more than just a feature of our child- hood because it plays a vital role in adult consciousness and is most active when we begin to learn something new. To put it as simply and straightforwardly as possible, we begin to learn something new with a story in mind. (McEwan & Egan, 1995, p. xi) The narrative turn in contemporary life opens up the space for art education practi- tioners to invent ‘both/and’ learning engage- ments around artmaking practices that are beautifully crafted and/or serve to commu- nicate and/or work as a catalyst for social renewal; opens the space for art educators

Figure 3. Tal’s bricolaged work of identity, assembled in a handmade bookshelf.

May 2010 / Art Education 11 References Kellman, J. (1995). Harvey shows the way: Stankiewicz, M. A. (2004). A dangerous business: Anderson, C. H. (1981). The identity crisis of Narrative in children’s art. Art Education, Visual culture theory and education policy. the art educator: Artist? Teacher? Both? Art 48(2), 18-22. Arts Education Policy Review, 105(6), 5-13. Education, 34(4), 45-46. Ladson-Billings, G. (2003). It’s your world, I’m just Sullivan, G. (1999). An identity crisis for art educa- Barone, T., & Eisner, E. (2006). Arts-based educa- trying to explain it: Understanding our epis- tion. Artlink: Australian Contemporary Art tional research. In J. L. Green, G. Camilli, & P. temological and methodological challenges. Quarterly, 19(2), 43-44. B. Elmore (Eds.), Handbook of complementary Qualitative Inquiry, 9(1), 5-12. Taylor, C. (1976). and politics. In methods in education research (pp. 95-110). Leavy, P. (2009). Method meets arts: Arts-based P. 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