PROVOKING Anita Sinner, Rita L

VISUALLY Dissertations in Art Education PROVOKING Anita Sinner, Rita L. Irwin & Timo Jokela (Eds.) Rita L. Irwin Jokela & Timo Sinner, Anita

Anita Sinner, Rita L. Irwin & Timo Jokela (Eds.) Visually Provoking: Dissertations in Art Education Glen Coutts, Coutts, Glen President- Elect, International Elect, International President- Society of Education through Art through Society Education of ISBN 978-952-310-937-7 ISBN T is timely T book contains a splendid variety of essays in the diverse and developing thatarea is visual inquiry & doctoral study in art education. With eloquently presented studies, conducted by art educators using a range of art-based methods. The richly illustratedinvestigations from ten countries, mean that volume. this in everyone for something is there Whether you are an artist, research-educator, er; or consider yourself a combination of all three, I believe this is a necessary addition to bookshelf. your Natalie LeBlanc, Alison Shields, Shields, Alison LeBlanc, Natalie

Cover: Anna-Mari Nukarinen Cover: Anna-Mari by Images Darlene St. Georges, Elina Härkönen & Jaime Mena-de-Torres & Jaime Elina Härkönen Georges, St. Darlene

VISUALLY PROVOKING

Anita Sinner, Rita L. Irwin & Timo Jokela (Eds.)

VISUALLY PROVOKING: DISSERTATIONS IN ART EDUCATION

Rovaniemi 2018 Acknowledgement Tis book was published with the support of a Partnership Development Grant from the So- cial Sciences and Humanities Research Council of Canada (890-2014-0065: Te Pedagogic Turn to Art as Research: A Comparative International Study of Art Education). Grants were also received from Concordia University through the Ofce of Research.

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Layout & Cover Design: Anna-Mari Nukarinen Cover images by Natalie LeBlanc, Alison Shields, Darlene St. Georges, Elina Härkönen & Jaime Mena-de-Torres

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ISBN 978-952-310-936-0 (pdf) CONTENTS

Editorial Note ...... 7

Entries into Visually Provoking: Dissertations in Art Education ...... 10 NADINE M. KALIN

I ENCOUNTERING Pedagogical Reform: From a Field Trip to an A/R/T Field Trip ...... 19 JUN HU

Artistic Action for Sustainability: Developing Practice-Led and Practice-Based Expertise through a Joint Degree from Iceland and Finland ...... 30 ÁSTHILDUR JÓNSDÓTTIR, ALLYSON MACDONALD & TIMO JOKELA

A/r/tography: A Fluid Relationship of Teory, Time and Place ...... 40 SOPHIA CHAITAS, GEORGIA LIARAKOU & VASILIS VASILAKAKIS

Through the Looking Glass: Refecting on an Embodied Understanding of Creativity and Creative Praxis as an A/r/tographer ...... 50 KATHRYN S. COLEMAN

The Structure of PhD Programs in Egyptian Art Education ...... 60 SAMIA ELSHEIKH & BILAL MAKLED

Researching Education through Visual Instruments in A/r/tography: Photographic Images in Doctoral Dissertations ...... 67 JOAQUIN ROLDAN, JAIME MENA-DE-TORRES & NOEMI GENARO-GARCIA

Surrounding Experiences: How my Dissertation Used Embodied Arts-Based Data Created through Live-Action Roleplay ...... 80 JASON COX

II ENFLESHING Where Should We Begin to “Rethink” Ourselves? ArtEducation: A Tale Tat Emerges from a Collective ...... 91 Mª JESÚS AGRA PARDIÑAS & CRISTINA TRIGO MARTÍNEZ

Provoking Curating: Listening for the Call of the Cloth ...... 100 LAURA LEE MCCARTNEY An Alarming Journey ...... 110 JACKIE BATEY & LINDA KNIGHT

Revealing the Photo Book as an Arts-based Educational Research Tool ...... 118 GERALDINE BURKE

Doing Research-Creation through a Multi-Fabric Wedding Dress . . . . . 129 MARÍA EZCURRA

Beginning in the Middle: My Liminal Space of ‘ma’: 間 . 140 YORIKO GILLARD

Conversation as Medium: Mapping out Interviews with Canadian Artists ...... 151 ALISON SHIELDS

III ENTANGLING Research Techniques in Visual A/r/tography: Visual Quotations and their uses in Photo Series and Visual Average ...... 161 RICARDO MARIN-VIADEL, RAFAELE GENET-VERNEY & XABIER MOLINET-MEDINA

Beyond the Visual: Alternate Ways of Tinking the Role of Images in Educational Research...... 180 MARIANE BLOTTA ABAKERLI BAPTISTA

Mise-en-scène: Troubling the Vexations of Visual Arts Dissertations in Education in Australia...... 190 ALEXANDRA LASCZIK

Reflections of the Tide: Te Adventure of the Woman and the Sea ...... 201 DARLENE ST. GEORGES

Performing Interventions: A Practice-led Approach to Doctoral Research ...... 216 NATALIE LEBLANC

“Stitching” Voices into the Patchwork Quilt of Qualitative Research. . 227 GAI LINDSAY

Biography ...... 239 EDITORIAL NOTE

Visually Provoking, quiry presents educators with a number of Provoking Visually challenges, as Nadine Kalin, in her well-considered introduction to this book, articulates Tis editorial note is intended to provide an by mapping the terrain of the visual essay overview of the genesis of Visually Provok- in general, and through the contours of the ing, a dynamic collection of visually orient- collection, she shares her perspectives on ed research about current doctoral studies how the visual operates as a site of knowl- from international art educators in Australia, edge construction through shifing academic Canada, China, Egypt, Finland, Greece, Ice- practices and modes of expression. land, Portugal, Spain, and the United States Te clusters that form our three sections of America. Together we are thinking about, in the book are predicated by ‘en,’ a prefx with and through the visual, focusing atten- that resonates with concept creation under- tion on practices that are reshaping our un- way in the chapters and which serves as an derstandings of intellectual exchange in an acknowledgement of the growing infuence efort to open deliberations, considerations, of post-qualitative dispositions, in particular, imaginations, and potentialities for diferent new materiality. Tis book is positioned as ways of doing research. Tis collection may a deliberate effort to emphasize visual en- be considered in tandem with our related gagement, evident in the tone, content and book, International Perspectives on Visual movement of the chapters. The sections Arts PhDs in Education: Provoking the Field operate like a triptych, that is, the chapters (Intellect), which explores theoretical, meth- can be read individually, partially, sequen- odological and practice-based accounts of tially, or out of order, extending the premise doctoral studies. of open cartographies by Dolphijn and van We begin with a proposition: visual in- der Tuin (2012), where intra-actions provide quiry is an interruption, a forum to deliber- orientations that are situated, relational, and ate upon and to critically consider the peda- arguably produce “creative alternatives to gogic turn to art as research that is underway critique” in this case, in the process, prac- across disciplines. In art education, the artic- tice and product of artwork scholarship (p. ulation of form and content, how the visual 14). Visually Provoking is intended to be a operates as representation, expression or an creative venue for innovative, experimen- object of scholarship, along with the purpose tal scholarship that is visually refined, yet and intent of the visual as data, has long been contextual, in the interplay of images, ideas, part of our ongoing practices. Yet visual in- design and layout. Such work is integrative,

7 blending textual-visual-sound-digital quali- tic inquiry is material-based, bringing studio ties to document, refect and assess inquiry. art practices to the fore, and by ofen engag- Authors experiment with customary ap- ing with existing artworks or museum col- proaches to push the boundaries of scholarly lections. Each given approach then informs conventions, appropriating terms, adapting visuals created for research, collected as data, the style guide and generating artful space as presented as part of the outcomes, or cre- a distinction to traditional renderings. Tis ated to document artistic processes, learning is an articulation of research that invites and events, or as responses to wider social issues extends meaning-making and educative un- that permeate art education curriculum and derstandings with nuanced, textured, senso- instruction. However, framing these ap- rial movements, embodied in the visual. proaches with static definitions requires a As advocates for advancing arts research, cautionary note, for as the chapters demon- our embrace of the visual as a form of so- strate, each author brings their own techni- cial practice suggests chapter authors are, cal elements to bear, much as is expected in as change-agents informed by art practice, their development of an artistic vision, mak- charting approaches that broaden our views ing each iteration of inquiry uniquely singu- on the afective, sensorial and intuitive qual- lar. Because of this methodological feature, ities underlying visual inquiry. In turn, these classifcation is difcult and open to debate. visual essays are akin to a laboratory for new This is not to sidestep the matter of meth- ways to articulate such research. Terein lies odological structure, nor to avoid responsi- an intensifcation, between the gradation of bility in defning research design with clarity immaterial and material, with chapters op- and concise language in each study. Instead, erating as expressions of active practice that we propose that individual orientations to may remain in progress, while at the same research begin with afnity for concepts and time, performing as objects that form part practices, and that afnity motivates authors of the product, such as a body of work for to undertake their adaptations of these gen- exhibition or a dissertation. By operating as eral approaches based on situated needs. In a process and as a product, this disruption in this way, authors strive visually to achieve academic protocol is reinforced in the mul- another mode, level or form of scholarly titude of approaches that are shared across construction, and accountability, moving the chapters, including but not limited to beyond the claim of scientific proof that arts-based, a/r/tography, practice-based and has produced sedimentary boundaries of numerous related methods. thought in the past, to a realm of speculative Briefly, arts-based is commonly taken possibilities, where the visual is foremost a up as an extension of qualitative research, test site for experimentation. where a given question is based in the arts Within the collection are self-studies and from the initial research design to the in- participant research, including exploratory terpretations made; arts-informed provides and systematic analysis, and observational, creative responses to a traditional methodo- interpretative or nonrepresentational stud- logical study; practice-based locates research ies. In each case, the author provides meth- in the studio through art making; and artis- odological specifcity to their research setting

8 and prerogatives, and, approaches including encounters in posing the research question. arts-based, artistic research, practice-based This is balanced with discussion about the and more, may be used concurrently and representation of relationships, motivation interchangeably in the same chapter, making for visual inquiry, and the implicatedness of the genealogy of the approaches difcult to the researcher in rendering their study visu- assess. Tis is both an ongoing and problem- ally. As part of creating, experimenting, col- atic issue for arts researchers, making art as lecting, interpreting, producing and commu- research a messy and sometimes conficting nicating new approaches, it is vital that the location of study. Concurrently, blending scope of examples in this collection be inclu- such approaches is a point of departure for sive of visual methods and techniques that democratizing methods in ways consistent ofer great diversity and varied positionality with shifing paradigms, moving away from from chapter to chapter as part of mapping standardization to appreciate the distinctive how visual inquiry operates as an assemblage characteristics that reside in each methodol- of active academic research practices. ogy case. Although we ofer broad starting And fnally, refecting on the chapters points as a way into this collection, among in this collection, we are presented with in- our tasks as we move forward with visual intricate, textured exemplars of living inquiry, quiry is to now unfold the plurality, to make where the joy of the researcher in making the process of evolving, diverse modes of ex- encourages a new scholarly edge. These pression transparent and accessible by shar- chapters ground us in afrming, but not un- ing sets of conditions that inform discretion- problematized visual thinking, in ways that ary decision-making in the visual, as an artist, spotlight artistic investigation for methodo- researcher and teacher. logical practices that move in multiple direc- As we enter into conversation with the tions and remain in movement. Much like authors in this book, we suggest that each the prefix ‘en,’ we are energized, enthused, such approach is always contingent on the engulfed, enamored, enlightened and en- individual reception of the work of art and folded, with provocative imaginaries for scholarship, where the visual belongs to the continued visual inquiry. context. We invite readers to engage in each chapter with curiosity, and to consider the Anita Sinner depth of practice and articulation of methods East Sooke, Canada to date. Some chapters ofer initial considera- February 28, 2018 tions and early developments in methodology that rely more heavily on descriptive summa- ries across a spectrum of practice, to chapters that discuss comprehensive design considera- References tions. If such an inquiry is premised on the Dolphijn, R., & van der Tuin, I. (2012). New integration of theory and practice, then we materialism: Interviews and cartographies. can enter each chapter as a situated dialogue Ann Arbor, USA: Open Humanities Press. between ethically bound issues, pedagogic challenges, and politics that the researcher

9 ENTRIES INTO VISUALLY PROVOKING: DISSERTATIONS IN ART EDUCATION

Introductory Remarks

Nadine M. Kalin University of North Texas, United States of America

Tis collection contains a compilation of vis- poration of learning and teaching related to ual essays that highlight advancements in the the visual arts. Through the embracing of turn to the visual as evidenced and expanded myriad practices, methods, concepts, materi- through the creative potential of scholarship, als, mediums, and methodologies in isolation either as a dissertation, exegesis, or body of or in hybridized forms as applied processes creative work. It stands as testament to the in art and in education, this book engages variety of intertextual, literary, performative, the reader as active participant and interpret- digital, ethnographic, and visual render- er as each visual essay ofers a portal into the ings occurring at this time. The visual es- experience of the visual art dissertation. say format ofers a provocation for authors Over recent decades, visual essays have to dialogue across modes and texts. A dis- expanded from their origin as a sequence of tinguishing feature of this book is the core photographs on a topic to include a creative pedagogical purpose of the arts through their balance of image and text-based composi- interpretive possibility along with the incor- tions integrated to enhance understanding.

10 The modes of presentation are further vancements forwarded in arts-based meth- stretched beyond the visual to encompass, odologies are displayed in their greatest for example, works created specifcally for artfulness through complete dissertations. this collection, documentation of research Visual essays invite the multi-sensory and data, or images of artistic process in the creative confgurations not aforded by tra- communication of creative inquiry. These ditional text-based journal articles or book components work together to relay the proc- chapters. In our case, they are doors that esses and products of research beyond the invite participation into the full dissertation use of artistic means to illustrate a textual experience. While visual essays encompass report toward embracing creative formats as visual expressions, arts-based research is not essential in opening up meaning that eludes limited to the visual and this collection en- capture by mere language. compasses myriad forms including narrative, Visual essays act as portals into the dis- poetry and diagrams, among other modes. sertation process and product in this collec- In framing the chapters, each of the tion. Images ofer multiple ways in and out three sections has been titled – encounter- of interpretation through their figurative ing, enfeshing and entangling. Tis trio of and representational functions along with verbs in their gerund form take a noun, such their unique and diverse modes of expres- as encounter, and turn it into an active verb sion in materializing and curating narrative with the addition of -ing at the end, or these potential, localized views of experience, and words originated as verbs and are included complex reconsiderations of data, identities, here as present participles. Te prefx ‘en’ can and possibilities of form. The intertextual mean to put into or onto something, cause and purposeful placement of images in re- something to occur, or provide with some- lation to written texts may extend, disrupt, thing. ‘En’ may be used at the end of certain ignore, interconnect, or present concepts words as a sufx to increase a stated quality and methods that ask the reader to open such as enliven. As necessarily provisional themselves up to alternative compositions connective tissue, to my reading and view- of meaning making. In a sense, the form of ing, the pieces do not neatly ft into just one visual essay opens alternative avenues of ac- section, nor are they intended to limit inter- cess to its own thread of attention, reason- pretive possibility. Te section titles do act as ing, and inbetweeness throughout the entire prompts or possible passwords into portals collection contained in this book. These of engagement and meaning making. Tey portals that punctuate traditional texts and offer an anchor to hold onto, to question, modes of reading invite further openings and return to in the midst of methodological and spaces for viewing, sensing, interpreting, innovations, propositions, and challenges contemplating, imagining, intervening, and materialized through images, experiences, probing as uncontainable and unpredictable narratives, provocations, or poetic writings. ruptures inherent in arts-based scholarship Visually Provoking is also a snapshot of and creative works. the manifestations and materializations of Visual essays offer a unique means for arts-based dissertation projects in this con- disseminating research. So much of the ad- temporary moment – what arts-based re-

11 search entices, the forms it engages, and how of methodological touchstones through en- it is enabled. Te expansiveness presented in countering, enfeshing, and entangling. the chapters visualizes and narrates the international reach of arts-based research, but in ***** this survey, the dissertation projects outlined in this book retain traces of their situations Section I – Encountering of incubation. One may read between the Our frst section opens with the title prompt lines or intertextually interpret throughout of encountering. The stated definition im- the visual essays the influence of mentors, plies unexpected or non-traditional meet- programs, communities, universities, regions ings or intellectual exchanges. Additionally, and nations that weave residues of freedom encountering might be staged as an intense and restriction concurrently throughout the ofering that provokes our emotions in raw, possible limits of arts-based research. Tese tense and confrontational ways. Visual essays idiosyncratic localizations may appear as the enact a space of freedom to make or become, use of diferent terms, the (re)creation of new thereby centering the visual within scholar- concepts and cultural modes of inquiry, as ship in ways that might surprise and confront. well as the limits and possibilities inherent Encounters through visual essays help us across sites and purposes. In fact, as shared to participate in the research process as im- in a number of the visual essays, creative ages not only provide a snapshot of process practices offer ways to explore how limits but also always invite our emancipatory po- might be retooled as enabling. tential as active readers in determining our While – en – may inspire, it may also act own understandings, findings, and flights as a pause point for readers to ruminate over of fancy. Visuals included in this section in- just how visually diverse and distinctive arts- corporate book-art installations, drawings, based dissertations have become and how digital images, mixed media installations, these methodological characteristics are al- video stills, landscapes and digital worlds. ways expanding in potentiality, even amidst Interrelationships between language and calls for greater stability. Another connect- text, image and line, research methodologies ing theme for this collection is the will to in- and doctoral programs, scholarly inquiry novate. Yet, innovation at the dissertation re- and creative processes are explored through search level can also inspire and be met with new ways to conceptualize, act, voice, know, mistrust over struggles with assessment and do, teach, present, journey and make. Visual validity of forms, as well as ‘silos’ of meth- essays as encountering may strengthen an odologies along disciplinary lines. Overall, inquiry, complicate the taken for granted, the through-lines of diversity, tensions and stretch the status quo, or detect alternative extensions of current boundaries regarding patterns, overlaps and habits through instru- institutional forms, protocols, assessments ments, collections, diagrams, actions, feld and techniques occur across this collection. trips and embodied refections. Ultimately – en – also acts as a document of Ju Hun’s opening chapter takes us on a advocacy for reconceptualising and revisual- poetic and visual A/R/T Field Trip through ising status quo traditions in its taking apart China’s historic Silk Road. It ofers the twists

12 and turns associated with recontextualizing presence and negotiate constraints. Visuals a preservice art education course around shared in this chapter ofer glimpses into an traditional Chinese art that incorporates a/r/tographic art project undertaken by stu- the forms of poem-calligraphy-painting dents based on their lived experiences of the within a singular art work as assignment. refugee crisis. Tis project was infuenced by Te course extended a/r/tographical meth- Picasso’s Guernica, and used the traditional odologies into pedagogical application as ‘votsaloto’ technique through sustainable students were guided by their own living materials (plastic water bottle caps). and artful inquiries in response to six Chi- In Kathryn Coleman’s dissertation, we nese couplets and assignments. Examples encounter the creation of new life stories provide poetic and visual documentation of crafted through critical auto-ethnography the transformation of thinking made possi- and a/r/tographic praxis exploring the self as ble when arts-based methods are adapted to a/r/tist. Her digital a/r/tographic thesis in the pedagogical purposes associated with cul- form of an online URL explores these rhizo- tural priorities and traditions. matic spaces through inquiry into and with The following chapter, Artistic Action communities of practice associated with dig- for Sustainability by Ásthildur Jónsdóttir, ital artist portfolios. Coleman’s A/R/T Port- Allyson Macdonald and Timo Jokela, traces folio is an exhibition of identity a/r/tefacts, the development of practice-led and prac- writings, videos, and a/r/tworks created by tice-based expertise through a joint doctoral a/r/t selves associated with the inquiry. degree from institutions in Iceland and Fin- In chapter 5, Samia El-Sheikh and Bilal land. By undertaking studies and research Makled provide a survey and history of art between two universities concerning the po- education at all levels of Egyptian school- tential of art in education for sustainability, ing including the requirements and general the difering core elements of each program characteristics of this feld. Te chapter then and institution allowed for a complementary delves into six diferent dissertation instanc- undertaking. Te article-based dissertation es from art education. Interspersed within focussing on action research was grounded the piece are examples of how art is used as and also extended by the arts-based research a tool to both experiment with technique composed of three art exhibitions, with each while gaining information on a specific intertwining the other. topic. Te authors end with a call for greater In chapter 3, we encounter the Greek is- alignment between art education research land of Lipsi as the site where (h)a/r/tography and schooling contexts. was enacted to explore the fuid inbetween Joaquin Roldan, Jaime Mena-de-Torres of the boundaries of school art, sustainabil- and Noemi Genaro-Garcia analyze the use ity and context. Sophia Chaitas, Georgia Li- of images in two dissertations in chapter 6 arakou and Vasilis Vasilakakis introduce us and make the case that a stable, perhaps sys- to the Cultural Ecology Framework (CEF), tematized, visual form is appearing in stud- through which sustainable art education on ies using a/r/tography. Trough the analysis a remote island is examining a/r/tography of two dissertations, it is argued that objec- as a process to realize an epistemology of tives and justifcations for including images,

13 along with the standards for using images evolve together, alternative insights and con- in dissertations, are reproducible and ofen stellations can be made possible through explicitly described in the dissertation. It is emerging intersections. argued that eforts to defne and validate the Section II commences with Maria Jesús development of visual methods and images Agra Pardiñas and Cristina Trigo Martínez’s as research instruments in visual arts-based stories from C3, a cell of art/educational re- research may promote their use and justif- sistance started at the Faculty of Education cation in other research contexts. of Santiago de Compostela (Spain) as a col- Jason Cox’s Sounding Experiences ends lective of teachers and investigators in 2012. the frst section. Tis dissertation embraces ‘Cell’ is applied here as arteducativism: art role-playing, freeform games as artistic me- and educational activism for any situation dium and mode of collaborative and emer- or context. Cell activists condemn the disci- gent arts-based research undertaken with a plinary divisions and knowledge fragmenta- group of art educators in order to explore tion between art and education as separate professional relationships in educational entities and seek to enflesh these together contexts. Acts of role playing culminated in through artistic action. To this end, C3 has participants collaboratively creating “The created an Arteducation Survival Kit with Indigo School” as a backdrop and extension multipurpose tools to aid the art educator as to the embodied narrative emerging from explorer through the process of change. the game playing. Cox maintains that these Laura Lee McCartney’s visual essay visual artifacts rendered in material form in- reconceptualizes the dissertation as exhibi- tuitive and interpretive data that acted as ve- tion catalogue through exploring cartogra- hicles for growth in understanding how we phy or mapping the curation. Te basis for engage with the world. this innovation was McCartney’s curating of her own clothing collections within the exhibition, Dress Stories. While the exhi- Section II – Enfeshing bition offered ways to reimagine curating, Enfleshing acts as the title prompt for sec- the dissertation as exhibition catalogue tion II indicating the generation of insights furthered her understanding of curating as through bodily form such as embodied living inquiry. Within the chapter, render- engagement with writing and images that ings as modes of engagement with pieces of might ofer insights to afective becomings clothing, personal narratives, artworks and and new understandings of materiality. As theoretical framings enact autobiographical things come together in an enfeshing, the curating as an arts-based form. space in between can be erased as in the In An Alarming Journey, Jackie Batey and coupling of arteducation into one word, or Linda Knight are two academics who each relations among place and identity can be completed PhDs in illustration through prac- expanded through a socioecological un- tice-based or practice-led approaches tied to derstanding and relational view as in im- a conventional science model. Tis chapter mersive art pedagogy. When modes, places, retrospectively considers their experiences of identities, disciplines and forms enfesh and doing research in illustration, namely mak-

14 ing art for a PhD, as a ‘fraught’ undertaking within art. Yoriko Gillard refects on the use of radical and sudden change in regards to of art employing a/r/tographic insights to purposes and audiences. Teir reminiscing of trust and relate to communities and contexts how practice-based inquiry can be morphed through a contemplation of belonging from to meet difering contexts and priorities also liminal spaces in-between cultural binaries. allowed for experimental reclaiming, reap- Tis liminal space allows Gillard to explore portioning and reconfguration of illustration past creative works through self-study in as a practice of self-description – a descrip- order to examine how she connects to oth- tion of practice itself that is at once techno- ers and diference through creative acts. Te logical, intellectual and critical activity. visual essay is ofered as a storybook to track Geraldine Burke’s chapter articulates the her a/r/tographic practices as modes of con- photo book genre from a pracademic sen- necting with society. sibility bridging the academic-practitioner In the final dissertation of section II, divide within an Australian arts-based PhD. Alison Shields proposes conversation as a The dissertation proposes Immersive Art creative medium and explores relationships Pedagogy as Burke’s philosophy of practice between art making and the ethnographic and as a mode of arts-based research seek- interview as conversation. Trough analysis ing to reconnect the identities of artist, re- of interviews with 125 artists in their stu- searcher and teacher. Trough the desire to dios and photographic documentation, data explore the creative core of her pedagogy, came together in this dissertation as a map- Burke documents her efforts to make and ping process that permits the open-ended, remake, produce and reproduce the artist/ non-linear, non-reductive and emergent researcher/teacher self into discourse within qualities of art making and conversation to the hybrid form of a photo book. coalesce in new pathways and connections. Maria Ezcurra’s dissertation employs visual, material, performative, written, verbal and participatory research modes to Section III – Entangling ofer diverse responses to heteronormative As the title prompt for section III, entangling connotations of bridal fashions. The chap- impedes movement or escape as it causes ter specifcally focuses on Ezcurra’s wedding something to be held in perhaps compro- dress and the visual documentation of the mising or difcult relational circumstances. technical, conceptual and material proc- Te impossibility or resistance to disentan- esses of imagining, creating and performing gling implies the seduction of interlacings her gown out of an integration of her varied and mingling so that the meshing of separate identities and several different white gar- entities hold their interconnectedness. Visu- ments. Ezcurra shares how the act of sew- al techniques, once re-entangled within so- ing became a pedagogical experience of the cial science priorities, may be rearticulated creative transformation of her identities – a and stabilized for re-entry into established writing of self through fabric. understandings. Conversely, visual arts dis- Caught in the Middle describes how sertations may not be able to disengtangle a life might be art and how we may think themselves from traditional assessments and

15 ways of knowing causing vexations whose light the construction of each page for deep- compromises may inspire us back into art er meaning and dialogue among forms. practices with renewed convictions. For ex- Te third visual essay, set in Australia, ample, visual interventions into abandoned artfully interrogates the frustrations and schools offer spaces of omission and de- vexations specifcally related to visual arts compositions that entangle the elements of dissertations in faculties of education where arts-based research into alternative struc- rigor and validity of art-based educational tures. Stitching may enable a disentangling research (ABER) remains largely misunder- of confusion within research itself based on stood. Inspired by the potential of art as edu- interlacing the modes of quilt-making with cational research to unearth ways forward, qualitative research in ways that reinvent Alexandra Lasczik offers a call/response, both creative practices. visual/verbal poetic portrayal that critically This third section opens with a visual refects, interrupts and constructively desta- essay by Ricardo Marin-Viadel, Rafaele bilizes present discourses associated with Genet and Xabier Molinet-Medina, who ana- the evaluation of ABER dissertations in the lyze two dissertations that both use digital Australian academy while concurrently cre- color photography created by the respective ating an alternative scope and sequence for researchers and participants. Chapter au- the purposes of assessing ABER PhDs in thors deduce the three main research tech- Australian contexts. niques used in these dissertations as Visual Chapter 4 ofers a visual essay as coun- Quotation, Comparative Photo Series, and ter narrative, alternative history and critical Visual Average. In contrast to arts-based re- creative practice in resistance to dominant search, which the authors claim combine discourses contained and relayed through scientifc research methods with artistic crea- more imperialistic and dominant forms of tion methods, the chapter proposes Artistic self-representation and positioning in the Teaching Methodologies which combine world. It is through sharing, claiming and teaching and artistic creation methodologies. honoring narratives emerging from critical Te second chapter in this section con- creative practice that we may learn how to siders how artistic methods might generate (re)construct relationships with the Earth, pedagogical knowledge based on analyz- ourselves and others. St. George demon- ing images from a doctoral thesis employ- strates her methods of interruption in her ing arts-based research undertaken at the visual essay through the sharing of her crea- University of Barcelona by Mariane Blotta tive research on pages inviting the evolving Abakerli Baptista. Visual methods were used performative inter-textuality between po- in the research process to visualize research etry, narrative, quotes, digital images, goals experiences as a form of narrative so that the and epiphanies which create openings for images themselves do not reinforce other emergent and radically alternative forms of forms of data such as written refections, but knowing and hope. promote their own voice, power and theory Performing Interventions offers a prac- in the research. Te visual essay shares ex- tice-led approach to arts-based research ample pages from the dissertation that high- and dissertation formats. The visual essay

16 is contextualized within Natalie LeBlanc’s doctoral research that uses photography and social practice art to open abandoned schools across Canada as artistic, conceptual, theoretical and autobiographic sites of inquiry through artistic acts of encounter, intervention, interaction and reterritorializa- tion. LeBlanc invites the reader to pause and examine her images of abandoned schools as visual (de)compositions, while she punctu- ates her pages with negative space in order to provoke readers to afect by work of omission. The last chapter in this collection ef- fectively embraces the materials, processes and identities associated with quilt-making and researching in order to construct the dissertation metaphorically visualized as patchwork quilt. Gai Lindsay used familiar quilting terms along with her strengths as a quilter to help demystify and embrace her identity as researcher. Te researcher voice is only rendered through the stich holding the assemblage of research together, albeit intentionally hidden into the in-between seams of the research.

17 I

Encountering

encounter / in’kaunter, en/ n. [Also encountering, gerund or present participle, v.] 1 a To encounter is the act of meeting with, by chance or unexpectedly, and experiencing by participating in an intellectual exchange a manner that counters traditional understandings of dissertation research. b An offering an intense engagement of our wits, our emotions, our manners in ways that are provocative, rawer, tensive, even ad- versarial, confronting c Researchers who contend with artful practices that bring conditions of, into and onto, the places that encentre visual arts as scholarship and create the en- freedom that offers a means to make or become.

18 PEDAGOGICAL REFORM: FROM A FIELD TRIP TO AN A/R/T FIELD TRIP

Jun Hu Hangzhou Normal University, China

Pedagogic Reform

For my dissertation research, I am undertaking pedagogic reform of an annual art feld trip in a required course called Art Expedition (艺术考察) that is part of our undergraduate art teacher-training program at Hangzhou Nor- mal University (HNU), China. I introduced an a/r/tography component to improve pedagogical efectiveness through what is ofen referred to as “poetic inquiry.” Partly because A/R/T intertwines “art” and “graphy,” it was renamed “the A/R/T feld trip.” Proposing that poetry can make complex thinking sensi- ble and holistic, the course curriculum is now guided by six Chinese couplets. Structured in this way, the intent is that the poetic efect of each couplet triggers students’ memories to activate specifc embodied cognition that leads to more targeted critical thinking. Tis curricular reform operates as an experiment, frst conducted with 40 junior undergraduate students in 2015, and then 38 in 2016. Each ofering of the course took around three weeks to travel 5,500 kilometres along a route rich in cultural heritage and natural wonder – the historic Silk Road.1

1 The feld trip of this course goes through fve provinces, three national parks, three ethnic areas, including the mysterious Tibetan region, transgressing the prairie, the Gobi desert, the plateau and the snow mountain with over 4000 meters of difference in altitude along its 5500 km route; and has visited three historic capitals, three provincial museums, Terracotta Warri- ors, two Buddhist grottoes of sculptures and paintings and the Great Wall along the Silk Road.

19 For a thousand years of rich cultural history, Chinese artists have taken “poetry as hidden painting, and painting as visual poetry” (Guo Si, 11th century, translated in Lin, 1969, pp. 81–92).2 Tis tradition has culminated in Literati Painting, the highest genre of traditional Chinese art, by showcasing Poem- Calligraphy-Painting in one piece of work, which not only took poetry as a theme, but also as an immediate indicator of depth of learning, intellectual maturity and creativity of the artist. In this sense, poetic inquiry as it is articulated in the West (see for example Wiebe & Guiney Yallop, 2010) was arguably familiar to ancient Chinese artists, and these parallels, such as conveying complexity in a minimalist way and through embodied aesthetics (White, 2011), are the basis of my dissertation and this chapter. In line with this tradition, poetry has also served as an assessment for art learning. For example, as recorded in Ching Hao’s (10th century) A Conversation on Method (Lin, 1969, p. 92), when the old master decided to test the learner’s maturity in painting skills, the master assigned him the task of improvising a poem. In the Chinese tradition, visual art and poetry are intertwined in an intricate, balanced and very meaningful way. So my question is: Can this tradition be contextualized as arts-based educational research (ABER) in a contemporary context? I propose that poetry can contribute to visual art-based educational research and teacher education by advancing that poetry not only provides visual art with thematic inspiration, but also with embodied criteria of assessment. For the A/R/T Field Trip experiment, I wrote four couplets in classic style in addition to the two well-known ones written by ancient poets, each guiding one of the six controlled steps3 of the ABER learning process for junior undergraduate students majoring in Art Education. It was expected that during the tight schedule of the three-week feld trip, they would carry out the a/r/tographic mission of intertwined art-making/researching/teaching with the couplets to guide thinking and as a means of self-assessment. In this way, a/r/tography is a critical entry point for teacher candidates to rethink the many spaces in-between East- West, student-teacher, poetry-visual art, history-contemporary culture and more. In 2015, I frst reformed the pedagogy of this feld trip course to include a/r/tography (Irwin & de Cosson, 2004; Carter & Irwin, 2014; Leggo, Sinner,

2 郭思《林泉高致》：诗是无形画，画是有形诗, Quoted by Guo Si in A Fa- ther’s Instructions, 11th century, incomplete translation by Lin (1969) in The Chinese Theory of Art (pp. 81–92). 3 The design of the six steps of curriculum is inspired by the I Ching (易经) or Book of Change (see Wilhelm, 1950), Chinese classics that diagrammatically abstracts all possibilities of change into 64 hexagrams (卦). Each hexagram is a fgure of six broken and/or unbroken lines placed in sequential order, representing the six steps of interaction between Ying (- -) and Yang (—).

20 Irwin, Pantaleo, & Gouzouasis, 2011) as the core method of inquiry in order to develop students’ creativity and art teacher identity beyond its traditional aim to enrich knowledge of art heritage and to experience natural wonders. What I anticipated from this reform was that the students would develop deeper critical thinking through a/r/tography to generate practical and creative art-making strategies together with direct pedagogical application. To test the validity of this theory in an a/r/tographic way, the students were asked to share their approach in a workshop, collaborating with a group of peers. Finally, the students were required to exchange their fndings and experience with classroom presentations.4 Not to spoil the relaxed mood of traveling by introducing wordy explanations, academic readings and puzzling technical terms, I decided to use poetry as an alternative to enhance critical thinking in an arts-based way. Tis “contiguity” of the visual and the textual is a typical “rendering” of a/r/tography (Spring- gay, Irwin, & Kind, 2005). Instead, the six couplets take water-and-moon as a metaphor, and are composed based on traditional Chinese literature and life experience that students are familiar with in their cultural context, adapting a/r/tography to a Chinese pedagogic purpose. With very limited art media during the trip and the tight schedule, students have to use unconventional art strategies (e.g. they are encouraged to use their smart phone applications as art media), that are easy and quick, and generate art efects attractive enough for peers to try their hand on in resulting workshops, which forces the students to think outside of the box. As students refected on the frst course ofering in 2015, this pedagogy seemed beyond their comfort zone before they tried it, but soon afer they started, they found it was akin to a game, that is fun, challenging and attractive. Why so? I believe it is because the A/R/T Field Trip took the a/r/tography method as a conceptual and material construct that maps the perceived reality of our individual and shared arts-based intellectual processes. For example, my student Wang Rui, who took part in the A/R/T Field Trip course in May 2016, created her response to the six steps of development guided and assessed by the six couplets I presented the class. In this case, I highlight the six steps to demonstrate the curriculum in action. Each step is an assignment accompanied by a Chinese couplet, translated into English as below:

4 Since my thesis is based on those courses already completed, I invite past students from 2015 and 2016 to be part of this study. None of those students will be in any course I am teaching at HNU now or during the time of this study. The mission of this thesis research is to review student responses, gather and analyze the responses as data collected from the course. The data will include images of student’s work, including PowerPoint presentations, artworks, interview transcripts, and students’ comments (such as emails).

21 止流为鉴，不劳拂拭 Still running water for refection, doing away with the trouble of wiping a mirror.

沧海独渡，唯见明月 Sailing alone on boundless sea, you see the moon brighter than ever. 三潭印一月，非一亦非异 Tree refections of the moon in three pools, they are neither same nor diferent.

一月映三江，”千里共婵娟”5 （宋·苏轼） Refected in diferent bodies of water, the same moon is looked up at by people thousands of miles apart.

“举杯邀明月，对影成三人” （唐·李白） “I raise my cup to the Moon for her to join me. With the Moon, my Shadow, and I: We’re people three,”6 (Li Bai, Tang Dynasty)

“此时相望不相闻，愿逐月华流照君” （唐·张若虚） She sees the moon, that her beloved is seeing, too; She wishes to follow the light beam to shine upon Figure 1. Danxia Landform National Park, her beloved one’s face. photography by Wang Rui. (Zhang Ruoxu, Tang Dynasty)7

5 The second line in the couplet is a quote from “…但愿人长久，千里共婵娟…”《水调歌头·丙辰中秋》 by ShuShi (苏轼, 1037– 1101) and translated by the author. 6 Excerpt from Li Bai (701–762) Beneath the Moon Drinking Alone, translated by Frank C Yue. 7 Excerpt from Zhang Ruoxu (660–720) Spring River in the Flower Moon Night, 张若虚《春江花月夜》, translated by the author.

22 Te research question guiding each student is based on their personal living inquiry that arises out of their desire to make sense of an extraordinary aesthetic experience during the trip. In Wang Rui’s case, she was fascinated by the wonder of nature called “Danxia Landform” in a national park in Gansu Province. She needed to investigate its meaning through critical thinking, art- making, and experimenting with her peers.

Step 1. Introspection (200 words)

止流为鉴，不劳拂拭 Still running water for refection, Figure 2. Web Image chosen by Wang Rui Doing away with the trouble of in comparison with her photography. Image: Vecteezy.com. wiping a mirror.

Wang Rui raises the research question: “Why does the Danxia landscape give me the sensation of inexperience? What has touched me about this landscape in particular, and how?” In this first step, the couplet guided Wang Rui to undertake ongoing introspection about her aesthetic experience as an event that embodied the notion of “still running water.” Though the awe she had experienced with the landscape was strong and clear, how that understanding came into being was difficult to answer. It took Wang Rui quite some time to conduct her own research and meditation on research in relation to the geological science of the landscape, and to savour the process of her encounter with the landscape. In time, she discovered that it was the regular lines of earth texture that gave her the extraordinary visual experience by deconstructing and reconstructing 2D and 3D spaces si- Figure 3. Drawing by Wang Rui. multaneously (see Figure 1).

23 Figure 4. Photography and drawing by Wang Rui with cellphone.

24 Step 2. Enduring Understanding (1 sentence)

沧海独渡，唯见明月 Sailing alone on boundless sea, You see the moon brighter than ever.

She naturally arrived at Step 2, where “you see the moon brighter than ever,” for she had made sense of her embodied experience, and created new meaning by expressing the enduring understanding: “It is the textured lines of earth interweaving 2 dimensional and 3 dimensional space at the same time that gives the visual sensation, which is extraordinary to the eyes.” And she illustrated how the power of the earth has shaped this landscape, as if time forms space (Figure 2). Tese insights and knowledge had been unknown to her before, and had been discovered by her own research on nature and in consideration of her own living experience.

Step 3. Connecting to Art World (2–5 samples)

三潭印一月，非一亦非异 Tree refections of the moon in three pools Tey are neither same nor diferent.

Te couplet guides students to search art history and the contemporary art world for varied samples to verify that the enduring understandings they are invoking visually connect with artists beyond their immediate social, cultural and historical contexts. Wang Rui searched the internet for related art methods, and found it in For Eyes8 , (a fashion show to promote sunglasses produced by Les Specs, directed collaboratively by artist Craig Redman (New York) and Karl Maier (London) in 2014. She also found another sample9 , which was in a primary school art course. Tey together testify that her understanding is “enduring.” In For Eyes, sexy models were dressed in coloured striped tights that exag- gerate the curves of the body. In the primary school drawing course, the pupils use curves to protrude the shape of their hand out of 2D paper, and Wang Rui adapted this concept afer the primary school art workshop (see Figure 3).

8 See Wang Rui, For eyes, at www.craigandkarl.com/#!/?projectid=294&image=1 9 See roshanda-thecreativespirit.blogspot.ca/2012/01/op-art-hands- that-pop.html

25 Step 4. Art-Making Experiment (1–3 pieces of work)

一月映三江，“千里共婵娟” Refected in diferent bodies of water, Te same moon is looked up at by people thousands of miles apart.

Te couplet encourages an art-making experiment that evolves from both research and individualized experience. Wang Rui invented a digital art strategy with her smart phone. She drew white lines on her own photo, playing with the 3D and 2D interaction, in order to reproduce the aesthetic efect that the landscape had impressed upon her (Figure 4). Since Wang Rui’s art work evoked awe among the peer audience, she knew she had been successful with the experiment.

Step 5. Elegant Problem (1 sentence)

举杯邀明月，对影成三人 I raise my cup to the Moon for her to join me. With the Moon, my Shadow, and I: We’re people three.

Ten, following the given format (Using___Make/do___Tat___), Wang Rui created her pedagogical experiment as a workshop based on the art-making experience. Te challenge here is to prepare an elegant problem, a pedagogical prompt that has to be expressed explicitly and that is interesting to her peers. Te couplet borrowed from Li (8th century) takes the shadow of the drunken poet in moonlight as metaphor for the elegant problem, which suggests that the pedagogical strategy (the “shadow”) is a new creation out of one’s art- making (“I”) enlightened by one’s research (the “moon”). Te metaphor of the drunken poet hints that a bit of playfulness, or craziness, is necessary ingredi- ent for this assignment. Wang Rui ofered: “Using my cellphone or camera to take a picture of an object of interest; then, using a cellphone drawing application suggested as (Sketches, VSCO, Snapseed, or Pics art), draw on the photo regular white lines that represent on the main object its space and volume.” Tis then applied her experimentation with contour lines that evolved from the beginning of the assignment.

26 Step 6. Educational Refection (Art workshop with 4–6 participants)

此时相望不相闻，愿逐月华流照君 She sees the moon, that her beloved is seeing, too; She wishes to follow the light beam to shine upon her beloved one’s face.

Te last couplet borrowed from Zhang Ruoxu (7–8th century) takes the metaphor of a distant lover to suggest that an art educator should be open minded to the contingency in the pedagogical process, while keeping it on track by proposing an explicit elegant problem. Wang Rui named her workshop poetically as “Rhyme and Rhythm,” which did catch the heart and attention of peer participants, but not all peers followed her instructions exactly. Two students used colour lines, instead of the “white lines” as required by Wang Rui, which hints that Wang Rui could revise her elegant problem to be more open-ended. Wang Rui’s a/r/tographic invention is verifed by peer students’ positive responses. She had a group of six peers to test her invention in a workshop (four peer participants in a workshop was the minimum requirement). Tey all had fun and created impressive works in a snap of fngers (Figure 5).

Figure 5. Photography and drawing by Cheng Zhang Yiyue at Wang Rui’s Workshop.

27 A Student-Centred A/r/tographic Curriculum Students’ contribution is at the centre of this experimentation, which has been developed into a student-centric curriculum with the assistance of a/r/ tographic pedagogy. Te productivity of this reform is impressive, as a student commented: “Te course is magical, for anyone can be creative on anything.” Keeping in mind the extremely limited time during the trip, most of the discussion among peers and with instructors took place on buses, trains and at dinner tables, except for the last two days of classroom presentations by all students. Students were not expected to make masterpieces of art works, but they were expected to enjoy the playfulness in the a/r/tographic process of inquiry. Over the last two years, each student has come up with diversifed enduring understandings, innovative art works and pedagogical practices as the result of the two A/R/T feld trips. Since every student created a workshop, there are already 78 workshops, with their PowerPoint presentations and images of art works preserved digitally in the archive of Art Education Dept., HNU, that are edited into two catalogues From a Field Trip to an A/R/T Field Trip in 2015 and 2016. Tose are the basic data of this on-going thesis research. Not all students have achieved the best of their potential, but I regard it as having fulflled the mission of the course if the student has had a transformative experience with their identity as artist/researcher/teacher, and is readily adaptable to the “becoming” of new notions of art, new forms of art and duly new strategies of teaching art, and if the student has been able to self-assess their learning by fguring out the strong and weak points at each of the six steps, and enjoyed the collaboration with peers. With more data collected through interviews with students, those are the focuses of further data analysis. Two of my colleagues, Professor Liu Xuan and Professor Shi Xiaohong, acting as my assistants, have witnessed the courses, and are convinced by the efectiveness of a/r/tographic pedagogy in developing students creativity and art teacher identity. As the frst a/r/tographic pedagogical experiment in China, it suggests that embracing the Western conceptualization of a/r/tography could revitalize ancient Chinese literati art tradition in contemporary context.

28 References Carter, M. R., & Irwin, R. L. (2014). Between signifcation and illumination: Unfolding understandings of an a/r/tographical turn on practicum. Inter- national Journal of Education & the Arts, 15(3). Retrieved from http://www. ijea.org/v15n3/ Leggo, C., Sinner, A., Irwin, R. L., Pantaleo, K., Gouzouasis, P., & Grauer, K. (2011). Lingering in liminal spaces: A/r/tography as living inquiry in a language arts class. International Journal of Qualitative Studies in Education, 24(2), 239–256. Li, B. (8th century). Beneath the moon drinking alone. (F. Yue, Trans.). In Chi- nese poetry in English verse. Retrieved from http://chinesepoetryinenglish- verse.blogspot.ca/2013/03/beneath-moondrinking-alone-li-bai-o.html Lin, Y. (1969). Te Chinese theory of art. London, United Kingdom: Panther. Irwin, R. L., & de Cosson, A. (Eds.). (2004). A/r/tography: Rendering self through arts-based living inquiry. Vancouver, Canada: Pacifc Educational Press. Redman, C., & Maier, K. (2014). For eyes. Retrieved from http://www.craigandkarl.com/#/projects/?id=45 Springgay, S., Irwin, R. L., & Kind, S. W. (2005). A/r/tography as living inquiry through art and text. Qualitative Inquiry, 11(6), 897–912. White, B. (2011). Embodied aesthetics, evocative art criticism: Aesthetics- based research. Studies in Art Education, 52(2) 142–154. Wiebe, S., & Guiney Yallop, J. (2010). Ways of being in teaching: Conversing paths to meaning. Canadian Journal of Education, 33(1), 177–198.

29 ARTISTIC ACTION FOR SUSTAINABILITY: DEVELOPING PRACTICE-LED AND PRACTICE- BASED EXPERTISE THROUGH A JOINT DEGREE FROM ICELAND AND FINLAND

Ásthildur Jónsdóttir Allyson Macdonald Iceland Academy of the Arts, Iceland University of Iceland, Iceland

Timo Jokela University of Lapland, Finland

Te intention and outcome behind one per- sertation focusing on action research com- son’s experience of taking a joint doctoral plemented by art-based research with three degree is discussed in this chapter. Jónsdót- art exhibitions; two as a curator and artist tir carried out her doctoral studies during a and one as the exhibiting artist. Te meth- period in which interdisciplinary research is ods used in the research complemented each becoming essential to understanding emerg- other and the findings extend our under- ing issues in our society. Her doctoral project standing of the potential of art in education centred on the potential of art in education for sustainability (EFS). for sustainability (EFS). She and her supervi- Te early part of the doctoral research at sors consider the benefts of studying in two the UI was action research. Trough cours- universities, one in Iceland (UI) and one in es, workshops and networks, Jónsdóttir was Finland (UoL). Jónsdóttir herself works as able to develop comprehensive knowledge of an assistant professor in art education at the EFS. Trough action research she developed Iceland Academy of the Arts (IAA). her personal practical knowledge in connec- The joint degree programme designed tion to her practice as an assistant professor by Jónsdóttir and her supervisors was the re- at the IAA. She analyzed her own practice sult of working towards an article-based dis- while developing new knowledge about edu-

30 cation for sustainability that had operational Personal Practical Knowledge: signifcance for her workplace, a department Practice Teory at the IAA, and leading to a model for pre- service art teacher training for sustainabil- In the action research studies at the UI, ity. Competence in action research (Carr & Jónsdóttir developed her practice theory Kemmis, 1986; Somekh & Zeihner, 2009; (Guðjónsdóttir & Karvelsdóttir, 2013) as pre- Stringer, 1996) was verified by publishing service art teachers developed personal prac- peer reviewed articles and book chapters. A tical knowledge towards EFS. Jónsdóttir’s degree of PhD by publication was awarded research was based on her development as by the University of Iceland. It was impor- a teacher educator over six years at the IAA tant for Jónsdóttir to reflect on her own and her wish to advance knowledge within practice through collaborating with other UI her practice. She explored how a teacher doctoral students and scholars studying EFS educator can contribute to student empow- in connection to other subjects like natural erment and self-efcacy and to student prac- sciences, human rights and philosophy. Te tice-theory towards EFS (Bandura, 1989). collaboration convinced Jónsdóttir that EFS One of her main tasks was to create and requires diverse perspectives to address its assess settings for pre-service art teachers complexity when preparing students for citi- to become responsible mentors for sustain- zenship and sustainability. able development and cultural sustainability. Te latter part of the study builds on art- Her data includes entries in written journals, based research. Two years into the doctoral written and artistic responses of students to project Jónsdóttir felt that it was not con- particular experiences of working with stu- sistent to look at the potential of art in EFS dents and interpreting theories and readings, without using art in her research practice. course descriptions and evaluation crite- Art-based investigations were undertaken ria. Further data came from assignments in to gain new knowledge by means of artistic courses taught, interviews with stakeholders practice, creative outcomes and through art about their EFS experiences and an analysis installations and exhibitions. Tis research of master’s theses. activity led to a Doctor of Arts from the At IAA the aim was to design and UoL. Te long-standing role of art-based re- evaluate settings that help pre-service art search and the network of researchers using teachers develop a pedagogical foundation art in their methodology at the UoL has through visual art education, with a focus been very important for Jónsdóttir’s studies. on contemporary art, critical theory in art, It is argued that a joint degree can beneft the and research methodologies. Trough a se- researcher and the supervisors, giving each quence of core courses developed at the IAA, a broader perspective and experience as well Jónsdóttir incorporated a progressive, criti- as providing credentials recognized in more cal approach where students examined the than one country. Tis chapter explores this making and teaching of art as a social act. argument and some of the benefts of a par- She combined practice-led art education ticipatory artistic approach in EFS. with contemporary art and its social context.

31 Pre-service teachers develop practice willing to work with this. In EFS students are theories (Guðjónsdóttir & Karvelsdóttir, expected to take part in critical discussions 2013) built on complex and ambitious un- that include diferent perspectives. Because derstandings of the link between educational sustainability problems are dependent on theory and the practice of teaching. Te the- many factors EFS requires complex inter- ories are based on the interaction between connections. Terefore, public participation how students want to act as teachers, and processes are appropriate approaches when their knowledge and understanding of ethi- working with EFS (Kozak & Elliot, 2014). cal reasoning, attitudes and values. Jónsdót- Through participation and collabora- tir conferred with students, compared dif- tion, a range of virtues and values (Macdon- ferent approaches, looked for contrast and ald & Jónsdóttir, 2013) for deliberations have created lists of themes and developed meth- been refned. A variety of projects have been ods to map her data. developed for getting and keeping people Te fndings of Jónsdóttir’s study indicate involved in participation in EFS. Jónsdóttir the importance of focusing on student driven herself attempted to cultivate these values initiatives, where they take ownership of their and virtues before working towards the same own learning, giving them the potential to goal with the pre-service art teachers when develop a stronger sense of self. Trough their dealing with EFS and citizenship. studies, students at IAA have developed an intellectual community amongst themselves, which according to Cochran-Smith and Lytle Te Art-Based Research (1993) is a fundamental value for develop- The art-based research part of the study ing teachers’ professionalism. Furthermore, manifests itself in art creation and curato- Jónsdóttir created a research group for pro- rial work. It was intertwined by Jónsdóttir fessionals interested in the potential of art in with the action research work at the IAA. education for sustainability that functions as a Jónsdóttir’s own art creation and curated art support network for the IAA alumni (former exhibitions emphasized participation with students believe is important after they be- others building on a foundation of personal come in-service teachers). practical knowledge, theories and practice In the action research Jónsdóttir looked (Jónsdóttir, 2017). Te aim of the actions de- at her actions, evaluating whether she signed was to develop refective knowledge, achieved her goals which were to bring to- which helped the museum visitor to identify gether action and reflection through her sustainability issues in their world, connect courses. It was very important that the re- to them and take action to change their world searcher recognized and acknowledged based on new knowledge. Tis was possible the diferent perceptions of the pre-service because the arts can integrate knowing, do- teachers. Tey do not have to come to the ing and making (Irwin & de Cosson, 2004). same conclusion during the process of de- Jónsdóttir’s artistic practice is shaped by veloping their own practice theory; rather an interest in socio-cultural topics: on one they come to accept that there are diferent hand, at a global level working on develop- terms and knowledges, and they have to be ments and changes towards a more sustain-

32 able society, and on the other hand, at a per- and action research was that the products sonal level through intimate changes towards of the artistic activities and art-based work cultural sustainability. Te artistic approach were not necessarily knowledge, but inspi- is based on understanding through art mak- ration, and the questions needed to search ing, participation, qualitative and anthropo- for new knowledge. In art-based research logical investigation, including, for example, methods the methodological approaches taking interviews and building into the art- meet and blend. Knowledge was generated work artistic participation from others. Exhi- through works where Jónsdóttir looked at bition catalogues can be found as appendices her questions in as many diferent ways as in the published thesis (Jónsdóttir, 2017). possible both using art as a thinking proc- The three required exhibitions were ess and as a way of making her thinking vis- evaluated by three diferent external exam- ible. Like in the work MemoryBits (Figure iners. Tey gave important and useful feed- 1) where she used the art to understand her back for further works that forced Jónsdóttir own background and sense of place. onward both in art-based and action re- Te work was rooted in the idea of mem- search part of the study. In the artistic proc- ories and place. Collective memory in a place ess, the artwork both creates and represents is no more than an element in the perpetu- data. Some of the responses to artworks fed ation of a particular social order that seeks into the action research data and at other to inscribe some memories attached as if by times the data from the action research was nature. In the article the Jónsdóttir looked at the starting point of an art-based approach the same concept but from a diferent angle (Jokela, Hiltunen, & Härkönen, 2015). based on her action research fndings. In the art exhibitions, the curato- Te art-based process was a means of un- rial work focused on creating a holistic ap- derstanding experience or context, ofen re- proach with a clear focus on sustainability. sulting in the artistic process overlapping with This included installations of Jónsdóttir’s qualitative research methods. Sometimes, the own works with a focus on collaborative artistic creation provoked questions that led approaches, examining the social practices to further research in the qualitative realm that linked them to the social realm from such as the work Value Archive (Figure 2) diferent perspectives on sustainability. Tis which stemmed from the researcher’s interest involved Jónsdóttir’s practical work as an as- in values when she invited 46 persons to share sistant professor, with supervisors, research in the creation of book-based artwork mes- groups and practicing artists. sages or knowledge they wanted to pass on to future generations. Tese women portrayed characteristics that their researcher believed Learning from the Art Exhibitions and represented a range of values important in a Articles: Te Researcher and Others sustainable society. Each participant contrib- Te learning process behind the exhibitions uted a 10 x 10 cm piece that was centered on and the art making is always to stay curious, each page of the book. Jónsdóttir then added using art making as a thinking process. Te a short text explaining why she regarded the fundamental difference between art-based participants as role models.

33 Figure 1. Ásthildur Jónsdóttir, MemoryBits, 2013, mixed media installation. Photograph: Ásthildur Jónsdóttir.

Figure 2. Ásthildur Jónsdóttir, Value Archive, 2013, book-art. Photograph: Ásthildur Jónsdóttir.

34 Some of the artwork continued to feed into the drawing in the participants them- action research. Participatory artwork like this departs selves as central to the interpretive from relationships between humans and the social process” (Mitchell, 2008, p. 374). context of creating art and is meant to create a space The work Lesson from the in which art can fuel our interest in those elements of Geese: Dreaming of a Collaborative our society that might be improved and thereby lead Protection of our Waters (Figure to sustainability. In the article, “Teaching and Learn- 3) was inspired by a dialogue during for Sustainability: An Icelandic Practice-Based ing Jónsdóttir teaching practice at Research,” Jónsdóttir (2015) looked at many of the IAA on how we can learn from the same principles addressed in the book art. nature. Migrating geese have dis- Some of the action research fndings were repre- covered that they can reach their sented visually and continued to be developed in the destination more quickly and with art-based research. Te art-based research brought less energy expended when they together Jónsdóttir’s scholarly inquiry and the crea- fly together in a V-shape formative processes. Te art allowed her to explore question with the geese taking turns in tions and express understandings through artistic leading from the centre and all the means: “Visual images are particularly appropriate to other geese trailing behind in two lines. If we humans would work on a similar collaboration towards sustainable development it is likely that we might reach our goals more efectively. The first exhibition Challenge (2015) was part of Jónsdóttir’s studies towards the Doctor of Art degree, and aimed to help viewers deepen their understanding of sustainability. The exhibition took place from January–May 2015. It raised the question of what we can do to find a balance between the world’s complex ecology and our well-being. This critical move towards the goal of sustainability requires fundamental changes in human attitudes and activity. The action research findings indicate the im- Figure 3. Ásthildur Jónsdóttir, Lesson from the Geese: Dreaming of a portance of personal connection Collaborative Protection of our Waters, 2016. Installation from yarn to sustainable development. Each and feathers. Photo: Ásthildur Jónsdóttir. teacher candidate needs to devel-

35 op self-efficacy and believe their actions in the centre of Reykjavík, Iceland, during can make a difference (Jónsdóttir, 2017). the Arctic Circle Conference, October 2015. Skúli´s Crosses, All Around (Figure 4) is Te exhibition was designed to increase par- another work Jónsdóttir created for the ex- ticipation in Arctic dialogue and strengthen hibition. Tis anthropological piece shows the international focus on the future of the the quiet infuence an individual can have Arctic. Te practice-led fndings indicate the on the environment. Skúli has crafed almost importance of this dialogue. Te conference five hundred light crosses since his retire- has become the largest international gath- ment from farming. He has given the crosses ering on the Arctic, attended by more than to individuals all around Iceland and some 1,500 participants from over 40 countries. In abroad. With the crosses he wants to work that exhibition Jónsdóttir showed her work towards peace, which is the necessary foun- Value Archive (Figure 2) along with works dation for well-being in the world. Te work by nine other artists. refects the importance of taking mutual re- Te third exhibition LOOKING, Back, sponsibility for our environment. Around, Forward took place in a gallery at Jónsdóttir’s second exhibition enti- the Arctic Centre in Rovaniemi in Finland tled Boundaries and Bridges: Creating a in March–April 2016. Tis was a solo exhibi- New Role for Old Traditions was located in tion with seven artworks created by Jónsdót- Harpa, a large conference and concert hall tir. Te emphasis was on diferent types of

Figure 4. Ásthildur Jónsdóttir, Skúli´s Crosses, All Around, 2015. Video and photo installation. Photo: Ásthildur Jónsdóttir.

36 participation through diverse installations. es, alternate routes, and journeys through Some works in the exhibition gave visitors the city and the much needed intermittent possibilities to engage in diferent ways both spaces of “pause.” Most of the places are con- before and during the event. nected to water, either via river or lakes. Te collective work Colours of Rovanie- The same people in Rovaniemi were mi (Figure 5) was created with participation asked to choose one card of colours out of of people from Rovaniemi and demanded 314 colour samples – a colour that makes active participation from the viewer when them feel good. Te colours comprise most looking at the work. The aim of the work of the colours we see in the world around was to reveal new depths of the experience us. Most of the participants chose colours in of being in Rovaniemi, to engage the viewers a blue tone and connected them to Finnish or inhabitants in that place, rather than ab- light and nature. When peeping through the stracting that place into generalisations that surface of the works you fnd photographs apply just as well to any other place. Jónsdót- of their places. Te action research fndings tir interviewed seventeen individuals and have led to understanding how a sense of asked them to tell her about places within place grows from identifying oneself in re- Rovaniemi they believe people could enjoy lation to a particular piece of land. A sense more. Te places are very diferent and rep- of place is also a combination of the char- resent people’s perceptions of alternate spac- acteristics that makes a place special and

Figure 5. Ásthildur Jónsdóttir, Colours of Rovaniemi, 2016. Photo: Ásthildur Jónsdóttir.

37 Figure 6. Interconnectedness of the research process. unique, involving the human experience in be accessed in their own right. Te two com- a landscape and the local environment. In ponents of the study individually create new this exhibition the value of recognising the insights into the potential of art in education important and changing role of culture in for sustainability. Jónsdóttir neither uses the contemporary society was fostered. Te aim artistic approach as an alternative nor as a of the art was not to fnd answers, but rather supplement to conventional educational re- to make people think and question. search because she is not trying to replace it. One method is not superior to the other. In- stead, all approaches operate equally. Potentials for Art Education Trough the research studies in Iceland Tis chapter has described aspects of a joint and Finland Jónsdóttir has been able to de- doctoral study from the UI and UoL where velop a systematic understanding of the art-based and action research methods were conditions at IAA which shape, limit and used to look at the potential of art in EFS. determine action she can take. Based on her At UoL, Jónsdóttir had access to cooperative fndings she created settings for continuous, activities through her professional position collaborative dialogue. Her refections-in-ac- in Iceland but by enrolling as a doctoral stu- tion have led to the refexivity of the practice dent she extended access to faculty expertise at the IAA (Loughran, 2002). at both universities and resources as well as In summary, the diference in doctoral the self-discipline required for working in degree requirements broadened Jónsdóttir’s the feld. Each supervisor’s expertise and the education as well as widening her cultural specialization of the two universities were horizons. Additionally, working with two important throughout the multi-layered re- institutions, combined with her own work- search process shown in Figure 6. place, helped broaden her network and op- Te dissertation resulting from the joint portunities. Te methodological approach of degrees includes a written component and an the study was not rigid but rather involved artistic component. Both the articles and the constant revisions to accommodate the com- artworks are stand-alone items that can each plexities of human interaction and meaning

38 making. Tis is what Jónsdóttir knows today, Jónsdóttir, Á. (2015). Teaching and learning but through ongoing reflection her knowl- for sustainability: An Icelandic practice- edge has changed and will continue to change based research. International Journal of and grow tomorrow. Education through Art, 11(3), 391–406. Jónsdóttir, Á. (2017). Artistic actions for sustainability: Potential of art in education for References sustainability. Rovaniemi, Finland: Uni- Bandura, A. (1989). Regulation of cogni- versity of Lapland. Retrieved from http:// tive processes through perceived self-ef- urn.f/URN:ISBN:978-952-337-016-6 ficacy. Developmental Psychology, 25(5), Kozak, S., & Elliott, S. (2014). Connecting 729–735. the dots: Key strategies that transform Carr, W., & Kemmis, S. (1986). Becoming learning from environmental education critical: Education, knowledge and action to citizenship and sustainability. Toronto, research. Lewes, United Kingdom: Falmer Canada: LSF. Retrieved from http://lsf-lst. Press. ca/dots Cochran-Smith, M., & Lytle, S. (1993). In- Loughran, J. (2002). Effective reflective side-out: Teacher research and knowledge. practice: In search of meaning in learning New York, USA: Teachers’ College Press. about teaching. Journal of Teacher Educa- Guðj onsdottir, H., & Karvelsdottir, S. tion, 53(1), 33–43. (2013). Teachers’ voices: Learning from Macdonald, A., & Jonsdottir, A. (2013). professional lives. In M. A. Flores et al. Participatory virtues in art education for (Eds.), Back to the future: Legacies, conti- sustainability. In T. Jokela & G. Coutts nuities and changes in educational policy, (Eds.), Relate North: Engagement, art and practice and research (pp. 75–89). Rotter- representation (pp. 82–104). Rovaniemi, dam, Te Netherlands: Sense. Finland: Lapland University Press. Irwin, R., & de Cosson, A. (Eds.). (2004). Mitchell, C. (2008). Getting the picture and A/r/tography: Rendering self through arts- changing the picture: Visual methodolo- based living. Vancouver, Canada: Pacifc gies and educational research in South Educational Press. Africa. South African Journal of Educa- Jokela, T., Hiltunen, M., & Härkönen, E. tion, EASA, 28(1), 365–383. (2015). Art-based action research – par- Somekh, B., & Zeihner, K. (2009). Ac- ticipatory art for the north. International tion research for educational reform: Journal for Education through Art, 11(3), Remodelling action research theories 433–448. and practices in local contexts. Educa- Jónsdóttir, Á. (2013). Art and place-based ed- tional Action Research, 17(1), 5–21. doi: ucation for the understanding of sustaina- 10.1080/09650790802667402 bility [Special Issue]. Education in the North, Stringer, E. T. (1996). Action research: A 20, 90–105. Retrieved from https://www. handbook for practitioners. Thousand abdn.ac.uk/eitn/documents/Volume%20 Oaks, USA: SAGE. 20%20Special%20Issue/EITN%20 Volume%2020%20Article%206.pdf

39 A/R/TOGRAPHY: A FLUID RELATIONSHIP OF THEORY, TIME AND PLACE

Sophia Chaitas Georgia Liarakou University of the Aegean, Greece University of the Aegean, Greece Vasilis Vasilakakis Aristotle University of Tessaloniki, Greece

Te Context and well planned to be utilized as a tool for re- the Teoretical Framework search as well as for teaching/learning sus- Two perspectives, one theoretical, namely tainability through secondary school art. cultural ecology (Creed & Dillon, 2013), and A new art project is mapped onto the inte- the other methodological, namely a/r/togra- grated framework in order to corroborate phy (Irwin & de Cosson, 2004) are aligned this argument. Tis research has the poten- to create art connected to the local environ- tial to re-imagine learning and art making ment in a remote island secondary school in in school as an a/r/tographic process, and as the South Aegean Sea. Te cultural ecology such may be particularly signifcant for re- perspective places significance on interac- mote environments. tion between people and their environments Lipsi is a small Greek island situated in the context of everyday experiences, while South East in the Aegean on the border close a/r/tography is a methodology that places to the Turkish coast. It is remote; 173.2 nau- signifcance on process as living inquiry. We tical miles from governance. It is isolated due propose that this integrated framework is to poor transportation and unstable weather

40 conditions. Gruenewald’s (2008) observation confict between continuity and change. In- that “no one lives in the world in general” teractions emerge from one’s concurrent (p. 145) applies to Lipsi, with scarce water perceptual and conceptual involvement with supply. These factors influence how life in the environment. Perceptual or lived expe- Lipsi, with its rich cultural tradition, is lived; rience involvement is co-constitutional. In with limited scope for economic develop- this instance, the environment and in the ment and encouraging brain drain (migra- moment activities of the individuals recipro- tion for professional reasons). Tus, in Lipsi, cally transform each other leading to change the quest for a sustainable future runs high. and they cannot be predetermined. Concep- A distinguishing feature is its placement tual or abstract involvement is relational. In under protection of the European network this case, the environment is a constant, a of protected areas Natura 2000. In this re- stage on which interactions and transactions mote community, education could play a key are played out leading to continuity. To a cer- role connecting environmental, economic tain extent these can be predetermined. Te and socio-cultural features in order to initi- co-constitutional and the relational continu- ate sustainability (Liarakou, Gavrilakis, & ously interact. Tis results in a re-formation Flogaitis, 2016). On Lipsi however, island of each which in turn propagates either con- life and identity associated with local com- tinuity or change respectively. These ideas munity is segregated from formal education. have been explored inter-culturally, between The latter is directed at tertiary education disciplines and for sustainability (Dillon, and subsequent youth translocation to urban Bayliss, Stolpe, & Bayliss, 2008; Dillon, Ve- centers. Teaching secondary school art in sala, & Montero, 2015; Dillon, 2008b; Dillon, Lipsi manifests as what Efand (1976) named 2015). Tere is no literature however explor- “the school art style” where art produced in ing art made in secondary schools from a CE school is irrelevant to place and what is hap- perspective on a remote island. Dillon and pening outside of school (p. 39). Howe (2007) suggest that an epistemology Conversely to treating art made in sec- of presence – which we consider vital for ondary schools as separate to the environ- encouraging sustainability in remote places ment, a holistic outlook would be more – may provide an improved configuration helpful to encourage understanding of place between how people experience the environ- and sustainability. Cultural Ecology (CE) ment both intellectually and practically. provides this unifying frame. It consists of We propose a realization of presence relationships among people, organizations through process, through A/r/tography as and places. Te conceptual Cultural Ecology methodology. A/r/tography is a connection Framework (CEF) theorizes the environ- between theory and practice in a process of ment by perceiving it as a space formed by knowledge building that combines “know- individuals’ interactions and transactions of ing (theoria), doing (praxis) and making everyday activities and experiences (Dillon, (poesis)” (Irwin & Springgay, 2008, p. xxiii). 2008a). Tese experiences include lifestyles, As such it appears appropriate to negotiate individual and collective competences, val- the boundaries that constrain art made in ues, ideas and future hopes. Tey also refect the secondary school on Lipsi. Moreover,

41 it is an approach that acknowledges diver- and praxis are added to CEF facets “abstrac- sity of language (visual, narrative, perfor- tion” and “lived experience” correspondingly. matic etc.). In addition interconnectivity A spiral placed in the core between them has of simultaneous, overlapping and mutually two inward journeys starting out from each of informing artist-researcher-teacher/learner the CEF facets. Each inward journey toward roles combined ofers new ways to concep- the spiral centre passes through couplings tualize the place/space in which art made in which consist of a living inquiry trait and a the secondary school occurs. It is described rendering. Interaction occurs at the centre by Irwin as “ongoing engagements through and a similar outward journey that brings living inquiry-that is, continually asking about continuity/maintenance or transforma- questions, enacting interventions, revising tion/change begins. Interaction between the questions and analyzing collected data, in CEF and a/r/tography, like a heartbeat, is a repeated cycles” (Kridel, 2010, p. 42). repeated process. Renderings, like valves fa- From the description above, a/r/togra- cilitate both the internalization of interaction phy may be correlated to the CEF on four and connection between CEF binaries and grounds. Firstly, the corresponding relation- the externalization of unique understandings ships of notions, for example theoria with manifested as poesis. [H]a/r/tography, like conceptual/abstract and praxis with percep- a/r/tography allows subjectivity to transform tual/lived experience. Secondly, the mutually objectivity in relationships among people, adaptive and complex nature of a/r/tographic organizations and places. Moreover, [h]a/r/ living inquiry on the one hand and concurrent tography allows being or presence for sustain- interaction of relational and co-constitution- ability, encouraging continuity, adaptation al understanding in the CEF on the other. and change as it operates within the CEF. Thirdly, concurrency/ non-linearity and crossing of boundaries, manifested on the one hand in a/r/t language and roles of a/r/tography and on the other hand in change resulting from co-constitutional understanding in the CEF. Lastly, on the premise that both challenge conventional notions about learning. In Figure 1 the CEF has been confgured with a heart of a/r/tography that is, ([h]a/r/tography). Figure 1. [H]a/r/tographic CEF adapted from the cultural A/r/tographic theoria ecology framework (Creed & Dillon, 2013) and a/r/tographic renderings (Irwin & de Cosson, 2004). 42 We argue that in the integrated frame- investigate how engagement with contempo- work, intertwined [h]a/r/t roles facilitate rary art could cultivate students’ engagement, pairing of living inquiry features with ren- to re-shape or selectively maintain the con- derings thereby limiting predetermined stantly changing world led us to believe that outcomes. It is in this context that the re- contemporary art may be appropriate for ex- lationship between art made in secondary ploration of environment. schools and lived experience on Lipsi on the Students’ familiarity through history one hand, and the relationship between a/r/ and art class with Pablo Picasso’s Guernica tography as methodology and CE as theory (1937), in which abhorrence of aerial bomb- on the other, are explored. Mapping an art ing and of Franco’s fascism is expressed, in- project onto the integrated framework as- fuenced our selection of Picasso’s Guernica pires to lay bare fundamental aspects of the above. This contributes to an ΠΕΡΙΦΕΡΕΙΑ ΝΟΤΙΟΥ ΑΙΓΑΙΟΥ / ΕΙΔΙΚΗ ΥΠΗΡΕΣΙΑ ΔΙΑΧΕΙΡΙΣΗΣ underrepresented area of research concerning art made in secondary schools and sustainable development in remote islands. Moreover, it may provide a Χτίζουμε το μέλλον των νησιών μας stepping stone for both CE and a/r/tography research to further advance. Tis chapter addresses the following question: What does the CEF with [h]a/r/ togpraphy reveal in a new art project on a remote island?

Te Project: An Exegesis of the New Art Project in Lipsi from a Cultural Ecological Perspective Tis research project was designed by Με την πετυχημένη ολοκλήρωση του Επιχειρησιακού the authors and conducted by the art Προγράμματος Κρήτης & Νήσων Αιγαίου 2007-2013 και τις αναπτυξιακές δυνατότητες που προσφέρει το teacher of the High School of Lipsi. Περιφερειακό Επιχειρησιακό Πρόγραμμα Νοτίου Αιγαίου 2014-2020, είναι ευκαιρία... The class consisted of nine students, η νησιωτικότητα να γίνει πλεονέκτημα. enrolled in the school year 2015–16, Επιχειρησιακό Πρόγραμμα Κρήτης & Νήσων Αιγαίου 2007-2013 Με τη συγχρηματοδότηση της Ελλάδας και της Ευρωπαϊκής Ένωσης. Ευρωπαϊκή Ένωση Ευρωπαϊκό Ταμείο between 15–18 years old, four girls and Περιφερειακής Ανάπτυξης five boys, three of which had special learning needs. It lasted six weeks, an Figure 2. An advertisement commissioned by the hour a week, mainly during art classes. South Aegean Region Management Authority at Isolation increases the signifcance the end of 2015 as part of a campaign to promote of the environment for livelihood and the Operational Program for Crete and the Aegean as such it is of utmost importance to Islands 2007–2013. students. Gude’s (2009) suggestion to

43 as a place to start. Initially it held little in- depicting a black and white stone mosaic, terest for students. Interest was heightened called “votsaloto,” attracted attention, calling however by a Facebook feed posted in No- for island development (see Figure 2). vember 2015. A Bulgarian cartoonist, Jovcho Could expressing lived experience of the Savov morphed “Aegean Guernica” depicting refugee crisis in votsaloto technique tell the drowning refugees. What changed? In Sep- story through the students’ voice and thus tember 2015, Nilufer Demir’s heart wrench- promote learning in a way that a news story ing photograph of Syrian toddler, Aylan online, or an image on a Facebook newsfeed, Kurdi, went viral; it symbolized the refugees’ could not? Students a/r/tographically en- deadly struggle to cross the Aegean Sea to gaged in creating their own version of Guer- reach Europe. The incident not only con- nica Today (see Figure 3) in reply. temporized and localized the work; it made it meaningful. Students identified with the Mapping the New Art Project onto the danger of drowning and the struggle to cross Integrated Framework the sea to reach land. Due to its association Te mapping of data (photographs, school with island identity, an advertisement from art, and refective learner evaluation) from the South Aegean Sea Prefecture – Greece, the new art project was the method used for

Figure 3. Guernica Today votsaloto with plastic caps created by secondary students in Lipsi High School.

44 understanding the correlation of relation- Moreover, this interaction reshaped students ships between students and their environ- too as they became more conscientious of ment. Both the school and the island of Lipsi what constitutes sustainability in terms of may be considered as environments while maintaining island identity and changing students’ everyday experiences and activities what secondary school art is for. such as the advertisement and Aegean Guer- Conceptual involvement led to student nica can be seen as experiences intended to research regarding votsaloto technique. Tey infuence these environments. Students’ in- recalled grandparents’ narration about a vot- teraction arose from concurrent perceptual saloto in the central church courtyard now and conceptual involvement with both the covered with tiles. Te technique involved above examples. placing pebbles directly into the earth work- Perceptual involvement with the adver- ing in situ right side up and using natural tisement led to student inspection of their earth as grout. Te result was a slightly ir- environment. Students reported to the rest regular surface which soaked up rainwater of class and teacher a decline in votsaloto into the earth. Today votsaloto technique tradition, whilst conversely discarded plastic although maintained, is mostly made with water bottle caps seemed to have increased the inverse method in smaller sections. Peb- on beaches between the depleting pebbles. bles are placed in a mould consisting of a fat Articles reporting prohibition and large wooden base enclosed by a 7cm frame. It is monetary fines for pebble removal from then flled with cement. Rainwater cannot be beaches revealed another dimension of the soaked by the earth. issue at hand. Student response was to ana- Students’ perceptual and conceptual in- lyze which between the two – environment volvement in “Aegean Guernica” by Jovcho or cultural tradition – is more important Savov is also concurrent. This is reflected to maintain for sustainability as both have in the correlation of local, in the moment signifcance to island identity. Would con- experience (Aegean Guernica and Aylan) tinuity of both be possible? Being attuned as present with non-local experience (Pi- to research of their environment opened casso’s Guernica and the Spanish Civil War) up possibilities of using material previously as past. Lived experience that is, witness- taken for granted. Why not use plastic bot- ing migrants seeking refuge on Lipsi and tle caps instead of pebbles for votsaloto? Stu- “Aegean Guernica,” led to student research dents regarded discarded material in a new of possible causes of the crisis and the Syr- light – as possible material for art making ian civil war. A non-mainstream theory and for contemporizing votsaloto technique. suggesting that a contributing factor is cli- In addition to a beach clean, a whole com- mate change is illustrated by Audrey Quinn munity involvement was requested to collect and Jackie Roche (2014) in a comic entitled discarded plastic bottle caps. Tey would be Syria’s Climate Confict. Students’ transla- reused (i) to maintain tradition and environ- tion of it from English to Greek resulted ment, (ii) to contemporize tradition, and in further correlations between Syria’s (iii) to negotiate the boundary between local drought and Lipsi’s water scarcity. Students new art project and global environment. questioned the infuence of past actions in

45 the present and the future, in Lipsi and else- [H]a/r/tography In Between: where. Lipsi school environment is thus co- Revealing New Understandings constitutionally reshaped; it becomes a real of Time and Place part of the real world, a place connected to Students’ relationship with the environment the world which propagates sustainability. as described above was manifested through Similarly, students interacting with the the a/r/tographic lens. Bearing in mind use- transformed environment were re-shaped ful explanations of renderings by Irwin and too. Student perception of the drowned Springgay (2008) and Siegesmund (2014), child led to an emotional identifcation: (i) for our research we coupled living inquiry with the boy as a child; (ii) by ofen being in features with renderings. In what follows, jeopardy at sea as remote island inhabitants; an application of these to the mapped new (iii) with migration of Lipsian inhabitants as art project is ofered to uncover how mak- recorded in the past, the 1950s and in the ing new art in response to a provocation and present economic crisis; (iv) to a place on awareness of place might work across the the island named “Tourkomnima” denoting integrated framework. In Figure 4, in the where a Turk was buried afer being found intersection between two circles continuous washed up on the beach; and (v) to a unique [h]a/r/tographic interaction is depicted. icon, the symbol of Lipsi, “Panagia tou Cha- Starting from Contiguity coupled with rou” or “Virgin Mary of Death” holding her Questioning, there is evidence of juxtaposi- son not as a child – as all the other icons – tioning between controlled art made in sec- but crucifed. ondary schools and new art where students Te complexity of the issue is portrayed interact with their environment; between de- in the students’ enactment that is, to create a pleted pebbles and abundant discarded plas- large single commemorative work Guernica tic bottle caps; between war and migration; Today making reference to Aegean Guernica between passive lived experience through and Aylan Kurdi in the votsaloto technique. Facebook and lived experience through art Choice of votsaloto not only maintains the making and learning; and between remote technique, it localizes and connects the work island development and sustainability. Te with tradition and the past. Furthermore, boundary between each of these is ques- through adaptation of the technique, substi- tioned to display blurring between relational tuting plastic caps in place of traditional peb- and co-constitutional ways of understand- bles, the work is contemporized and associ- ing. Students perceive their environment ated with climate change as one of the causes through new art in secondary school. The of the Syrian Civil War. Through their art- two versions of Guernica enable the link- making, students express solidarity with the ing of local current afairs with global his- refugees as well as sustainability concerns. tory. Te two versions of votsaloto illustrate They transcended boundaries between re- its evolvement blending the boundaries be- mote island art made in the secondary school tween future, present and past. Students pro- and its meaning on a local/global scale, thus pose continuation and evolvement of vot- becoming agents of action and change. saloto switching pebbles for plastic.

46 Figure 4. [H]a/r/tographic Tey voice solidarity with migrants and fuid and unpredictable process, in which the interaction for promote sustainability thus questioning the complex dynamics of relational and co-con- sustainable boundary of the remote island. Blurring the stitutional understandings through [h]a/r/t ‘being.’ boundaries provides a space which connects roles are always in fux – in a maintenance/ and diferentiates that is, a third in between change – connection/differentiation inter- space, like the proposed integrated framework face, which promotes sustainable “being.” which broadens dialogue for sustainability. In this interface new and confusing ex- Emerging data from the comic Syria’s periences of the present (Aegean Guernica, Climate Confict (Quinn & Roche, 2014) is Aylan, regional advertisement), and experi- analyzed through Living Inquiry. Parallels ence and knowledge of the past (Guernica, between Syria’s drought and Lipsi’s water votsaloto tradition) are melded and brico- shortage are explored to facilitate under- laged into Metaphor for new understand- standing of the complexity and connections ing. In “Guernica Today” students enact in- between migration and sustainability. More- terventions in art made in secondary school, over, the complexity of teaching/learning is votsaloto tradition and the environment revealed too. It is an ongoing, concurrent, through poesis for sustainable ‘being’ that is,

47 for continuation, adaptation or change. In casted on Alpha TV 26 January 2017). Te the new art project they derive and combine integrated framework with its concurrent, references, material and technique from place non-linear roles, new associations between thus changing art made in secondary schools existing ideas and ways of doing things dis- to express student voice, emotions and soli- integrates boundaries. “In the moment” ex- darity globally from a local perspective. In periences, perceived in an a/r/t manner, pro- votsaloto tradition by re-using plastic caps as vide teacher/learner opportunities to break material instead of pebbles students adapt the away from tradition and to produce an “of technique to maintain the tradition and in so the track” approach from the main second- doing comment on the need for continuity of ary school art trajectory. Te new art project the physical environment and votsaloto for is opened up to risk taking in a space of in- maintaining identity and sustainability. Fur- teraction between maintenance of tradition thermore, mapping the art project is an enact- and change, which allows for both connec- ment of intervention too, a metaphor, which tion and diference. By thinking and acting prompts the a/r/tographer teacher/learner to in the CEF as [h]a/r/tographers in pursuit move to a new space adapting a/r/tography of sustainable “being,” boundaries that com- and the CEF for greater understanding. partmentalize secondary school art and en- Spiraling outwards through openings vironment are crossed to achieve “presence,” and revising of questions, boundaries of rela- connecting time and place, just like in the tionships between teacher/learners, second- small, remote and isolated island of Lipsi, ary school art and place are reshaped. One where the students created their own Guer- questions whether an art project in a remote nica with plastic water bottle caps. school can change relationships and sustainability on a global scale. Moreover, can the integrated framework be further advanced? References Lived experience of the new art project in Creed, A., & Dillon, P. (2013). Cyclonic the integrated framework is overwhelming transactions as cultural ecological mech- and emotional and as such navigation of dia- anisms for investigating change and fa- logue and discourse is unpredictable, non- cilitating action research in education. In linear, fuid and open. V.C.X. Wang (Ed.), Encyclopedia of educa- In conclusion, reiteration of the liv- tion and technology in a changing society ing inquiry spiral is reverberation. Teacher/ (pp. 768–780). Hershey, USA: IGI Global. learners respond to reverberations resulting Dillon, P. (2008a). Creativity, wisdom and from concurrent interaction between CEF trusteeship – niches of cultural pro- and [h]a/r/tography, becoming agents of ac- duction. In A. Craft, H. Gardner, & G. tion and change. In addition, reverberations Claxton (Eds.), Creativity and wisdom in of the new art project go beyond the bound- education (pp. 105–118). Tousand Oaks, ary of the controlled ‘school art style’ (Ef- USA: Corwin Press. land, 1976) and Lipsi Island through the mo- Dillon, P. (2008b). A pedagogy of connec- mentary transmission of the work created on tion and boundary crossings: Methodo- a national television program (360° broad- logical and epistemological transactions

48 in working across and between disci- Gude, O. (2009). Art education for demo- plines. Innovations in Teaching and Edu- cratic life. Lowenfeld Lecture. Retrieved cation International, 45(3), 255–262. from https://naea.digication.com/omg/ Dillon, P. (2015). Education for sustain- Art_Education_for_Democratic_Life able development in a cultural ecological Irwin, R. L., & de Cosson, A. (Eds.). (2004). frame. In R. Jucker & R. Mathar (Eds.), A/r/tography: Rendering self through arts Schooling for sustainable development in based living inquiry. Vancouver, Canada: Europe. Concepts, policies and educational Pacifc Educational Press. experiences at the end of the UN decade Irwin, R. L., & Springgay, S. (2008). A/r/ of education for sustainable development tography as practice based research. In (pp. 109–120). Dordrecht, The Nether- S. Springgay, R. L. Irwin, C. Leggo, & P. lands: Springer. Gouzouasis (Eds.), Being with a/r/togra- Dillon, P., & Howe, T. (2007). An epistemol- phy (pp. xiii- xvii). Rotterdam, Te Neth- ogy of presence and reconceptualisation erlands: Sense. in design education. Interchange, 38(1), Kridel, C. A. (2010). Encyclopedia of curricu- 69–88. doi: 10.1007/s10780-007-9013-4 lum studies. Tousand Oaks, USA: SAGE. Dillon, P., Bayliss, P., Stolpe, I., & Bayliss, L. Liarakou, G., Gavrilakis, C., & Flogaitis, E. (2008). What constitutes “context” in so- (2016). School community collaboration cio-cultural research: How the Mongolian in remote communities: challenges for fu- experience challenges theory. Transtext(e)s ture teacher training. In W. Lambrechts & Transcultures 跨文本跨文化 – Journal of J. Hindson (Eds.), Research and innovation Global Cultural Studies, 4, 18–31. in education for sustainable development. Dillon, P., Vesala, P., & Montero, C.S. Exploring collaborative networks, critical (2015). Young people’s engagement with characteristics and evaluation practices their school grounds expressed through (pp. 106–122). Vienna, Austria: Environ- color, symbol and lexical associations: A ment and School Initiatives – ENSI. Finnish-British comparative study. Chil- Quinn, A., & Roche, J. (2014). Syria’s climate dren’s Geographies, 13(5), 518–536. doi: conflict. Symbolia Magazine. Retrieved 10.1080/14733285.2014.894962 from http://yearsofivingdangerously.tum- Efland, A. (1976). The school art style: A blr.com/post/86898140738/this-comic- functional analysis. Studies in Art Educa- was-produced-in-partnership-by-years-of tion: A Journal of Issues and Research in Siegesmund, R. (2014). The N of 1 in arts- Art Education, 17(2), 37–44. based research: Reliability and validity. Gruenewald, D. (2008). Place-based educa- [Special Issue 2.5]. International Journal of tion: Grounding culturally responsive Education & the Arts, 15. Retrieved from teaching in geographical diversity. In D. http://www.ijea.org/v15si2/v15si2-5.pdf Gruenewald & G. Smith (Eds.), Place- based education in the global age: Local diversity (pp. 137–153). New York, USA: Taylor & Francis.

49 THROUGH THE LOOKING GLASS: REFLECTING ON AN EMBODIED UNDERSTANDING OF CREATIVITY AND CREATIVE PRAXIS AS AN A/R/TOGRAPHER

Kathryn S. Coleman University of Melbourne, Australia

To Intervene, Intrude or to Act (Deleuze & Guattari, 1987) and lines of sight My PhD candidature has provided me with at each turn (creative, afective, a/r/tographic a number of provocations (Irwin & Spring- and digital) and have shifed understandings gay, 2008, p. xxx) that continue to be ex- in becoming an a/r/tographer (Irwin, 2013). plored and reverberate in, with, and through Using critical auto-ethnography (Holman my practice. These provocations continue Jones, 2016) as a method to theorize these to call me to intervene, intrude or to act as a/r/t stories and narratives that I encoun- a result of the triggers that have poked and tered on the way, I was able to position my- prodded at my praxis as living inquiry (Sul- self as an a/r/tographer in the center of my livan, 2005). As a relational (Bourriaud, 2002; inquiry while peering in on the multiplicity Irwin & O’Donoghue, 2012) and rhizomatic of these identities in a digital form that sup- (Deleuze & Guattari, 1987, p. 279) artist, reported the exploration of my study into digit- searcher and teacher, provocations range in al artist portfolios. Tis visual essay explores the form of memories, stories and metaphors my methodological journey “down the rabbit that serve as necessary openings for my idea- hole,” through a number of metaphoric and tion and creative practice found within the metonymic provocations that were respond- common threads (Flood, 2003) of refection. ed to, refected, reframed and reifed in my Each provocation threads new lines of fight recently submitted digital PhD thesis.

50 Situated within a/r/tographic inquiry and em- bile, 1996) and creative practice bodied research (Grushka, 2010), my PhD study (Allen, 2015) on identity as art- sought to address how a turn to rhizomatic learning, ist. My study was performed as an and digital pedagogies in art education opened ways a/r/tographer over five years and of seeing and noticing the afect of creativity (Ama- an embodiment of multiple selves opened new ways of doing and being research in art education (Figure 1). A/r/tography for me is a methodology, method and way of researching, seeing and relating to making, doing and being. As an a/r/tographer, I am always an artist/researcher/teacher. I have only recently submitted my digital dissertation so I am looking back over time as a PhD candidate, studying how my travels reverberate in the refection of the looking glass of an onto-epistemological (Barad, 2003) rhizomatic c/a/r/tography (Irwin, Bickel, Triggs, Springgay, Beer, Grauer, Xiong, & Sameshima, 2009) where, critical auto-ethnography as a ‘living body of thought’ (Holman Jones, 2016) opened dialogue with the self in a wonderland of art, research and teaching. Gazing is an important facet of my practice and this chapter has opened new ways of seeing Figure 1. Trough the Looking Glass (I AM a/r/ through the curation of new and old to grapher), Digital Drawing, 2015. Early on in my a/r/tworks, and the re-storying of candidature I pondered the role of the researcher the dissertation assemblage. I was and my contribution to research if my entangled drawn to critical auto-ethnography identities and knowledge of self as artist, as re- because it invites me to reflect, researcher and as teacher were so felt. Working on self- spond and reify my a/r/tographic portraits throughout my candidature allowed me to praxis theoretically by untangling untangle and unlayer the rhizome and to reify the the interwoven aspects of my iden- sites and sights of my practices and allow me to gaze, tities developed through years of forward and backward about who I was, and where I study, practice and teaching and was going. then to re-weave them in new stories.

51 Figure 2. Connecting the dots, Digital Drawing, 2017. Refecting on how this digital and situated journey as a/r/tographer through a mapping of sights and cites allowed me to see the interactions and reactions in my art encounter. Drawing these stories digitally ofers new insights into how I made connections through cites and sites, and how re-seeing this encounter ofers new insights.

Through critical auto-ethnography I could pedagogy and design a thesis as curriculum, gaze, forward and backward, in and out. As while exploring the self as a/r/tist. Ellis and Bochner (2000) describe, “back and Extending the inquiry practice of forth auto-ethnographers gaze, frst through Honan and Sellars (2011), in this visual an ethnographic wide-angle lens, focusing essay, I have drawn the images refected in outward on social and cultural aspects of the the looking glass of time to invite refection personal experience; then they look inward, on my own rhizomatic journeying. Te dis- exposing a vulnerable self that is moved by sertation opened new opportunities at each and may move through, refract and resist cul- growth point for me as an a/r/tographer. Te tural interpretations” (p. 739). Tis embodied rhizomatic action of my art encounter led way of knowing allowed me to develop my me to new openings that continue to rever-

52 berate and resonate in moments that incite PhD journey. My art making, research and memories and stories created over the last teaching have been infuenced by a process fve years. I have always worked at ease in of critical dialogue in digital spaces with the digital spaces and sites, having been raised self as a/r/tographer. Tis criticality has been in a family that had a desktop computer an unfolding process of relational work that from the earliest days of home computers. has created a new conceptual practice that is As a secondary visual arts teacher I was also woven, intertwined and that runs through, in a specialist photography, video and digital and out, and over the a/r/tographical (Irwin imaging teacher and this knowledge and ex- & Springgay, 2008. p. xxvii). When you turn perience led deeper into digital pedagogies the research lens inwardly, looking deeply for artists and art teachers in my masters at the multiplicities of identity and practice, research (Coleman, 2011). In my PhD, I there is a felt shif – an afect (Leys, 2011) have sought to activate new digital sites by forcing a becoming (Deleuze, 1997, p. 65). asking questions of the digital spaces where Tis shif turns your sight: it open questions we work and learn, and following the rhizo- and these openings are wide and far reach- matic stems as they directed and steered my ing beyond the inquiry. I began my entangled meaning making (Barad, 2010) within my digital a/r/tographic thesis immediately after completing my Master’s research in art education and digital pedagogies (Coleman, 2011). I was not fnished with my search for self that took me deep into my entangled selves and identities (Figure 3). I wanted to explore my feld further through an embodied and performed methodology and method of living inquiry that had been opened by and with a/r/tography (Irwin & Springgay, 2008, p. xix). The provocations of my (re)search was calling me into new sites of art education by the inquiry of research as pedagogy within the Deleuzo-Guattarian rhizome Figure 3. Drawing the sites of self-making, Digital Drawing, (O’Sullivan, 2006) of the internet and digital 2017. Tis digital drawing was done afer presenting my spaces of artist portfolios. My inquiry was dissertation to a community of arts education scholars at a participatory and reliant on the relation- conference and thinking about this chapter. Te layering of ships and collaborations between my online lines, sofness of colors and wash of the digital watercolor as art, research and teaching communities of I draw ofers a space to refect. It is meditative and the fow of practice in digital spaces and the sites and energy invites new thoughts that I write about quickly. I draw spaces in which they are sighted and cited. in Paper 53, an iPad app that I have used for many years to A relational approach to research in- draw in a physical, yet digital space to think, know and do. vites participation, and this relationality

53 Figure 4. Mapping the felt sites inquiry, Digital Drawing, 2017.Tis drawing seeks to map my lenses of learning, seeing, doing and relating as a digital a/r/tographic practitioner. Te reverberations and resonations are always felt. has driven my turn to praxis (Freire, 1990; Here in the digital site I could see the three Rolling, 2010) and the decisions I made to selves gazing back at me through the refec- design, curate and submit an online URL tion of the curation of a/r/tefacts. as thesis (Coleman, 2017). As I developed In the wonderland of the internet, I was and curated my online A/R/T Portfolio in a prompted to further new sites/sights of in- participatory site, I designed the space as a quiry through questions that have directed curriculum for the multiple audiences in the new lenses of learning, seeing, doing and artworld, art classroom and in digital educa- relating in digital spaces and places. Here tion. As a curator, I was selecting a/r/tefacts in the digital labyrinth, in the excesses of generated and created during the PhD. Tis knowledge found between a/r/t, deep in critical reflection on my stories brought a wonderland, I lived in the liminal spaces me closer to my narratives and memories found between artist/researcher/teacher of being artist, researcher, and art teacher. (Figure 4). I found openings between the

54 selves and identities that I played out in this inquiry through intertwining the woven aspects of self, sustained through creativity and the re-creation of the self through refection and creative practice in the design and curation of my research as a portfolio. Is it possible (and useful) to determine the characteristics of the digital identity of a visual artist that is present in a constructed digital portfolio? In doing so, how might secondary visual art students beneft from structured, curricular support for the building of artist identity through digital portfolios? I asked myself throughout the study, Figure 5. Working in Trees, Digital Drawing, 2016. using these questions as provocations to my reading, making, doing, and writing my PhD where the more I read and wrote, the more I was making art and designing curriculum to understand, investigate and explore. I began to map my journey as an artist through my identity and creative practice, yet the researcher and teacher personas were always there wanting to be heard and seen alongside the artist. Unable to continue in my written thesis exploration without purely making, I set the date for my PhD a/r/t exhibition, lef my ongoing researcher role in a university, and began to work full time as an a/r/tist to curate my first solo show to open the digital doors to a new site. I curated a show for my artist-researcher, artist-teacher self-portraits (Figure 5) and pedagogical insights through mapping my artmaking in a gallery. As an a/r/tist within the study, my making practice explored the intertwined and Figure 6. Tea Cups and Woven tablecloth from layered aspects of my own stories, experi- Conversations with the Seminals in Wonderland ences and knowledge, alongside my co- (Te Researcher Tea Party), Folded & woven selec- participant’s, with the seminal voices found tion of academic papers/tea chest, 2014–2016. with the collections of research material I was collecting in the form of academic pa-

55 pers (Figure 6). As a digital researcher, the practice of printing, cutting, folding and re-creating with the physical paper to make new work and ideas became important identity a/r/tefacts for my work. Te process of cutting, weaving and folding the paper to generate new dialogue for art education in installations and sculptures had a profound afect on my becoming. During my (re)search, I made a number of identity a/r/ Figure 7. Curating through assemblage, Digital Drawing, 2017. tefacts, wrote and designed alongside hours of ethnographic video recordings that I edited and cut as sites the form of new learning sites, sights and of pedagogical knowledge, curated amongst cites. Sites were embodied, performed and my writing and making in my submitted found in spaces and places where I was A/R/T Portfolio. Exploration as research, learning, knowing and theorizing within my as a maker firstly offered me new insights communities of practice. Each sight created to see the common threads of my prac- new openings found in the mapping of the tice, then through video as method (Harris, rhizomatic exploration; with the gaze criti- 2016) to fnd the interconnected spaces and cal auto-ethnography opened I found in the gaps that I would not normally see through cites of knowledge I was exploring. reading and writing alone. Tese mapped sites-sights-cites are the My exploration saw me gaze upon my center of my inquiry, my pedagogies, a/r/t artist digital portfolios as assemblages (De- making and a/r/t writing and created new leuze & Guattari, 1987) to fnd out the place spaces for learning in my thesis as digital of identity and creativity in the digital in currere, a conceptual space I look to de- order to create opportunities in secondary velop further (Freire, 1990). In each site, the art education for creativity and self-discov- stories have been storied (Clandinin & Con- ery through a storied curriculum that sees nelly, 2000), each sight of my digital thesis artist-students develop digital portfolios journey mapped, recorded and reflected through sustained and deep personalized upon and theorized, each cite (Figure 8) learning sites in art education (Figure 7). As that has opened my thinking continues to a maker, I was doing, being and performing resonate in all of my actions in the A/R/T the research through making, critical refec- Portfolio as thesis. tion and creative exploration. Deep within To work through this rupture the being, making and doing of my a/r/to- (O’Sullivan, 2006) of sites, sights and cites I graphic digital thesis, new triggers came in cut up each citation as an a/r/tist to create

56 new discourse with woven, entangled and folded paper works (Figure 9) to render new openings for meaning making. Some of my work I have exhibited over the last fve years has been discarded or reworked. I also made several works to better understand what I was becoming and “[l]earning/creating/in- quiring in, from, through, and with” (Irwin et al., 2008, p. 206). Tinking and theorising about my praxis as an a/r/tographer through auto-ethnography ofered me time to notice. Time and space to notice creativity through the afect of new ideas provided insights into the felds I was living within. I was afected creatively (O’Sullivan, 2001) to write, design curriculum and create new work through this study. My research lives in art education, where I have worked for a career as a creative practitioner striving to support my art- Figure 8. Cloud Collectors trying to hold onto know ist-students as they fnd themselves in and ledge, Paper weaving (Te International Journal of through art as artist and through looking Education through Art) and maps, 2014–2016. at art as a knowledgeable art audience. A/r/ tography as an embodied research practice extended an invitation to me to create new possibilities for designing curriculum and generating pedagogy that is storied as artist, as artist-teacher and as artist-researcher. Of the many things that happened in this wonderland as a re-searcher, was time to return to the event and the assemblage of an a/r/tographic thesis through ongoing curation and reflection on doing practice- led and practice-based research. My A/R/T Portfolio is an exhibition of the identity a/r/ tefacts written and created by the many identities and a/r/t selves of the inquiry collected, curated and created on site. It has been published online (Coleman, 2017) as a narra- Figure 9. Academic Tumbleweeds, woven selected tive of my experience of and in a/r/tography, references & Alice in Wonderland text caught in glass blended and connected through an emerg- bell jars, 2014–2016. ing methodology and embodiment of praxis

57 as an a/r/tographer. My submitted digital Complementary methods for research in Portfolio as thesis not only re-presents my education (2nd ed., pp. 72–116). Washing- journey in the digital wonderland as an a/r/ ton, USA: American Educational Research tist through a/r/tworks, rhizomatic a/r/t Association. writing and a/r/tefacts generated from eth- Bourriaud, N. (2002). Relational aesthetics. nographic videos woven within narrative Dijon, France: Les Presses Du Reel. in conversation, it is a moment in time cap- Clandinin, D. J., & Connelly, F. M. (2000). tured for art education. Narrative inquiry: Experience and story in My travels to this moment, have been qualitative research. San Francisco, USA: flled with joyous and adventurous sites and Jossey-Bass. sights, explored as a Deleuzo-Guattarian Coleman, K. S. (2017). An a/r/tist in won- (O’Sullivan, 2006) and supported by col- derland: Exploring identity, creativity and leagues, mentors and researcher feld guides digital portfolios as a/r/tographer (Doc- who have supported my thinking, steered my toral dissertation). Melbourne Graduate travels, propped up my ideological pursuits, School of Education, University of Mel- and ofered bigger and deeper questions all bourne, Australia. Retrieved from http:// while allowing me to deep dive beyond the www.artographicexplorations.com plateaus (Deleuze & Guattari, 1987). Coleman, K. (2011). Building bridges: Visu- al arts 2.0 elearning opportunities (Mas- ter’s thesis). College of Fine Arts, Uni- References versity of New South Wales, Australia. Allen, B. A. (2015). Creative becoming: Retrieved from http://handle.unsw.edu. Transformative learning for creative teach- au/1959.4/51415 ing in higher education. In K. S. Coleman Csikszentmihalyi, M. (1996). Creativity: & A. Flood (Eds.), Capturing creativ- Flow and the psychology of discovery and ity through creative teaching (pp. 11–34). invention. New York, USA: HarperCollins. Champaign, USA: Common Ground. Deleuze, G. (1997). Essays critical and clini- Amabile, T. (1996). Creativity in context. cal. Minneapolis, USA: University of Min- Boulder. USA: Westview Press. nesota Press. Barad, K. (2003). Post-humanist performa- Deleuze, G., & Guattari, F. (1987). A thou- tivity: Toward an understanding of how sand plateaus: Capitalism and schizophre- matter comes to matter. Signs: Journal nia (B. Massumi, Trans.). Minneapolis, of Women in Culture and Society, 28(3), USA: University of Minnesota Press. 801–833. Ellis, C., & Bochner, A. P. (2000). Autoeth- Barad, K. (2010). Quantum entanglements nography, personal narrative, refexivity. In and hauntological relations of inheritance: K. D. Norman & S. L. Yvonna (Eds.), Hand- Dis/continuities, spacetime enfoldings, book of qualitative research, (2nd ed., pp. and justice-to-come. Derrida Today, 3(2), 733–768). Tousand Oaks, USA: SAGE. 240–268. Flood, A. (2003). Common threads: A dis- Barone, T., & Eisner, E. (1997). Arts-based cursive text narrating ideas of memory educational research. In R. M. Jaeger (Ed.), and artistic identity (Unpublished mas-

58 ter’s thesis). Royal Melbourne Institute of resentation. London, United Kingdom: Technology, Melbourne, Australia. Palgrave. Freire, P. (1990). Pedagogy of the oppressed. O’Sullivan, S. (2001). Te aesthetics of afect, New York, USA: Continuum. thinking art beyond representation. AN- Grushka, K. (2010). Visual embodied and GELAKI, Journal of the Theoretical Hu- performative pedagogy: Visual learning manities, 6(3), 125–135. as becoming. Proceedings of the UNESCO Poulos, C. (2014). Rockin’ the ethnographic Second World Conference on Arts Educa- mystery. Storytelling, Self, Society, 10(1), tion, Seoul, South Korea. Retrieved from 26–44. http://www.unesco.org/culture/en/artse- Rolling, J. H. (2010). Art education at the ducation/pdf/fpkathryngrushka201.pdf turn of the tide: The utility of narrative Harris, A. M. (2016). Video as method. New in curriculum-making and education re- York, USA: Oxford University Press. search. Art Education, 63(3), 6–12. Holman Jones, S. (2016). Living bodies of Sameshima, P. (2008). AutoethnoGRAPHIC thought: Te “critical” in critical autoeth- relationality through paradox, parallax, nography. Qualitative Inquiry, 22(4), and metaphor. In S. Springgay, R. L. Irwin, 228–237. C. Leggo, & P. Gouzouasis (Eds.), Being Honan, E., & Sellers, M. (2011). So how with a/r/tography (pp. 45–56). Rotterdam, does it work? Rhizomatic methodologies. Te Netherlands: Sense. Retrieved from https://www.aare.edu.au/ Sullivan, G. (2005). Art practice as research: publications-database.php/5086/so-how- Inquiry in the visual arts. Tousand Oaks, does-it-work-rhizomatic-methodologies USA: SAGE. Irwin, R. L., & O’Donoghue, D. (2012). En- countering pedagogy through relational art practices. International Journal of Art and Design Education, 31(3), 221–236. Irwin, R. L., & Springgay, S. (2008). A/r/ tography as practice-based research. In S. Springgay, R. L. Irwin, C. Leggo, & P. Gouzouasis (Eds.), Being with a/r/tography (pp. xix–xxxiii). Rotterdam, Te Neth- erlands: Sense. Irwin, R. L. (2013). Becoming a/r/tography. Studies in Art Education, 54(3), 198–215. Leavy, P. (2009). Method meets art: Arts- based research practice. New York, USA: Guilford Press. Leys, R. (2011). Te turn to afect: A critique. Critical Inquiry, 37(3), 434–472. O’Sullivan, S. (2006). Art encounters De- leuze and Guattari: Tought beyond rep-

59 THE STRUCTURE OF PHD PROGRAMS IN EGYPTIAN ART EDUCATION

Samia ElSheikh Bilal Makled Helwan University, Egypt Helwan University, Egypt

Shifing Landscapes: study pedagogic approaches to teaching art A Review of Programs in Egypt and the frst to write an Arabic book on the subject in 1936. In 1928, he founded the Art We will briefly highlight the institutional Advocates’ Society, aiming to explore and frameworks for organizing the art educa- manifest the Egyptian identity through art, tion postgraduate programs in Egypt. Afer- particularly watercolors (Ali, 2001; Hanafy, wards, the major themes trending in Ph.D. 2018; Porter, 2011). Since Gorgi’s initial ef- dissertations are listed, followed by a dis- forts, there has been continuous develop- cussion of six theses in which we focus on ment in art education in Egypt. at least one of the top trends. Art education Today, the monitoring of the Egyptian has been one of the most important educa- education system is highly centralised, for tional subjects in modern and contempo- both public and private institutions. The rary Egypt, thanks to the endeavors initiated Ministry of Higher Education (established nearly a century ago by a pioneer generation in 1961) is responsible for the supervision of modern Egyptian artists. Most notable and coordination of higher education. Tese among those pioneers of Egyptian modern activities have been subdivided among a art was Habib Gorgi (1892–1965), who was number of Supreme Councils, including the frst to introduce art education as a con- a Supreme Council of Universities. This crete term to the Egypt educational system. council, chaired by the Minister of Higher He was arguably the frst Egyptian artist to Education, formulates university education

60 policy, coordinates university programmes, education studies center on, more or less, ten determines how many students may be ad- majors: Design, drawing, painting, weaving, mitted to the various faculties each year, printing, artifacts, metalwork, woodwork, and advises the government on university sculpture and poetry. With such programs fnancial afairs. Te council also deals with focusing on how to deepen experiences, international comparisons and credential skills and information through visual arts evaluation (EP-Nuffic, 2015). To come to in both traditional and western modern- the point, in contemporary Egypt there are ism styles, Ph.D. studies increasingly tend mainly two ministries operating the educa- to concentrate on certain majors, targeting tional system: Te Ministry of Education, studies and experiments focusing on either which supervises the educational levels up pre-university students or schoolchildren, or to high-school stages; and the Ministry of even older-age groups such as members of Higher Education that regulates the univer- various community clubs. sity and postgraduate studies. Although Helwan University is the most recent of three major governmental Art Education Ph.D. Programs: universities in Cairo, it encompasses some Major Temes of the oldest and most unique faculties in Regardless of the points of convergence or Egypt and the Middle East. Art education divergence in terms of postgraduate art ed- is one of these faculties. It was established ucation, Ph.D. art education studies at the in 1936 (see the Helwan University website turn of the twenty-frst century still seems to for more information1) and has since be- be concerned with major fve areas: come the only resource for art education programs and curriculums in the country. 1. Art Education; By the late 1980s, art education departments 2. Art Terapy; were created in new faculties of specifc arts, 3. Comparative Research; which include art education, music educa- 4. Cultural Criticism and Art tion and mass communication (see the Fac- Appreciation; and ulty of Specifc Education website for more 5. Art Techniques and Applications. information). In postgraduate art education, where curricula are based on credit hours, A good example for the frst area might be with a semester duration ranging from 15 to Reham Abu-Zeid’s (2013) thesis entitled Te 17 weeks, researchers employ the most ad- Impact of Using Project Strategy as an Ap- vanced tools and media available to them, proach for Teaching Art Education in the carrying out their studies in relation to un- Setting of the Twenty-First-Century Skills. dergraduate or pre-university education in- Setting out from her down-to-earth experi- stitutions that are, sometimes, quite limited ence as a member of teaching staf at the Uni- in the relevant supplies, tools and require- versity of Suez, Abu-Zaid brings attention to ments. Generally speaking, postgraduate art

1 See www.helwan.edu.eg/English/?page_id=16

61 the desperately challenging conclusion that However, art education unfurls the aes- graduates in the Art Education Department thetic manifestations and transformations are not qualifed enough to meet the needs of humanity, not only in its recent past, but of the labor market. Graduates have insuf- also in its far distant history. In his award- fcient skills and lack of experience, or even winning Ph.D. thesis entitled Symbolic and of awareness of the latest developments, with Aesthetic Indications of Motion Value in respect to art education (Abu-Zeid, 2013). Paleolithic Ages Paintings in the Gilf El-Ke- Although Abu-Zaid is concerned with how bir Plateau and Mount Uweinat in Egypt, to help art education graduates, Hend Ka- Akmal Abdullah (2010) explores how the lketawy (2017) investigates possible ways to Paleolithic drawings and inscriptions in var- beneft from art education further in thera- ious caves of the Gilf El-Kebir plateau and py, as best manifested in her thesis entitled Mount Uweinat mountain unfold the an- Te Efectiveness of Forming Merino Wool thropological and cultural history of Egypt in Rehabilitating Kidney Failure Patients (Abdullah, 2010). In art education, we teach (Muscular-Psychic). art through history, geography, art critique, Moving beyond local spheres with and science. Tus, this region of the Gilf El- their challenges and hopes, art educators Kebir Plateau and Mount Uweinat is con- interested in comparative education have sidered a teaching resource. Te mountain, more possibilities for celebrating, widen- regarded as one of the world’s most waterless ing and augmenting spaces of interaction regions in southwestern Egypt, is in the heart and convergence between various cultures of the Libyan desert. It is a sierra sandstone and nations. In his thesis entitled National- plateau mounting 200 to 300 meters above izing Aesthetics: Art Education in Egypt and its surrounding plains. About 70 kilometres Japan, 1872–1950, Raja Adal (2009) exam- to the southwest of the Gilf El-Kebir, there ines the evolution of art education both in lies the Jebel Uweinat, which is a compara- Egypt and Japan, from those earlier stages tively small tabular mountain mass with a when art education was employed to help height ranging from 600 to over 1900 meters modernize societies in both countries, to above sea level (El-Baz, 1980; Vivian, 2000). those “particular moments” and when the Engaging the enthralling experience of dis- aesthetic values underlying art education covery at these geographically significant were manifested as they opened up new pos- formations, Abdullah stresses the role that sibilities for subjective expressiveness, crea- art education played in the aesthetic devel- tivity and beauty. Hence, from a cross-cul- opment and preservation of human culture tural standpoint, Adal (2009) demonstrates and daily-life experiences in that distant era. not only the extent to which art education In between Adal’s and Abdullah’s en- has made progress because of the paradigm deavors, Mohamed Rehan’s (2015) thesis, of modernity, but more significantly how Plastic Dimensions of Kufic Calligraphy much modernity has aesthetically trans- as an Approach to Innovate Silkscreen and formed thanks to the introduction of art Stencil Prints during the Preparation of education in schools, as exemplifed both in Learning Programs, demonstrates how Kufc Egypt and Japan. script – that developed toward the end of the

62 seventh century – serves as a method to bring about a particular program of art education today rooted in tradition. With the aim to provide more aesthetic, experiential insights, Re- han’s proposed program centers on certain visual techniques and strategies, including the repetitive changing, overlapping, distributing inside and outside, zooming in and out, adding, dropping, varying the thick- ness, and constructing characters, lines, shapes, textures, and colors, along with the interplay of shadow Figure 1. Modern design using Kufc and light (Rehan, 2015). Through calligraphy 1, printed art by Rehan, 2015. lectures, discussions and brainstorm- ing sessions, Rehan sought to explore the output of his experimentational program, engaging the intended students to learn about calligraphy and modern techniques to design new prints using combinations of silkscreen and stencil. Perhaps this is the most challenging of all the theses we have discussed. Several of these techniques are difcult to learn because the relevant tools and material are very expensive and therefore hardly available in schools. Similarly, Islam’s (2016) dissertation revisits the Nubian art of hand weaving, thus negotiating the philosophical concepts underlying this particular practice to bring forth fresh insights into the socio- cultural aesthetics of ancient and contemporary hand weaving. Ex- Figure 2. Modern ploring the basic concepts of Nubian design using Kufc histology, this thesis gives précise yet calligraphy 2, printed intense accounts of the patterns, ma- art by Rehan, 2015. terials and techniques employed in

63 Figure 3. A Nubian handwoven belt 3, woven by Fedaa Islam, 2016.

Figure 5. A mirror-frame handwoven in the Nubian way 5, woven by Fedaa Islam, 2016.

the splendidly hand-woven artworks of the Nubian people, including bags, table watch- es, wall-hangings, belts and accessories. In addition, the thesis describes several pedagogical strategies for teaching this particular practice of hand weaving through various educational stages.

Possibilities and Challenges in Art Education Tis chapter, despite its limited scope, sought to shed light on the development, possibili- Figure 4. A Nubian wall-hanging 4, ties and challenges for doctoral research in woven by Fedaa Islam, 2016. art education in Egypt. Starting with a gen-

64 eral overview of the modern development of ing art education in the setting of the art education in the Egypt educational sys- Twenty First Century skills (Unpublished tem, we briefy highlighted the institutional doctoral dissertation). Helwan University, frameworks for art education postgraduate Cairo, Egypt. programs. Each of the theses shared here Adal, R. (2009). Nationalizing aesthetics: Art has shed light on several challenges fac- education in Egypt and Japan, 1872–1950 ing the programs of graduate studies in art (Doctoral dissertation). Available from education in Egypt, insofar as they revealed ProQuest Dissertations: https://search. the ambitious endeavors, visions and possi- proquest.com/openview/a69e13ad5650b0 bilities of emerging scholars. Te most chal- 2d10dd0694658bdf32/1?pq-origsite=gsch lenging aspect of this work is attending to olar&cbl=18750&diss=y the disjuncture between researchers using Ali, W. (2001). Visual images: Modern advanced and updated technology and me- painting in the Mashriq. In S. Zuhur dia knowledge as compared to the limited (Ed.), Colors of enchantment: Theater, use of technologies and media knowledge dance, music, and the visual arts of the in the schools. Despite the highly-expensive Middle East (pp. 363–385). Cairo, Egypt: material and tools, and the lack of relevant Te American University in Cairo Press. resources available in the targeted schools, El-Baz, F., Boulos, L., Breed, C., Dardir, A., each of the theses we have discussed has Dowidar, H., El-Etr, H., Embabi, N., Gro- been able to ofer its own aesthetic insights, lier, M., Haynes, V., Ibrahim, M., Issawi, revealing and opening up to wider spaces of B., Maxwell, T., McCauley, J., McHugh, creativity beyond the framing boundaries of W., Moustafa, A., & Yousif, M. (1980). locality. Hence, the need now is to support, Journey to the Gilf Kebir and Uweinat, improve and advance the art education grad- Southwest Egypt, 1978. Retrieved from uate programs, in order to promote not only https://repository.si.edu/bitstream/han- the current state of art education in Egypt, dle/10088/6353/198030.pdf but also to raise society’s awareness of its EP Nufc. (2015). Education system Egypt. cultural history, thereby broadening its fu- Retrieved from https://www.nufc.nl/en/ ture possibilities. publications/find-a-publication/education-system-egypt.pdf Hanafy, I. M. (2017). The development of References painting from primitive to post-modern: A case study of Egypt. International Jour- Abdullah, A. (2010). Symbolic and aesthetic nal of Art and Art History, 5(1), 19–31. indications of motion value in Paleolithic Retrieved from http://ijaahnet.com/jour- ages paintings in Gilf El-Kebir Plateau and nals/ijaah/Vol_5_No_1_June_2017/3.pdf Uweinat Mount in Egypt (Unpublished Islam, F. (2016). Philosophical concepts of doctoral dissertation). Helwan University, Nubian art to create hand weaving with Cairo, Egypt. contemporary vision (Unpublished doc- Abu-Zeid, R. (2013). The impact of using toral dissertation). Helwan University, project strategy as an approach for teach- Cairo, Egypt.

65 Kalketawy, H. (n.d.). The effectiveness of forming merino wool in rehabilitating kidney failure patients (muscular-psychic) (Ph.D. dissertation under revision). King Abdel-Aziz University, Jeddah, Saudi Arabia. Porter, V. (2011). The modern art of the Middle East. In R.W. Hefner (Ed.), The New Cambridge history of Islam, Vol. 6: Muslims and modernity culture and society since 1800 (pp. 597–624). Cambridge, United Kingdom: Cambridge University Press. Rehan, M. (2015). Plastic dimensions of Kufc calligraphy as an approach to innovate silkscreen and stencil prints during the preparation of the learning program (Unpublished doctoral dissertation). Hel- wan University, Cairo, Egypt. Vivian, C. (2000). The Western Desert of Egypt: An explorer’s handbook (2nd ed.). Cairo, Egypt: Te American University in Cairo Press.

66 RESEARCHING EDUCATION THROUGH VISUAL INSTRUMENTS IN A/R/TOGRAPHY: PHOTOGRAPHIC IMAGES IN DOCTORAL DISSERTATIONS

Joaquin Roldan Jaime Mena-de-Torres University of Granada, Spain University of Granada, Spain

Noemi Genaro-Garcia University of Granada, Spain

Figure 1. Direct Visual quotation (Mena-de-Torres, 2015, p. 33). Use of visual abstract. 67 Te Role Images Play systematization. This is the case for both doctoral dissertations that we present here. What role should images play in the discourse on educational arts based research? Can an academic text organize knowledge Doctoral Dissertations as an Environ- through visual instruments that integrate ment for Methodological Development aesthetic qualities? Does research that uses Doctoral dissertations are a specifc genre images as its method of argument deserve within academic literature, a particular type a space in the scientifc feld? Is it necessary of document that usually presents one of the to establish research instruments in order to frst research projects of its author. Doctoral introduce images into an a/r/tographic re- dissertations are not only an entrance for research report? Does this contradict a meth- searchers into the academic feld, but it has odological approach? been demonstrated that they are very useful In this chapter we present two doctoral as a space for methodological experimenta- dissertations that have attempted to respond tion. By their nature, given the context of to these questions (Genaro-Garcia, 2013; their creation and development, they tend Mena-de-Torres, 2015). These research to deal with emerging, fresh and ambitious projects, developed at the University of Gra- work and they tend to be attentive to the lat- nada, tackle a working hypothesis of openly est methodological developments. integrating exclusively visual arguments. In In a little more than twenty years since recent decades, we have gradually become the first publications related to arts based accustomed to seeing images gaining space research were published, we can afrm that in new sections of research reports and doc- senior researchers have earnestly undertak- toral dissertations as images have begun to en the work of justifying the approach and il- perform unexpected functions. luminating the path (Eisner, 1998; Barone & What is most significant in these two Eisner, 2011; Irwin, 2010; Irwin & Springgay, research projects is not only a use of images 2008; Marin-Viadel; 2005, Springgay, Irwin, that is not restricted to the spaces and sec- Leggo, & Gouzouasis, 2008). However, it tions traditionally considered to be visually must be acknowledged that they have only inclined, but also that both projects use im- been capable of advancing when they have ages in a similar way. Tat is to say, stable walked in the company of doctoral candi- uses for the aesthetic in visual a/r/tography dates. In other words, doctoral dissertations have begun to be developed in doctoral dis- have become the primary focus for imple- sertations, which imply the development of menting best practices in arts based research equivalent instrumental forms. In research and are mainly responsible for the continued methodology, this fact is signifcant because growth of the methodological model1. it clearly signals that the feld of arts based Te advances developed through doc- research is demanding a certain degree of toral dissertations using these approaches

1 See www.artography.edcp.educ.ubc.ca

68 have been critical in achieving the current The way in which the aesthetic use of thriving state of arts based research. This information is produced in different sec- is due primarily to two reasons: (i) because tions of these two doctoral dissertations is those who have promoted these method- not in response to a whim or a moment of ologies since their beginnings belong to the inspiration by their authors. On the con- university community, and their eforts have trary, the functions and purposes of the use largely facilitated development and recogni- of artistic strategies, as well as the objective tion within the university’s academic envi- and the technique that they make use of are ronment of the value of projects that use art described precisely and specifically in the and images. Te frst step in accomplishing dissertations’ methodological section and this is through graduate student research. are designed explicitly as arts based research Te second reason, (ii), is because the innate instruments. This leads to an unequivo- freshness and daring ambition of doctoral cal approach for using images that is argu- dissertations has united with the embry- mentative, explanatory, and demonstrative, onic state of the methodologies that sustains rather than validating images exclusively as them, which has permitted and favored this narrative or rhetorical devices. Furthermore, methodological adventure. it provides the necessary methodological Te two doctoral theses that we present foundation and evidence that enables other here utilize artistic images to develop their researchers to debate or build upon this use introductions, to present key visual con- of images in research. That is to say their cepts, to cite the most significant authors, aesthetic use of information: (i) permits to present and to sequence their arguments, the validation of images as research instru- to present their hypotheses, to present their ments, and (ii) supports debate in the aca- critical positions and to deduce their conclu- demic environment, and/or (iii) justifes and sions. However, from our perspective, the promotes its use in other research contexts. most interesting aspect of these two doctoral Te development of arts based or image dissertations is that they introduce images based research tools has been an endeavor following pre-established standards, using that a group of researchers from the Univer- justifed and reproducible techniques with sity of Granada have dedicated themselves to objectives declared and explicitly described during recent years. Tis dedication comes before their use. from a certainty that this development is paramount for the growth and infuence of

Developing Research Instruments in artistic research methodologies. Without A/r/tography and Arts Based Research methodological systematization – that is to say, without the characterization, descrip- What converts these two dissertations into tion and systematic use of the techniques pioneering works in methodological devel- and strategies that belong to artistic research opment in visual a/r/tography and visual methodologies – it would be very difcult arts based research is precisely the efforts for these methodologies to improve as re- taken to describe and validate the instru- search methods, and, thus, to penetrate the ments that they develop and use. methodological paradigm currently in place

69 in universities and in the rest of the scientifc established tools such as the introduction of community. Thus, it is necessary to direct control groups, statistical studies and analy- our eforts towards the development of con- sis or the use of multivariables as appropri- trasting and verifiable techniques that can ate and efective research instruments for the have diferent uses, variable applications and scientific community; in visual arts based multiple functions, and that could be con- research, we should start to establish a suf- sidered specifc, useful, and functional for fcient number and variety of research tools the research purposes described. that have demonstrated their versatility, va- To put it in another way, just as qualita- lidity and efectiveness for the achievement tive research has established triangulation, of particular research results. the use of the participants’ observations, This does not imply a negation of the interviews or biographies, to be an appro- essence of aesthetic strategies that character- priate, useful technique with a long history izes a/r/tographic research. It only implies of use; and just as quantitative research has an efort to order and systematize the way in

Figure 2. Direct Visual quotation (Genaro-Garcia, 2013, pp. 116–117). Use of photo series.

70 which these aesthetic elements are utilized. images: they are created as critical images. Te relevance and usefulness of particular Each image arises from the artistic concepts artistic research instruments do not exempt that demonstrate the educational content the researcher from performing the same and objectives of each project. Te images efort of systematization that researchers in are the primary research results, but they the rest of the social sciences must perform. also contain the arguments and are used as rationale in diverse stages of the research project. Te researcher’s subjectivity char- Photo Series, Photo-essays and Vis- acterizes the whole process, with a notable ual Quotes as Educational Research self-narrating and autobiographical char- Instruments in the Visual Identity of acter since she makes herself and her own Teenagers (Genaro-Garcia, 2013) self-portraits the basis of subjective interpretation of the research results. Tis is one of the frst Spanish doctoral dis- The principle methodological instru- sertations that specifically addresses the ments that are used in the research project use of visual arts based research tools. Te for the analysis and discussion of the results author produces photo essays and photo are: the sequential series, the visual quote series composed of three types of images: and the photo essay. (i) visual quotes that have used the self- portrait as a visual method of research; (ii) self-portraits of the research project Sequential series participants; and (iii) self-portraits of the The sequential series is the most effective researcher. This combination of elements instrument for describing the process of analyzes, compares and creates arguments change. Normally a sequential series is or- based on artistic material. ganized through a coherent set of images One of the most unique strategies that show key phases in succession to dem- adopted for this project is that the researcher onstrate how the events unfolded. Order creates self-portraits as a way of substantiat- that is chronological, increasing, decreasing ing and connecting to other approaches to or visual is what generates the logic that the the self-portrait, such as to the work of the series proposes. Photography is especially most signifcant visual artists that have char- recognized for its capacity to ofer us instant acterized, described and substantiated the and repeated aspects and slight variations self-portrait as a research tool for research- that suits a description related to a sequence ing identity, gender, culture, memory and of events. All phases included in a sequential personal idiosyncrasy. series are crucial for comprehension of the The images make up the bulk of the described process. Te sequential series that research project, forming the beginning, we present here (Figure 2) is composed of middle and end of the project. The edu- eight photographs of ID cards of the author cational processes (a critical approach to of the project. Te eight photographs come the self-image during adolescence) are not from successive ID cards of the research described by text or simply illustrated by author. The succession is chronological

71 Figure 3. Direct Visual quotation (Mena-de-Torres 2015, p. 199). Use of explanatory photo-essay.

(Genaro-Garcia 2013, pp. 116–117). Other use original photographs from the research examples of the use of this instrument in- project (by the researcher and the par- clude Molinet-Medina (2010, pp. 100–101), ticipants) or the photo-essay can use visual Marin-Viadel and Roldan (2012a, pp. 72– quotes from recognized authors published in 73) and Genet-Verney (2013, p. 49). quality sources (see for example Mena-de- Torres, 2015, p. 199). Other examples of the use of this instrument are Roldan and Explanatory photo essay Marin-Viadel (2012, pp. 118–119) and based on visual quotes. Cepeda-Morales (2009, p. 20). This type of photo essay gives a visual explanation, structuring images and intercon- Interpretive photo essay necting them. It can deal with self-portrait Tis photo essay is primarily used as an photographs or photographs that document example of exposition and presentation a process. The photo essay can exclusively of results, in which particular aspects of

72 the research are interpreted and analyzed. In our research this type of photo essay is organized primarily with self-portrait photographs, for example, of the visual conclusions of the experiments that they present; they can then be accompanied by visual quotations or be original photos (Figure 4). Other examples of the use of this instrument include Rubio-Fernandez (2014, pp. 94–95) or Pérez Montañez (2010, p. 99).

Te Construction of the Visual Concept of Education based on the Visual Com- mentary and the Visual Chart (Mena- de-Torres, 2015)

In this doctoral dissertation the author endeavors to establish, in explicit detail in the methodology section, the nature and functions of two specific tools that are necessary to achieve the objectives of his research project: visual commentary of an image and the visual chart.

Visual commentary Visual commentary is a methodological strategy by means of which images are used to conduct observations, clarifcations or expla- Figure 4. Direct Visual quotation (Genaro-Garcia, nations of another image. Te author of the 2013, p. 67). Use of interpretive photo essay. commentary explores the image that is the object of study, through the evidence and emphasis that is produced through visual means. Tis exploration is accomplished without the existence of a translation into a written medium. Visual strategies typically used in the analysis of paired images are strategies of comparison, continuity, extension, contrast, analogy, metaphor, metonymy, movement/ translation, association, identifcation, etc.

73 Figure 5. Direct Visual quotation (Mena-de-Torres, 2015, pp. 112–113). Use of specifc visual commentary.

In the visual commentary of an image, we can have visual commentary on a single the visual essay is the fundamental method page where the visual discourse is positioned of organization as it permits a fairly exten- around the analyzed image, or it may occur sive discussion through the relationships when that visual discourse is a succession of and overlapping that the set of images es- visual essays in which not all are positioned tablishes with the image that is being com- beside the analyzed image. mented on. A strict and stable organization A visual commentary can be combined of visual discourse does not exist, but rather simultaneously with both visual quotes and can materialize in many ways. The way of original images by the commentator. To dis- organizing the commentary will vary in the tinguish the authorship of the images that function of the image that is commented are used, we can highlight, among others, on, in the objectives of the research, and two models of visual commentary. even by the selected visual model. Hence,

74 Fragment by fragment analysis that they want to comment on. Character- Fragment by fragment analysis is composed istic of fragment by fragment analysis, we of a group of image fragments extracted organize the analysis of the content from a from the analyzed image. Trough the place- selection of image fragments without need- ment of the fragments, it tries to underline, ing to include images by other authors. Te highlight and explain the signifcant details main advantage that this visual analysis tool

Figure 6. Direct Visual quotation (Mena-de-Torres, 2015, p. 215). Use of visual charts.

75 presents is the formal coherence that the im- their content in qualitative terms. One of the ages retain that then shapes the visual com- potentials of arts based methodological ap- mentary into a set (see for example, Mena- proaches is that it permits the introduction de-Torres, 2015, p. 109). Another example of of the unique and singular experience of the the use of this instrument is that of Marin- world through scientifc and systematic re- Viadel and Roldan (2012b, see p. 121). search processes. Te way in which we organize ideas, but also, the way in which we arrange images, Specifc visual commentary allows us to visualize how we view, analyze Specific visual commentary is composed and conceptualize the world (Siegesmund, primarily of images created by the commen- 2014; Varto, 2013). Te visual chart provides tator, with the specifc purpose of making a structure whereby the use of a visually spe- a comment. Te distinctive feature of this cifc grammar makes it possible to relate, ar- analysis tool resides precisely in how the ticulate and exhibit in a concise form the as- author of the comment has to produce the sociations that are born through the research. necessary images for the study. To visually The visual chart permits the arrange- comment through one’s own production ment and grouping of images according to of images implies a prior, thorough and concepts. Tis organization systematizes the comprehensive review. From this review a visualization of results allowing the qualita- specific aesthetic and a series of complex tive analysis of the conceptual and aesthetic associations and symbolic, formal and aes- relationships of the images that the chart thetic relationships with the analyzed work is comprised of. The intersection of data are generated. Tis does not imply emulat- is presented through charts where visual ing or performing visual alliteration, but strategies, aesthetics and thematic terminol- rather it implies questioning the studied ogy connect or dissociate the data. Trough work based on the aesthetic and concep- these three elements the visual exposition tual questions and answers that are asked and argumentation is realized, based on and resolved in the terminology of the ana- how each of the creators of the visualized lyzed piece. The main advantage that this aspects or images constructs specifc con- instrument has is visual coherency within cepts based on aesthetic and thematic ques- the set of images (Figure 5). Another ex- tions. Visual charts confgure a sufciently ample of the use of this instrument can be broad map that synthesizes the idea, strat- found with Pérez-Cuesta (2010, see p. 43). egy and visual perspective posed by the images that comprises the chart (Figure 6). Another example of the use of this instru- Visual chart ment is in Marin-Viadel and Roldan (2014, Among other tools of Visual Arts Based see pp. 92–93). Research or A/r/tography, the visual chart stands out as a method of organization, visualization and comparison of images and

76 Visual a/r/tography References research instruments Barone, T., & Eisner, E. (2011). Arts based re- In this chapter we have tried to justify the search. London, United Kingdom: SAGE. necessity of defning and validating several Cepeda-Morales, M. A. (2009). Narrativas research instruments in visual a/r/togra- cinematográficas y discursos visuales en phy. Similarly, we have tried to demonstrate investigación: Cómo construir fotoensayos several image based research instruments, a partir del cine [Cinematographic nar- characterizing them and connecting their rative and visual discourses in research: results with other research projects in which How to build photo-essays based on cin- the instruments have been used in diferent ema] (Unpublished master’s thesis). Uni- contexts. We understand that this work has versity of Granada, Granada, Spain. not been completed and is only beginning. Eisner, E. (1998). Te enlightened eye: Quali- Tis work should continue into the future, in tative inquiry and the enhancement of order to strengthen the development of arts the educational practice. London, United based methodologies (Gutiérrez, 2014, p. 32). Kingdom: Pearson. To meet current regulations, doctoral Genaro-Garcia, N. (2013). Te photographic dissertations in Spain should justify their self-portrait as an educational strategy for validity by combining their final reports the construction of the gaze in adolescence with publications in the better professional (Unpublished doctoral dissertation). Uni- research journals. Tis links the professional versity of Granada, Granada, Spain. editorial feld with the academic feld. Given Genet, R. (2013). Learning from the city to that these two fields currently do not as- teach from the city. Visual art based edu- sume the same criteria for the admission and cational research in primary social teacher validation of research reports, it is urgent training (Unpublished master’s thesis). that they take steps to validate the methods University of Granada, Granada, Spain. and instruments belonging to arts based re- Gutiérrez, J. (2014). La interpretación de las search, so that they can be recognized not Metodologías de Investigación Basadas only in the university academic community, en las Artes, a la luz de las metodologías but also in professional felds of study. We cualitativas y cuantitativas en la Investi- understand that it would be necessary to gación Educativa [An interpretation of establish three interventions: (i) to promote methodologies and arts based research specialized journals that permit the publica- in the light of qualitative and quantita- tion of image and arts based research; (ii) to tive methods in educational research]. In promote the discussion with current pub- R. Marin-Viadel, J. Roldan, & X. Molinet- lishers and journals; and (iii) to design and Medina (Eds.), Fundamentación, crite- disseminate methodological standards that rios y contextos en Investigación basada en favor the admission of arts based research. Artes e Investigación Artístic [Foundation, criteria and contexts in arts based research and artistic research] (pp. 25–42). Granada, Spain: University of Granada.

77 Irwin, R. L. (2010). Becoming a/r/tography. tions. In R. Marin-Viadel, J. Roldan, & F. Studies in Art Education, 54(3), 198–215. Pérez-Martin (Eds.), Strategies, techniques Irwin, R. L., & Springgay, S. (2008). A/r/ and instruments in arts based research and tography as practice-based research. In artistic research [Estrategias, técnicas e in- S. Springgay, R. L. Irwin, C. Leggo, & P. strumentos en Investigación basada en Gouzouasis (Eds.), Being with a/r/tog- Artes e Investigación Artística] (pp. 92–93). raphy (pp. xix–xxxiii). Rotterdam, The Granada, Spain: University of Granada. Netherlands: Sense. Mena-de-Torres, J. (2015). Construction Marin-Viadel, R. (2005). La investigación of visual concept of education. Views of educativa basada en las Artes Visuales o education through art photography, press ArteInvestigación Educativa [Visual arts photography and photography by students based educational research or educational (Unpublished doctoral dissertation). Uni- arts research]. In R. Marin-Viadel (Ed.), versity of Granada, Granada, Spain. Investigación en educación artística [Re- Molinet-Medina, X. (2010). Refejos [Refec- search on arts education] (pp. 223–274). tions]. Sequential series organized with Granada, Spain: University of Granada. fve digital photographs by de Alejandra Marin-Viadel, R., & Roldan, J. (2012a). Una Ruíz Esparza and fve digital photographs pregunta en la biblioteca [A question by Joaquin Roldan. In J. Roldan & M. at the library]. Sequential series organ- Hernández González (Eds.), El otro lado. ized with three digital photographs by Fotografía y pensamiento visual en las authors. In J. Roldan & R. Marin-Viadel, culturas universitarias [The other side. Metodologías Artísticas de Investigación Photography and visual thinking in uni- en Educación [Artistic Methodologies in versity cultures] (pp. 100–101). Aguas- Educational Research] (pp. 73–74). Gra- calientes, Mexico: Autonomous Univer- nada, Spain: Aljibe. sity of Aguascalientes. Marin-Viadel, R., & Roldan, J. (2012b). Tres Pérez-Cuesta, G. (2010). Historias visuales analogías visuales en la fotografía de Eve del docente universitario: cuatro retratos Arnold titulada “Silvana Mangano en el del profesorado a través de David Hockney Museo de Arte Moderno” [Three visual [Visual histories of the university profes- analogies in the picture of Eve Arnold sor: Four portraits of the teaching staff entitled “Silvana Mangano at the Mu- through David Hockney] (Unpublished seum of Modern Art”]. In J. Roldan & master’s thesis). University of Granada, R. Marin-Viadel, Metodologías Artísticas Granada, Spain. de Investigación en Educación [Artistic Pérez-Montañez, A. (2010). El Disfraz Fo- Methodologies in Educational Research] tográfico como instrumento de cono- (p. 121). Granada, Spain: Aljibe. cimiento autobiográfico [The photo- Marin-Viadel, R., & Roldan, J. (2014). Jus- graphic costume as an instrument of tification for table, numerical and visual autobiographical learning] (Unpublished frequency of distribution, n.1: Visual chart master’s thesis). University of Granada, organized with three direct visual quota- Granada, Spain.

78 Roldan, J., & Marin-Viadel, R. (2012). Me- todologías artísticas de investigación en educación [Artistic educational research methodologies]. Granada, Spain: Aljibe. Rubio-Fernandez, A. (2014). La metáfora educativa a través de la escultura: Una metodología artística de enseñanza [Te educational metaphor through sculpture: An artistic teaching methodology] (Un- published master’s thesis). University of Granada, Granada, Spain. Siegesmund, R. (2014). On the need for arts based research: A response to Pariser. In R. Marin-Viadel, J. Roldan, & X. Molinet- Medina (Eds.), Foundation, criteria and contexts in arts based research and artistic research (pp. 103–118). Granada, Spain: University of Granada. Springgay, S., Irwin, R., Leggo, C., & Gouz- ouasis, P. (Eds.). (2008). Being with a/r/tography. Rotterdam, Te Netherlands: Sense. Varto, J. (2013). Otherwise than knowing. Helsinki, Finland: Aalto University.

79 SURROUNDING EXPERIENCES: HOW MY DISSERTATION USED EMBODIED ARTS-BASED DATA CREATED THROUGH LIVE-ACTION ROLEPLAY

Jason Cox Te University of Toledo, United States of America

Live-Action Role-Playing premise to imagine the school in which they role-played scenarios using American free- In my dissertation, I used live-action role- form (live-action role-playing games) (Stark, playing as a form of embodied arts-based 2014) over the course of four sessions. Te research. I reasoned that since, as Patricia “American” aspect of American freeform Leavy (2015) writes “social reality is expe- differentiates it from the Nordic larp and rienced from embodied standpoints,” as- Jeepform traditions it draws from by indicat- suming a diferent standpoint would allow ing the inclusion of American larp culture, an art educator to gain a broader sense of a which tends to be more concerned with perspective, such as from those of a student emotional safety, and the cultural concerns or an administrator (p. 152). Te community present in the games, which here were situ- of inquiry (Irwin, 2004) that participated in ated in the American educational system. my dissertation, a group comprised of four – As a starting point, we used my larp including myself – professional art educators What to do About Michael?, which illus- and one pre-service art educator, used this trated Michel Foucault’s (1977) claims re-

80 garding the ways community members are ferent characters, and played in scenes that unwittingly transformed into instruments took place in numerous times and places in- of authority. Te larp disrupted participant cluding around a tense family dinner table, assumptions that those transformations only a confrontational parent-teacher meeting, occur in systems other than their own, a and even as the emotions inside Michael’s tendency I had recognized in myself during own head. my research. In the larp, players took on the roles of staf, teachers, or administrators. Te way a role was played is dependent on the Capturing Embodied Knowledge personal experiences of the players, who in In this chapter I describe how these embod- this case were all working within educational ied examples of fction-as-research (Leavy, systems, and did not propose to show exactly 2015) functioned to allow the community to what it was to fll that role, so much as invite refect on their actual lives as artists, teach- participants to “begin with the overly famil- ers, and community members. Te larp was iar and transfgure it into something difer- similar to other embodied arts-based re- ent enough to make those who are awak- search, such as dance, music, or theatre in ened hear and see” (Greene, 1988, p. 129). three ways: (i) a practitioner is simultane- By envisioning what a world might look ously a medium, an artwork and a research- like from another perspective, they gained er; (ii) sensory output and input mirrors so- a new sense of how they had been seeing it cial phenomena that intersect with culture, from their own. Te characters in the larp identity, and the fow of power, (iii) it needs were meeting to discuss the future of a boy to be experienced to be in existence, and named “Michael,” who had attacked another once completed it exists only as a memory student. Tis event was representative of my (Leavy, 2015). In efect, the larps were social experiences as a classroom teacher as well artifacts that illustrated the process of real- as Foucault’s lived experiences in education ity construction for individuals and cultures (Miller, 1993). (Riessman, 2008) by inviting participants to Using my larp as a framework, the com- imagine events as perceived in diferent con- munity created a diegetic world centered on texts by diferent characters. Te embodied “Te Indigo School,” a K-8 charter school nature emphasized the relationship between that was home to a diverse economic and context, thought, and action, a connection sociological population and that had re- that Freire (2005) claims makes each person cently come under new leadership. The responsible for cultivating a society. first characters were the school’s interim Te embodied knowledge produced in principal, a pair of guidance counselors, a our sessions was, by defnition, ephemeral. novice second-grade teacher, and a veteran In the words of analog game designer, writ- seventh-grade teacher. Before the end of the er, and theorist Bernard De Koven (1978), frst session we had also role-played sessions games are art-like social fctions that “exist with Michael, the student he had attacked, only so long as they are being continuously and that student’s mother. Over the course created” (p. 3), which engendered chal- of the four sessions we created nineteen dif- lenges particular to the data. Because in my

81 research games are an artistic media, this Forms of Data challenge was complicated by Elliot Eisner’s jagodinski and Wallin (2013) suggest that (2008) observation that knowledge is not artistic events can be described as an as- presented literally in works of art, but rather semblage of poeisis, praxis, and aisthesis. as an empathic experience. Experiences in Poeisis is the visceral and lived experience the research tied together the identities and of “making,” the transitory act that expires places the players created with their own, as it is created. Praxis represents the idea of which added another layer of complexity. “doing” a thing, often associated with will Tese challenges are an essential char- and thought, and generally represented as acteristic of arts-based inquiry, as proposed transformation. Aisthesis, which supplies by John Law (1999), most known for his “sensing,” differs from aesthetics in that it work with Actor-Network Teory (ANT). does not refer to an intellectual evaluation of Law notes that such complexity can be an encounter, but to sensations and percep- more representative of experiences, and tions that are felt when we encounter works challenges the “notion of theory that says of art. I developed instruments to represent that it is or should necessarily be simple, and record these components, each a difer- clear, transparent” (p. 8). Arts-based in- ent combination of time, place, and medium quiry was the ideal tool to investigate that that represented multiple views and explored complexity because, as Graeme Sullivan the participant’s perspective (Stone-Media- (2010) writes, the inquiry is an experience tore, 2003, cited in Hunter, Emerald, & Mar- through which we interpret our senses in tin, 2013, p. 96). Te data produced in the order that we might fnd pattern and mean- session was embodied fiction-as-research ing. Nevertheless, the difculty of capturing (Leavy, 2015), oriented towards participants that meaning was signifcant in my particu- rather than an external audience as in most lar case, given the movement to larp as em- fction-based research that expressed and ex- bodied fction-as-research. plored what participants thought about edu- Te key to describing and understanding cational communities and the relationships these experiences was not to attempt to chan- therein. Meanwhile the discussions and de- nel it into a single form of data, but to ap- pictions of events which emerged from the proach it from multiple perspectives, which group discourse at the beginning and end of intersected and surrounded the experience each session connected the professional lives (Sullivan, 2010), and to provide an in-depth of participants to their diegetic encounters exploration of relationships that were both and provided a source of personal narrative local and complex. My method for doing so inquiry (Schwandt, 2007; Leavy, 2015) that I was necessarily refexive to the larps them- used to identify emergent themes and con- selves, an emergent event wherein data was clusions in the research. created, explored, interpreted, shared, and Because poeisis exists “in-the-moment,” created again. Te collection of the data sup- it proved the most difcult aspect of an ar- plemented the embodied fctions. tistic encounter to capture. To do so I used what freeform larps refer to as “the debrief”

82 (Stark, 2014), a period afer players have en- as well as the lived quality of “poeisis.” Te acted a group of scenes, during which they domain of praxis also utilized what I called refect, consider emotions they felt, transi- the “pre-brief.” During the pre-brief we dis- tion back to “real life,” and address potential cussed previous sessions, considered the problems between players. While a lived, developing narrative, and asked ourselves poeitic experience cannot truly be quanti- what concepts or spaces we would investi- fed and known, this liminal space between gate next. For example, the majority of the “play” and “reality” allowed for data that is participants were interested in whether semi-poeitic in character. Te emotions and Michael would be allowed to continue at his ideas that arose from having embodied the school, and so we role-played a confronta- experience lingered in a less-processed state tion between school administrators and that Hans (1981) calls a state of play, “an ex- Michael’s parents as the final scene of the periential mode of confirming or denying last session. Te most perceptible meaning- the connections we make with our world” making occurred during these times be- (p. 12) that precedes any linguistic approxi- cause, as Greene (1988) wrote, “only when mation of experience. Te participants had individuals are empowered to interpret the not had time to completely rationalize them. situations they live together do they become This was vital to the discourse within able to mediate between the object-world the community of inquiry because it meant and their own consciousness” (p. 122). the act of discourse functioned as a col- During the pre-briefing we examined laborative and emergent act of meaning- artifacts players created in the interval be- making, the “doing” represented by praxis tween sessions. Tese artifacts represented aisthetic data, the visceral force of art that is “sensed” rather than categorized. Te objects embodied the relationships between the players, characters, and contexts through which they were linked. By visualizing these perceptions, participants became more aware of their own view of the extra-diegetic world in the schools and classrooms of their professional lives, which in turn increased their ability to alter that world and how they interacted with it. Participants noted that they felt more able to empathize with students with whom they had struggled and for the unique pressures administrators faced, and they therefore modifed their behavior to support needs of people and situations diferently than they would have previously. Figure 1. Michael’s Facebook page by (John Te artifacts rendered imagery that was in- Paul) (Cox, 2015, p. 186). tuitive and interpretive, a fact which distin-

83 to here by the pseudonyms that they chose: John Paul, Jenny F., Danielle S., and Juniper M. Teir experiences have been illustrated through their visual artifacts, quotes, and my interpretations thereof. John Paul taught Art at a Middle School. He used his artifacts to further his understanding of the characters he played, and of his own real-life students. John Paul constructed the image of a Facebook page for Michael (Figure 1), whom he played, by imagining what his own students would have made. He later returned to the verisi- militude of this method by submitting a torn page from Michael’s sketchbook (Figure 2) that he said the seventh-grade teacher W. R. Bechtle (whom John Paul also played) had found in his classroom.

Figure 2. Torn page from Michael’s sketchbook (John Paul) (Cox, 2015, p. 221). guishes them from the linguistic methods utilized to collect and present other participant data. Te combination of the pre-brief and artifact sharing was also a space that placed a spotlight on the individual eforts of each participant and allowed the community to engage in a collaborative visual analysis (Riessman, 2008).

Drawing from the Data This data is drawn from transcripts of the games, group discussions and individual in- Figure 3. Michael’s portrait as a flter (John terviews with participants, who are referred Paul) (Cox, 2015, p. 222).

84 For Bechtle the picture justified his suspicions that Michael needed psychiatric help, and so he kept it as “evidence,” whereas for Michael it had merely been a doodle he did not care about and had discarded. It is important to distinguish that Bechtle and Michael’s opinions existed separately from John Paul’s, and that whether Michael needed psychological intervention was only a narrative device for exploring the relationships between the characters. John Paul also submitted a picture (Figure 3) Michael drew for how he sees himself: as a flter that “takes bullcrap miasma and condenses it, pressurizes it, and spits out bullcrap sludge.” However, John Paul said that Michael is not as profound as he thinks, because while he “believes he is good at separating bullcrap and finding truth” there is little difference between the gaseous and the solid waste in Figure 4. Jim’s Relationship with Michael the image. (Jenny F.) (Cox, 2015, p. 202). According to John Paul the larp caused him to “reconsider what am I saying, how am I saying it, and why.” He reflected that this afected what he saw as the benefts of being a risk taker, and of encouraging that behavior in others, and said that:

If you’re always afraid to be wrong, you are never going to be able to create anything original. Because you can’t step outside of what is known, you can’t step outside of what is already in the textbooks. Yeah, that’s where you fail, but that’s also where things happen, that’s where you suc- ceed, and that’s where you do things that have never been done before.

Figure 5. Intended/unintended infuence Jenny F. taught elementary art, and the ar- (Jenny F.) (Cox, 2015, 218). tifacts she created reflected her concerns

85 with perceptions of relationships in families and at schools. Sometimes this represented a character’s perspective, as was the case in her oil pastel illustration (Figure 4) of her character’s perception of the relationship with his son Michael. Tere was what he thought it had been and should be, a space of happi- ness made of light areas and gentle curves, and the disconnection he now felt between them, shown by the black vortex in the pieces center. Tis piece was a direct reaction to two tense “family dinner” scenes we had played, at which times Jim was trying to force his family to be what he thought they should be by being a forceful authoritative presence. Other times, as in her tempera painting (Figure 5), she ofered her own perspective. Tis painting described the far-reaching importance of one person’s actions, with the purple lines indicating the purposeful ways in which the figure influenced the world Figure 6. People as layers (Danielle S.) while the multitude of other lines repre- (Cox, 2015, p. 187). sented infuence the fgure was unaware of. While this was not a new idea for Jenny F., she felt the larp experience ofered a diferent conception of what it actually meant. Jenny F. said that “obviously I was pro- jecting my own life experiences into my characters. But I was reaching, trying to reach, into what might be going on in other students’ lives” (Cox, 2015, p. 277). A part of that reaching took the form of the authority fgures those students encounter, as Jenny F. played Michael’s father Jim and the second- grade teacher Jenny Fairborn. She realized afer having created and played those characters that she had unintentionally drawn on her perceptions of her own parents, that she had replicated behaviors and actions to represent herself as “an authority,” which was not a comfortable realization for her. Figure 7. Barb’s character web (Danielle S.) (Cox, 2015, p. 201).

86 Danielle S. was a pre-service art educator, and she created artifacts that abstracted relationships and people to illustrate ideas and feelings that were normally invisible. Her frst artifact (Figure 6) portrayed people as a series of layers, the outer perceptions hiding the true core of a person from the world. She referred to Michael’s attitude as an example of this metaphor, his rage represented by a ring of red while his sadness remained obscured. Later, Danielle S. drew up a web for Michael’s mother (Figure 7), whom she played, which was informed by the development of the relationships experienced during play. Trough the creation of that map Dan- ielle S. realized her character’s feelings that life had not turned out as she had expected it would, and that informed the character’s desire to pretend that everything was as it Figure 8. Michael’s emotions (Danielle S.) should be family. If everyone was happy, or (Cox, 2015, p. 217). could be seen to be happy, then her personal sacrifce would have been worthwhile. Tis is why the character drank to excess in private, why she insisted to the children that her love of them gave her special knowledge of their needs, and why she united with her husband to insist her son would continue at the school. Danielle S. united her perception of relationships in her abstraction of Michael’s emotional turmoil (Figure 8), which refer- enced a scene in which she had portrayed the voice of Trust in his mind while other participants played Anger, Depression, Guilt, and Michael himself. In the drawing, Michael’s core being was depicted as a layer of yellow that was covered in layers of emotion that hid that core and changed how it Figure 9. Sean Mitchell (Juniper M.) was perceived. Danielle S. wanted the piece (Cox, 2015, p. 185). to appear frenetic to represent Michael’s

87 frustration, while the star in the center would pull him forward. The value of hope represented in that final drawing was an important aspect to Danielle S.’s perspective. She had said during one session that conclusions are in some sense always arbitrary because “we go on,” though we might see ourselves or be seen by others is a transitory state. Therefore, when she played the emotion of “Trust” in Michael’s mind, it was with the thought that “It’s just there. It’s just white noise right now maybe, but maybe later on you’re going to fnd it’s ingrained in you. Tat maybe fnally, maybe, it’s going to come up.” Juniper M. was an Elementary Art educator, whose artifacts tended towards portraits that incorporated imagery or text that complicated appearance-based assumptions. Her sketch of the interim principal (Figure Figure 10. Hayley’s scrapbook page 9) included a “recipe” to create him: “a pinch (Juniper M.) (Cox, 2015, p. 200). of Mr. R., a dash of assumption, one cup of sifted personal identity, and a heaping ta- blespoon of discretion. Serve with caution and prudence.” Her rendition of Michael’s “perfect” older sister was represented by the orderly and emotionally intense scrapbook page she created (Figure 10), through the creation of which she realized she had much in common with the character. She also drew Michael (Figure 11) as she pictured him: alone, surrounded by the things he thinks he is supposed to be, but is not, and thinking of himself as “a round peg that doesn’t ft in anywhere.” In the larps, Juniper M. intentionally created several characters based on people she had known. Trough the games she refected on people she may have misjudged, on the difficulties school authorities have Figure 11. Round peg, square hole to navigate, and on how she wanted to see (Juniper M.) (Cox, 2015, p. 219).

88 herself in the future. She stated that she “was jagodinski, j., & Wallin, J. (2013). Arts-based able to come to understand these really in- research: A critique and a proposal. Rot- tricate relationships, and drives, and desires terdam, Te Netherlands: Sense. of administration, and parents, and teachers, Law, J. (1999). Afer ANT: Complexity, nam- and students… I just don’t know that I could ing, and topology. In J. Law & J. Hassard have gotten that any other way other than (Eds.), Actor network theory and afer (pp. actual life experience. Tere is no textbook, 1–14). Oxford, United Kingdom: Blackwell. there is no traditional class that would have Leavy, P. (2015). Method meets art: Arts- provided that learning.” based research practice (2nd ed.). London, United Kingdom: Te Guilford Press. Miller, J. (1993). The passion of Michel References Foucault. New York, USA: Simon & Cox, J. (2015). American freeform [Pupper- Schuster. try performance]. Retrieved from http:// Riessman, C. (2008). Narrative methods for coxart.weebly.com/artwork.html the human sciences. Los Angeles, USA: De Koven, B. (1978). Te well-played game. SAGE. Garden City, USA: Anchor Books. Schwandt, T. (2007). Te SAGE dictionary of Eisner, E. (2008). Art and knowledge. In J. qualitative inquiry (3rd ed.). Los Angeles, Knowles & A. Cole (Eds.), Handbook of USA: SAGE. the arts in qualitative research (pp. 3–12). Stark, L. (2016). Pocket guide to American Tousand Oaks, USA: SAGE. freeform. Scotts Valley, USA: CreateSpace. Foucault, M. (1977). Discipline and punish: Sullivan, G. (2010). Art practice as research: The birth of the prison. New York, USA: Inquiry in visual arts (2nd ed.). Tousand Pantheon Books. Oaks, USA: SAGE. Freire, P. (2005). Pedagogy of the oppressed (M. B. Ramos, Trans.). London, United Kingdom: Continuum. Greene, M. (1988). Te dialectic of freedom. New York, USA: Teachers College Press. Hans, J. H. (1981). The play of the world. Amherst, USA: Te University of Massa- chusetts Press. Hunter, L., Emerald, E., & Martin, G. (2013). Participatory activist research in the glo- balised world: Social change through the cultural professions. Dordrecht, Te Neth- erlands: Springer. Irwin, R. L. (2004). A/r/tography: Render- ing self through arts-based living inquiry. Vancouver, Canada: Pacifc Educational Press.

89 II

Enfeshing

enfesh / en’feSH , en / v. [Also enfeshing]. 1 a The act or action of generating insights with, in and through bodily form. b opening emergent scholarship that is an embodied engagement, an incarnation of self-in-relation to post-humanist becomings. c An expressions of new forms and understandings of materiality, a geo-mapping of immanence and the affectivity of the capacities“dividuals,” (as Clough reads Deleuze through the lens of Massumi). d Unfolding spectral social imaginaries of when is art by seeking sustainability in uncertainty, where intellectual value resides in our nomadic wanderings.

90 WHERE SHOULD WE BEGIN TO “RETHINK” OURSELVES? ARTEDUCATION: A TALE THAT EMERGES FROM A COLLECTIVE

Mª Jesús Agra Pardiñas Cristina Trigo Martínez University of Santiago de Compostela, Spain University of Santiago de Compostela, Spain

I think in myself in and from the other. Meeting Point and Some Script Ideas We write about our own shared feel- Meeting point: Who are we? In 2012, at the ings that come out from art processes. Faculty of Education in Santiago de Compos- I want to answer this frst emotional tela, Spain, we created C3 as a collective of impulse with provocation. We have teachers and investigators working together to provoke the listener to think on his/ as a cell. We understand “cell” as a new way her own. (Sampedro, 2014, p. 24) of art and educational activism (arteducativism) that has been updated to be a structure Taking this quote as a starting point, we want able to operate in any situation and context. to share with you the creation of C3, a cell of Tis new way of action should not compete art/educational resistance, and to gather art with other organizations because many of us memories of fond and exciting meetings por- are interested in similar directions. Terefore, trayed through interwoven feelings among we should collaborate and be a complement pupils, teachers, communities, contempo- to other forms of action. With C3, we hope rary art and methodological approaches, that to activate and encourage many people who is to say, shared processes in order to live the are working in classrooms, on computers, or present as a resistance space. in the streets. We believe activists are quali-

91 fied, involved individuals who can cause University of Girona, Spain, and the Univer- changes in the system. sity of Oporto, Portugal, and in the Fine Arts C3 expands upon proposals of refection Faculty at the University of Vigo, Spain, and and contemporary artistic action. Te goal of Philosophy Faculty of the University of Bel- this collective is to bring to light new meth- grade, Serbia. Occasionally others are added ods of teaching and exploring them further. to our group. People participate not only It is also a way of stimulating ideas towards from their specific professional field but a vindication of spaces where art and educa- also from a perspective of others, that is to tion may live inside the state system where we say, that a museum educator could also act hope our proposals achieve these purposes. as a visual artist and a researcher. Teaching Trough a construction of complex spaces of and researching are always related. Identity, intersection, negotiation and dialogue among context and environment are the felds that art, artists, mediators, teachers and education, become pieces of our lives, jigsawed togeth- we do not try to emulate the other, but look er like a puzzle. Everything we experience for an interweaving of diferences as transfor- can turn into an idea, a discussion, a text, a mation forces. Te educational result of these project, a process or an action. projects is the unavoidable art process. Contemporary artistic and cultural Every art and pedagogical project gen- practices, realities and everyday stories are erates value because they mix people, collec- like our own raison d’être. Afer many de- tives and many organizations, and through bates and refections upon art and education, their inter-relational frictions, new learnings we created the term Arteducation. Te key arise. We should not forget that learning for this new word has been the text of Luis mainly means changing. Tere is no learn- Camnitzer that says: ing if people are not transformed. Currently C3 is coordinated by María Neither art nor education is a word Jesús Agra and Cristina Trigo. Teir collabo- that reveals the disciplinary divi- rators are: Carmen Franco, Teresa Eça, Ana sion that forces knowledge to be frag- Vidal, Daniel Vilas, Inés Sánchez, Manuel mented. It is a criticism that proposes Miguéns, Guillermo Calviño, Olalla Corti- to us a challenge in order to begin to zas, José María Mesías, Silvia Capelo, Carol generate systems of creative orders Gillanders, Angela Saldanha, Luis Baizán, and to do it creatively. It is a state- Joán Vallés, Maja Maksimovic and Silvia ment looking for a word that still does Garcia. We are an interdisciplinary group, not exist. (Camnitzer, 2013, para. 2) who live Arteducation through different experiences and come from different pro- Arteducation, without the pause in between, fessional backgrounds: primary and second- seems to us the most appropriate term be- ary teachers, visual artists, art historians, cause art and education stimulate and con- researchers, designers, museum educators, firm the knowledge fragmentation into teachers of didactics of artistic expression subjects and specializations that tend to be from faculties of Educational Sciences in the isolated in diferent compartments. It is the University of Santiago de Compostela, in the word that defnes our vital attitude because

92 it condemns the discipline division. This rather than boxed in from outside, term is a statement which re-defnes words education here becomes the site of a giving them a meaning to suit the aims for coming-together of the odd and un- what they had been created. expected—shared curiosities, shared Contemporary artistic practices make subjectivities, shared suferings, and visible all the relationships between an in- shared passions congregate around dividual and their context; they break uni- the promise of a subject, an insight, directional practices and question the world a creative possibility. Education is as such. Trough artistic action, we want to by definition processual—involving stimulate, to provoke, and to give visibil- a low-key transformative process, it ity to current arteducational methodologies. embodies duration and the develop- We want to use all the possibilities that con- ment of a contested common ground. temporary artistic manifestations give us to (Rogof, 2008, p. 6) be able to have a voice and be heard. We wanted to work together, so we If the desire to do art research is our meeting decided to create a space (C3), not on the point, our source of study is the reality and margins, but among individual researchers, the map in which we are situated. Despite the research projects, art works and learning en- changes that are taking place in university vironments. In the centre of C3, this group programs of study, the increase of research talks and works without established routes art education programs, the increasing pres- and lines of thought. We provoke conversa- ence of museums and art centers in the last tions and we try to turn our own Arteduca- 30 years, or even the development of interest- tional concerns into actions. We understand ing projects in which art is interrelated with these actions as vital movements and as a way different knowledge fields, the situation in of looking into our own self, learning from which we live as professionals, who believe one another, questioning educational con- in a vision of education taught through concepts, as pedagogy, didactics, artistic prac- temporary artistic practices, does not satisfy tices, teaching, and personal development. us. Tere is a need to renew and rejuvenate our premises, concepts, and methodologies

Ideas for a Script: to be able to vinculate the Arteducational practice with diferent realities for the future. How (the education) can it be more Therefore, we react against passivity than the site of shrinkage and disap- and the lack of artistic space. We try to look pointment? And why at this particu- for other intellectual and artistic territories lar moment? Because, with Bologna which allow us to be what we want to be: and all its discontents, this moment Arteducators, process generators under con- is also seeing an unprecedented struction. On the basis of refection and in- number of self-organized forums vestigation, we look for artistic activism! emerging outside institutions, as well as self-empowered departures inside Teaching arts must go further than institutions. Propelled from within simply teaching learners specific

93 skills, practices, and bodies of knowl- education in our country” (Congreso Iberoa- edge. Terefore, in addition to studio mericano de Educacion Artistica, 2008, p. 6). competency, Art Education programs When it comes to cultural contexts should move toward broader teacher (Spain and Portugal), visual art teachers and preparation. Art teachers should be educators confront a situation which gets encouraged to draw on the skills of more complex with time, and in which all other artists, including those from the potential, the energy and the strength of other disciplines, while also develop- our collective may become completely neu- ing the skills required to cooperate tralized by government cutbacks that pro- with artists and with teachers of other voke a progressive diminishing of resources, subjects in an educational setting. and therefore, the quality of our very impor- (UNESCO, 2006, p. 9) tant and needed work decreases. In the context of this socioeconomic crisis, generated We do not want to be in this silent place we by global and neoliberal consultants, there have been allocated. As main characters of are some people who insist on breaking this story, we participate in the making of down the basic principles of quality public this narration. We have to be responsible education and leaving artistic education in “assuming our personal and social responsi- a residual space. Nowadays, the economic bility as the leading role actors of the artistic situation is, of course, behind our declining

Figure 1. Action: FREE THINKING Figure 2. Action: ANY PLACE IS OUR CENSURED. DO NOT GO TO SLEEP WITH LABORATORY OF IDEAS. Primary FAIRY TALES! Primary Education second Education second year pupils. Faculty year pupils. Faculty of Education. University of Education. University of Santiago de of Santiago de Compostela, Spain.1 Compostela. Spain.

1 The images used are from the authors´ archive. C3 are grateful to the authors of the images, to the people and places, which appear on them, for giving us the necessary legal authorizations for this publication.

94 educational system and we believe, clearly contact with art work or action. In this way benefts private institutions. a learning space is constructed with the par- As visual art teachers and educators in ticipation of the spectator and with collec- the university system, we feel we are being tive proposals that open new possibilities for ignored. If we keep quiet, we will only have training and transformation. a place on the margins. We are outside the educational discourse without realising it. We waste a lot of time arguing about super- Crossing Spaces: fcial issues in our feld…But, even though To Provoke with Afection it is a complex stage, it is our working space and it is of tremendous use for us as we cre- My pedagogy was always reduced to ate action strategies working against passive, two words: love and provocation. You defensive practices that correspond to other have to love the people you are speak- educational paradigms. Let us as art educa- ing with and I loved my students…I tors widen our professional felds, construct want to correspond that frst afective narratives in which art, education and life impulse with provocation. You have are totally inseparable, kept in motion, cre- to provoke those who listen so they ating changing situations, linking aesthet- can think on their own. You do not ics and politics, having in mind that art and have to indoctrinate, you have to pro- politics are not separated realities. voke.…Te third word, afer love and Our stage is transformed: We are politi- provocation, is authenticity. (Sampe- cal actors in a public space. Our actions can dro, 2014, p. 24) happen anywhere that we can turn our space into a laboratory of ideas. For many years, reason was the main educational premise that ofen dismissed emotion, To be able to build that learning space, feeling and affection. Basic aspects of per- we are trying to develop situations sonal growth were hidden in education. New through collective involvement by educational premises such as rhizomatic or living and transforming a moment collaborative pedagogy, creation of new situ- in time. A situation in this sense is ations, edupunk, and invisible pedagogies, somewhere between or rather beyond reject traditional approaches and are based arts and politics. Such situations are on making individual possibilities more built on relational pedagogy grounds. powerful from an emotional perspective. Relational pedagogy equips learners Te process is opened through strategies of to become partners in their own edu- provocation created with attention to afec- cation for life. (Agra Pardiñas, Torres tion and participation. Te diference is the Eça, & Trigo Martínez, 2012, p. 189) activating element of change: this drives us to converse but also to move between fric- As said by Basbaum (2014), we think it is tions where our knowledge is vulnerable and important to take up again the avant-garde everything can change in an instant. pedagogy that places great value on direct

95 …It is more about displaying all the about what you need today to be who you complexities, paradoxes and models are in Arteducation? The expectation of in which we think processes of pro- travelling through the visual arts awakens duction and mediation of knowledge knowledge, every emotional sense, and happen. Pedagogical work supposes every experience and discovers unknown social experiments out in the open professional and personal facets. (Duschatzky, 2007), where teach- Tis work must be understood as a way ers, school groups, the school itself, of alternative research coherent with today’s our society, our communities, all are society, which is very close to the current vulnerable but with the capacity of educational situation, using artistic ways to being a political potency above all. express and/or document ideas and person- (Rodrigo, 2011, para. 5) al experiences as a way of increasing professional knowledge. Looking inside through lived and shared experiences. Words, debates, our experiences Whereas traditional research methods out in the open…awakening emotions! To pose specifc questions to be answered, transform public space, understood as a this kind of a/r/tographic research space of action and participation. stresses research processes. Tis is why questions evolve and modify the direction of the research. Planning is done React! And this is Our Research as a whole, plans are changed and we In 2015, we participated in the InSEA Re- learn and re-learn.…It is based upon gional Conference in Lisbon, Portugal: Risks aesthetics, learning and relational and Opportunities for Visual Arts Education research. Relations are not free from in Europe. Afer debating about our roles in tension, therefore surprisingly rich that context, we decided to create an Arted- connections and breakings take place ucation survival kit which we presented as a in these social, densely significant performance. Trough a video we explained spaces. (Agra Pardiñas & Trigo Mar- why we were in Lisbon before also explain- tínez, 2013, p. 18) ing the elements that made up the survival kit. Meanwhile we developed the action ‘Re- Arteducation researchers propose the use of act!’ inviting all the attendees to become ar- subtle languages – metaphorical, fgurative, tistic activists using the kit. poetic, connotative, ironic or even ludic – as Tis project, based on the metaphor of well as diferent visual representations. It is a the survival kit, ofers a parallel between the fuid investigation, also natural and dynam- art educator and the explorer who knows ic, that uses artistic, visual, spoken, textual, that he or she will encounter some obsta- corporal support with the intention of ex- cles, but there will be important discoveries panding the comprehension and perception during the expedition and the survival back- through its own fow. pack should be ready with a combination of This project began because we, as C3, multipurpose tools. Have you ever thought wanted to give voice to those who have

96 Figure 3. SURVIVAL KIT presentation.

97 Figure 4. Objects that help the user Figure 5. Objects that help the user Figure 6. Images of diferent actions to defend against any risks. to generate new possibilities. of the C3 group.

never spoken; to observe in a way that has comes from within (to read Figure 6). To get nothing to do with the academic institu- to this point we pursued an exercise where tion or traditional research. Tey are voices we considered what we would take with us in of dreams, expectations, failures, successes, our survival kit suitcase. We carefully choose reasons and feelings, they are narratives the basic things knowing the journey would with no beginning or end; they are life tran- be focused on our mental perspectives. sits; they do not have a beginning, a devel- Te KIT is composed of two types of ob- opment and an end; they are being; they are jects. Firstly, those things that help the user similar processes to living. to defend against risks, and secondly those things that help us generate possibilities for artistic education in the state system: Te Open Artwork: Survival KIT Tis KIT is for public use. Citizens, who C3 action proposes that we think about what feel like utilizing it, can use it in all its stra- we need to do by using artistic, metaphoric tegic development for education and art. It and of course ironic language. It is a survival is recommended that an exhaustive study KIT that works as a metaphor for our cur- is undertaken of the diferent contexts and rent educational situation, in which change situations in which the interested person

98 may want to intervene. Any physical or in- Camnitzer, L. (2013). Ni arte ni educación. tellectual risk caused by the use of it will be Exposición Ni arte ni educación. [Nei- the responsibility of the user. Terefore, from ther art nor education: An experience in an afective provocation using irony and hu- which the pedagogical structures the ar- mour as strategies for artistic investigation as tistic]. Retrieved from http://www.niart- a resistance, we begin the most interesting enieducacion.com/project/textos/ part: investigating, debating, experimenting, Duschatzky, S. (2007). Maestros errantes. working on projects, creating networks, and Experiencias sociales a la intemperie sharing voices through the breaches of reality. [Wandering teachers: Social experiences Pick the role that you want to have in in the open]. Buenos Aires, Argentina: Arteducation. Transform your own creative Paidos. space into a space of action and resistance Congreso Iberoamericano de Educacion where everything is possible. Art istica. (2008, May). Conclusiones. Sentidos Transibericos [Conclusions of the Ibero-American of Artistic Educa- References tion Congress]. Beja, Portugal. Retrieved Agra Pardiñas, M. J., & Trigo Martínez, C. from http://www.insea.org/docs/conclu- (2013). Excerpts and dialogues for an siones%20CIAEA.pdf archive shared stories on art education. Rogoff, I. (2008). Turning. e-flux, #00. Re- UNESCO Observatory Multi-Disciplinary trieved from http://www.e-flux.com/ Journal in Te Arts, 3-(2) 1–19. Retrieved journal/turning from http://education.unimelb.edu.au/ Rodrigo, J. (2011). Pedagogías en la intem- about_us/specialist-areas/arts_educa- perie: talleres colectivos de Transductores tion/melbourne_unesco_observato- (Artículo) [Pedagogies in the open air: ry_of_arts_education/the_e-journal/ Collective workshops of transducers]. volume_3_issue_2 Retrieved from http://transductores.net/ Agra Pardiñas, M. J., Torres de Eça,T., & properties/pedagogias-en-la-intemperie- Trigo Martínez, C. (2012). Transforming talleres-colectivos-de-transductores/ practices and inquiry in-between arts, Sampedro, J. L. (2014). Escribir es vivir arts education and research. Interna- [Writing is living]. Barcelona, Spain: De tional Journal of Education through Art, Bolsillo. 8(2),183–190. UNESCO. (2006). Road map for arts educa- Basbaum R. (2014). Sentido de aprendizaje; tion. Proceedings of the World Conference aprender a través del sentido. Debate: Es on arts education: Building creative ca- el arte un acto de aprendizaje? [Sense of pacities for the 21st century. Lisbon, Spain. learning; learning through sense. Debate: Retrieved from http://www.unesco.org/ Is art an act of learning?]. Retrieved from new/fleadmin/MULTIMEDIA/HQ/CLT/ http://www.coleccioncisneros.org/es/edi- CLT/pdf/Arts_Edu_RoadMap_en.pdf torial/debate/%C2%BFes-el-arte-un-acto- de-aprendizaje

99 PROVOKING CURATING: LISTENING FOR THE CALL OF THE CLOTH

Laura Lee McCartney University of North Texas, United States of America

My arts-based dissertation, Unpacking Self in Clutter and Cloth: Curator as Artist/Re- searcher/Teacher (McCartney, 2016) traces personal narratives of failing as a mother, hoarder, and curator through the autobiographical curating of my own clothing collections installed in the exhibition, Dress Stories. Te exhibition ofered a space to reimagine the scope of curating in creative ways. My inquiry required all of the work of a traditional dissertation, but also included an innovative format to reconceptualize the possibilities of the dissertation as exhibition catalogue – a cartography or mapping of the curatorial. I was able to think through a medium – the dissertation as catalogue – where Figure 1.

100 I stitched within its pages over 250 images and rich narratives of my clothing as living curriculum. Every page was aesthetically curated as a creative rendering for how the reader might experience the inquiry (see Figure 1). This page from the dissertation catalogue juxtaposes images of wedding dresses and clothing agendas told through first-person stories in middle spaces between theory and analysis. Tese narratives are intended to provoke readers to remember and add their own dress Figure 2. stories as they journey through the work. I have chosen to include images of the creative catalogue page layouts throughout this chapter because I am more interested in sharing the aesthetics of the dissertation design than asking you to read each page as is appears in the catalogue. Te catalogue was designed to allow images and text to push against each other and inform the inquiry. Te dress narratives I ofer readers are not trivial accounts of simply where and when I embodied each garment, but rather serve as the very fbers of the dissertation Figure 3. used to consider theory, methodology, and curatorial implications for an a/r/tographic community discovered the courage teaching with objects in museums to provoke and challenge my past curatorial perfor- and classrooms in profound ways. mativity to begin to curate differently (McCartney, In undoing the curatorial, I found I 2014) and begin to identify myself as curator as artist. could move past old ways of know- Te Dress Stories exhibition occurred in the mid- ing, doing, and valuing objects dle of the research process afording opportunities to – and the catalogue traces these trouble and undo the curatorial – through curatorial shifs in my practice. In doing so, I turnings and re-turnings. Memories, interpretations, did not go alone, but rather within and histories were placed beside clothing examples

101 Figure 4. of material culture using narrative, practice-based, lived inquiry, and arts-based research. The exhibition included over 150 clothing objects, many of which were handed-down through six generations of women in my family installed alongside refexive discourse about curating, collecting, hoarding, teaching, and mothering to reweave a story of continual becoming as curator/artist/researcher/teacher and its implications for Art Education. For example, in the catalogue (see Figure 2), I include images of me, my mother, and my great- Figure 5. grandmother – each holding our children – with a refection about the ways I searched to map my family threads together. In the Dress Stories exhibition (see Figure 3), I created a mapping installation of infant clothing spanning over 100 years in my family on the gallery wall and literally wove them together using my great-grandmother’s spools of thread. In this image, readers see fbers move back and forth, through and between each garment that I feel obligated to hold onto and care for as a curator and as a daughter. In the pages of my dissertation, I discovered space to deliberate, experiment, Figure 6.

102 and refect on a range of topics around why child’s shoes. Troughout the inquiry read- curating objects might matter to our iden- ers discover my private spaces where I began tity construction while locating the tensions to consider the similarities of caring for my hidden within the dark side of collecting child and caring for collections as a curator and the obsessiveness of hoarding oneself – across contexts and identities for rendering and one’s possessions. The work was con- my research questions: how might curator as tinuously provoked by not only my rela- artist/researcher/teacher be unpacked, un- tionship to curating and collecting clothing, done and rendered through a/r/tographic material, and fbers, but also the ways I am inquiry? What might autobiographical threaded together, between, and betwixt a curating mean for curriculum and pedagogy multi-generational story of being my moth- in art education? Te thrust of the work is er’s daughter and my daughter’s mother. curatorial turning in process. Becoming a mother provoked my curat- Curate derives from the Latin curare ing to reconsider how I collect, display, and – to care. Recently, there has been a shif in perform as a curator in both public institu- curator identity (Farquharson, 2003; O’Neill, tions and private spaces (see Figure 4). In 2007; Rogoff, 2008; Tischler & Tannert, this image of a two-page spread from the 2004) where the role of the curator is a site catalogue, I include a photograph of my very for dialogue, discourse and critique. One sick daughter and the earliest memories I of the reverberations of the research was an have of being called to care for my child in interlude offered to readers to experience the hospital. The images and text are diffi- the 275 procedural steps required to curate cult to see and read but allows readers into the Dress Stories exhibition (see Figure 7). I my lived experience. When seen in a larger include eight pages of a punch list as a way format (see Figure 5 and Figure 6), readers into curating, to travel beside me and jour- fnd my painful accounts of stepping into my ney into the messiness of mounting an exhi- Figure 7.

103 bition by listing each opportunity I encoun- refexive within my complicated lived expe- tered as I lived the curriculum of curating rience as curator, artist, researcher, teacher an exhibition. Here, I want readers to expe- and mother. Before we assert that everyone rience the fow of all eight pages of this in- is a curator (Ruitenberg, 2015), we need to terlude in the catalogue, not necessarily with ask what is care teaching us and what is the the goal of reading each step, but feeling curriculum of care, starting with the mes- the punches of the enormity of my curator sages handed down within what we cur- to-do list. I also include a single page of the rently care for – students, artists, curators, punch list (see Figure 8) so readers might educators, mothers and daughters alike. read a sample of the steps that forced me to The theoretical framework of my in- continually turn as a curator. quiry invited an experimental joining of In curatorial turning (Rogoff, 2008, care theory (Noddings, 1984), performativ- 2010), I begin to listen for the call of the ity theory (Butler, 1990), thinking through cloth, to dwell in wounds, scars and open- our mothers (Grumet, 1988), allowing for ings (Kind, 2006), and to be transparently gendered failures (Halberstam, 2011) and

Figure 8.

104 A/r/tography afforded the opportunity to begin to unpack my plural identities in creative ways within the pages of the catalogue. Rita Irwin (2004) describes the double dashes in the writing of “a/r/tography” as a way of vision- ing the roles of artist, teacher and researcher through uniting identities and practices in ways that surface tensioned possibilities in this methodology. I propose adding a letter and dash in the a/r/tography acronym to create another way to integrate the roles in my personal and professional life. Subsequently, I add a “c” for “curator” beside and between the slashes of “a/r/tography” to create the acronym “c/a/r/ Figure 9. tography” where curator/artist/ researcher/teacher identities con- keeping up gendered appearances (Kuhn, 2004). As verge and diverge in my represen- a feminist curator doing autobiographical curating, I tations and practice (McCartney, struggle with mothering my daughter and her dresses 2011, 2014, 2015, 2016). – while attempting to keep up the appearance of being I turned to rhizoanalysis to a good curator, good mother and good girl. Curating seek what I lost and found in the my own collections was a means to undoing myself. inquiry process. Inna Semestsky Te hybrid methodology calls me to be deeply refex- (2006) defines rhizovocality as ive in my practice – in a form of self-study (Weber & “performative utterances that con- Mitchell, 1995, 2004a, 2004b). Included in the work sist of unfolding and irrupting are more than thirty “dress story” (Weber & Mitchell, threads” (p. xii). The inquiry al- 2004a, p. 4) narratives to model the ways care theory lowed me to listen for these utter- informs important contemporary issues such as femi- ances stitched within the threads. nism, privilege and identity and the implications for The interconnectedness within poststructural feminist analysis (see Figure 9). In this the spaces take rhizomatic forms, catalogue image, the text on the lef side of the page where “routes produce roots and unpacks the ways a woman might construct and de- routes return to roots” (Friedman, construct meaning in her clothing, while the dress 1998, p. 178). Barbara Howey, as story narrative on the right side provides a conceptual cited in Sullivan (2010), reminds account of my embodied bathrobe and the ways I dis- arts-based researchers, “[w]ith robe myself in my complicated female identity. change comes risk, the risk of

105 misunderstanding, of failure, the danger of institutional life as a curator. In the flood being led up a blind alley; but also what you damage, one of the oldest and most precious most hope for as an artist—the possibility of dresses in the exhibition was ripped open. transformation” (p. 86). For me, transforma- Te damaged dress became a metaphorical tion came in the spaces where I invited fail- opening into the inquiry that altered my ure (Halberstam, 2011) as an opportunity to ways of being as a curator where I could do curating diferently. subsequently cut, rip, tear, and stitch other clothing artifacts in creative ways brought on by the food.

Figure 10.

New routes for unpacking my lived experiences sanctioned a diferent care theory in the fndings – a duality where caring for my collections as a curator meant I could also Figure 11. uncare for my collections as an artist (see Figure 10) imbuing them with new mean- I was able to locate similarities between my ing and potentiality for failure within the own water breaking causing my daughter to curatorial. In this catalogue image, readers be born fifteen weeks early and my gallery experience uncaring as I tossed, piled and space flling with water causing irreparable shoved objects and years of anxiety about damage to my collections – allowing me to clutter into a physical closet of curiosities I draw unforeseen connections about my need constructed in the middle of the gallery for to nurture, guard, and protect the things, ide- the Dress Stories exhibition. In this moment as, and people that I care for most. Te food I was not caring for my collections like a damage caused me to be undone in ways curator, but beginning to care for and heal I could never have predicted or planned. I myself in relation to my pedagogy of failures considered veiling my emotions but, instead (McCartney, 2015). Te day the exhibition I pulled back the veil and revealed myself as opened, the gallery fooded and threads of a curator allowing for my curatorial failures my past, present and future unraveled in my – this marked a change in my curatorial prac-

106 tice forcing me to interrogate once hidden against one of my treasured artifacts, I was and unrecognized perspectives in my perfor- able to go deeper in my uncaring as a curator. mativity and caring as a curator who is also Arts-based research, as described by an artist, researcher and teacher to see anew Tom Barone and Elliot Eisner (1997) main- (see Figure 11). On this catalogue page, I col- tains that the arts provide a special way of lage several photographs in the process of lit- understanding the world and constructing erally opening myself and my prom dress as knowledge, while representing new under- a means of reconceptualizing the premature standings in contextualized ways. I had to rupturing of the membranes I experienced as pause my inherited curatorial modes of care a mother, forcing my daughter to be born so through intentional acts of uncare in order early. It was only afer the exhibition closed to reappropriate these objects for alternative I discovered the acronym for this condition use in order to care better for myself and to is P.R.O.M. which pushed me to think about reinterpret my curatorial obligations in order my prom dress in diferent ways (McCartney, to send out my questions for curating (see 2015). Once I performed this kind of violence Figure 12). Tis catalogue page includes text

Figure 12.

107 describing contemporary women artists that self through arts-based living inquiry (pp. inspired my artmaking with images of fam- 27–38). Vancouver, Canada: Pacifc Edu- ily clothing I altered in uncaring ways. I se- cational Press. lected several baby garments handed down Kind, S. (2006). Of stones and silences: Story- to me from my great-grandmother and ating the trace of the other in autobiographi- tuned to the ways I was changed in and into cal and textile text of art/teaching (Unpub- mothering and in and into the inquiry by lished doctoral dissertation). University of stitching words and phrases into the fabric British Columbia, Vancouver, Canada. that ties me to my family and to my research. Kuhn, A. (2004). A credit to her mother. In In undoing the curatorial, I found I could S. Weber & C. Mitchell (Eds.), Not just move past old ways of knowing, doing, and any dress: Narratives of memory, body, valuing objects and instead call forth crea- and identity (pp. 111–125). New York, tive spaces for failure, forgetting, releasing, USA: Peter Lang. undoing and uncaring as curators in our McCartney, L. L. (2011). Unpacking self curriculums, museums and classrooms. in clutter and cloth: Curator as artist/ researcher/teacher [Research brief submission]. Unpublished raw data. In J. H. References Rolling, Arts-based research primer (pp. Barone, T., & Eisner, E. W. (1997). Arts- 138–141). New York, USA: Peter Lang. based educational research. In R. M. McCartney, L. L. (2014). The courage to Jaeger (Ed.), Complementary methods for curate: Mapping communities of artistic research in education (pp. 73–116). Wash- practice within c/a/r/tography. Visual In- ington, USA: American Educational Re- quiry: Learning & Teaching Art 3(2), 189– search Association. 202. doi: 10.1386/vi.3.2.189_1 Butler, J. (1990). Gender trouble: Feminism McCartney, L. L. (2015). Towards a poor ex- and the subversion of identity. New York, hibition: Te fail(lure) of curare and cur- USA: Routledge. rere. Journal of Social Teory in Art Edu- Farquharson, A. (2003). I curate, you curate, cation, 35, 136–146. we curate. Art Monthly, 269 (2003, Sep- McCartney, L. L. (2016). Unpacking self tember), 7–10. in clutter and cloth: Curator as artist/re- Friedman, S. S. (1998). Mappings: Feminism searcher/teacher (Unpublished doctoral and the cultural geographies of encounter. dissertation). University of North Texas, Princeton, USA: Princeton University Press. Denton, USA. Grumet, M. R. (1988). Bitter milk: Women Noddings, N. (1984). Caring, a feminine ap- and teaching. Amherst, USA: Te Univer- proach to ethics and moral education. Ber- sity of Massachusetts Press. keley, USA: University of California Press. Halberstam, J. (2011). Te queer art of failure. O’Neill, P. (2007). The curatorial turn: Durham, USA: Duke University Press. From practice to discourse. In J. Rugg Irwin, R. L. (2004). A/r/tography: A meto- & M. Sedgwick (Eds.), Issues in curating nymic métissage. In R. L. Irwin & A. de contemporary art and performance (pp. Cosson (Eds.), A/r/tography: Rendering 13–28). Bristol, United Kingdom: Intellect.

108 Rogoff, I. (2008). Turning. e-flux, #00. Re- trieved from http://www.e-flux.com/ journal/turning/ Rogof, I. (2010). Turning. In P. O’Neill & M. Wilson (Eds.), Curating the educational turn (pp. 32–46). London, United King- dom: Open Editions. Ruitenberg, C. W. (2015). Toward a curatorial turn in education. In T. E. Lewis & M. J. Laverty (Eds.), Art’s teaching, teaching’s art: Contemporary philosophies and theories in education (pp. 229–242). Dor- drecht, Te Netherlands: Springer. Semetsky, I. (2006). Deleuze, education, and becoming. Rotterdam, The Netherlands: Sense. Sullivan, G. (2010). Art practice as research: Inquiry in visual arts. Los Angeles, USA: SAGE. Tischler, U., & Tannert, C. (Eds.). (2004). MIB: Men in black: Handbook of curatorial practice. Berlin, Germany: Revolver Books. Weber, S., & Mitchell, C. (1995). “That’s funny, you don’t look like a teacher!” In- terrogating images and identity in popular culture. London, United Kingdom: The Falmer Press. Weber, S., & Mitchell, C. (Eds.). (2004a). Not just any dress: Narratives of memory, body, and identity. New York, USA: Peter Lang. Weber. S., & Mitchell, C. (2004b). Visual artistic modes of representation for self- study. In J. Loughram, M. Hamilton, V. LaBoskey, & T. Russell (Eds.), Internation- al handbook of self-study of teaching and teacher education practices (pp. 979–1037). Dordrecht, Te Netherlands: Kluwer.

109 AN ALARMING JOURNEY 1

Jackie Batey Linda Knight University of Portsmouth, Queensland University of Technology, United Kingdom Australia

Emotions Each author currently works in academia: Jackie Batey is the MA Illustration Course Leader in the School of Art and Design, University of Portsmouth, United Kingdom; Linda Knight is a Senior Lecturer in the School of Early Childhood, Queensland University of Technology, Australia. Although we work in diferent academic spaces we each completed a PhD in Illustration, and we conducted our respective PhDs through a practice-based, or practice- led approach loosely based on a conventional science model: the investigation of a particular idea/question/supposition through a thesis of approximately 40,000 words and a body of practical, experimental work. At the time of our respective studies, this was a common model for practice-led doctoral study: the establishment of a hypothesis that would be examined through practical ‘laboratory’ work and presented through that work and a dissertation.

1 See analarmingjourney.blogspot.co.uk

110 Tis visual interlude was an opportunity for us both to re-engage with the visual elements of our PhDs, to re-examine how illustration was a critical research tool for us within a specifc study model, and how it can function within the wider study models that include hypothesis-driven, propositional, inquiry-based and experimentational studies. We contribute a visual chapter to PROVOKE as a way of looking back on our initial experiences of ‘doing research’ in illustration, and how that is quite fraught in some instances. We use the term ‘fraught’ here, not to describe horror stories of bad supervisors (we each had excellent supervisors), or a lack of support by our respective university departments, but to describe the shock of making art for a PhD. Our shock was because the prior reasons for creating illustrations for commercial briefs or for community stakeholders, was suddenly changed. We present a predominantly visual paper here to illustrate the alarming journey we travelled from our being commercial artists, to higher degree students, and eventually, academics. We keep the text purposefully brief to refect the original dominance of the images within our respective studies. In each case, the images were required to speak for themselves for us to successfully attain our doctoral qualifcation. Te Images We contribute a visual interlude to enable us to head back in, theoretically and practically, to our original work. When constructing the images for this chapter we chose to present a timeline of an image for each year we studied. We also use layers and scrolling in this curation, although our usual styles of illustrating are very diferent. Transparent layers can reveal or obscure what is underneath. Visualising the timeline as a series of images helped us recall tasks of researching, writing and image-making, and helped us reconsider old feelings of anxiety as well as the idiosyncrasies, successes and trivialities of making art as part of a practice-led/based PhD. We present images we each produced during our PhD as a series of remi- niscences of our respective intellectual and emotional shifing: of ourselves and of our art practices. We recall through these images how the familiar scenario of working to commercial and community briefs shifed to creating more individual, personal and theorised work. Tese new practices were troublesome however as we had to negotiate the balance of image and text in our respective

111 doctoral studies2 and the resulting dualistic pressures of producing a practice- led, or practice-based art PhD: project ideas must be individual and innovative while also achieving validation from the academy via its higher degree proce- dures and processes. Speculative Research in Art and Design Te very nature of arts research using practice-based or practice-led methodologies (Johnson & Edmonds, n.d.) begins with speculation. Ofen with art and design projects, the practice and research grows organically through experimentation, accident and refection. Te intertwining of the textual and practical, although not without risk is in fact one of the strengths of a doctorate in the arts. Tis practitioner’s methodology is already familiar to those who have completed frst degrees and master’s qualifcations in art and design. Speculative research however, can be an issue when artists try to “ft-in” to the submission and progression requirements of postgraduate study. One of the frst dilemmas we each encountered was with the formal application process. Te university application system for practice-based doctorates ofen requires a detailed outline of the project. As creative practitioners neither of our working methodologies were clear A to B sequences. Te feeling of applying with a “fraudulent” proposal was the frst anxiety; as practitioners we both understood and expected our projects to change and develop through speculative research and experimental practice. Ofcial paperwork did not allow for a full description of the artist’s methodology, even such familiar elements as the literary review did not leave room to discuss research sources vital to artists such as exhibitions, special collections or other tactile visual resources. Tings have changed over time, for example in the UK, Goldsmith’s University runs a series of events exploring the messiness of practice-based research3. Batey is co-creator of a project called “Images in Practice”4 which seeks to make examples of completed practice-based PhDs available online (including all the visual elements). In Australia, QUT, with other universities has higher degree policies that support practice-based doctorates across the university. Rigid application forms can prompt feelings of not ftting in within an established system. Tis anxiety inherent in not ftting in is ascribed by Candlin

2 Batey’s PhD had an approximate 50:50 image/text split, with additional gatefold images bound into the thesis. Knight’s PhD had a 40:60 text/image split, with an exhibition produced as part of the exegesis. Each thesis is archived: Linda Knight – ethos.bl.uk/OrderDetails.do?did=1&uin=uk bl.ethos.287964; Jackie Batey – thesafecigarette.blogspot.co.uk 3 www.phdbydesign.com 4 imagesinpractice.blogspot.co.uk

112 (2000) to frameworks that doubt whether, in fact, images can function as research at all. Archer (1995) described “research through practitioner action” (pp. 6–13) as early as 1995 but acceptance of practitioners’ various methodologies is still yet to be fully accepted by many universities. Speculative research is risky in an age where every REF (UK)5 and ERA (Aus)6 output counts but the autotelic nature of creativity practice-based/led research needs acknowledgment, and tacit knowledge needs to be respected as part of the practitioner’s methodology. Problem-fnding as opposed to problem-solving has been described as vital to creative practice (Finke, Ward, & Smith, 1996), the exploration of emergent structures and questions is seen to deliver works of greater originality and of higher quality. For the arts practitioner, this fuid approach to the research question is the sine qua non of their practice-based research, otherwise we revert back to commercial artists working for a client, to a fxed brief. Linda Knight had researched representational stereotypes in children’s books, resulting in fake picture book illustrations and Jackie Batey had researched images of reassurance in cigarette advertisements, resulting in sa- tirical fake adverts. Both artists refected upon this PhD research as a timeline with each year marking a new image (Knight: 4 years full time, Batey: 6 years part time). Batey created images by recombining elements from her series of fnal artist’s books using Photoshop and drawing. Technology had changed signifcantly during the completion and reworking of the images. We chose to embrace the new with Knight using the Brushes app on the iPad to create layers to add depth and context to the original images but also the creation of an online version of the research journey using Blogger (and a scrolling “mar- quee tag”).7 Newer elements were created to give structure to the emerging sequence, although it was fascinating how quickly the images fell into place. Te period of time between completing our PhDs and then revisiting the artwork highlighted technical advances for us both in terms of sofware and hardware, as well as provided us with an opportunity to review our original proposals and methods and how much our practices have grown since our studies. Trough a series of discussions, which included much laughter at shared experiences, we decided to attempt to reclaim and reapportion the practice

5 The Research Excellence Framework (REF) is the new system for assessing the quality of research in UK higher education institutions. 6 The Excellence in Research for Australia (ERA) is the system for assessing the impact and quality of research activity in Aus- tralian universities. 7 Images can be seen in greater detail at: analarmingjourney.blogspot.co.uk

113 Figures 1–6. Paper, ink, digital print. All images by Jackie Batey.

114 Figures 7–10. Paper, ink, pencil, watercolour, digital print. All images by Linda Knight.

115 element of our PhD by reconfguring it into a description of itself. We reviewed how, for each of us, illustration is a critical practice rather than a decorative one. As practitioners it was important in our Doctoral studies to remain true to the practice i.e. for our visual work to not masquerade as fne art or information graphics. Tis was an important distinction for us, as we believe that our Doctoral illustration folios were able to efectively contain our critical investigations as well as still be identifed as illustrations. During our discussions the day-to-day experience of studying a PhD emerged. Shared elements were: carrying heaps of heavy books; travelling backward and forwards (including navigating the notorious UK M6 motorway at the Spaghetti Junction); feelings of ‘Is this good enough?’ and, “How will I know when it’s fnished?” We discussed breakthroughs where the sun shone down and mental blocks when everything stalled. Procrastination dogged us both and guilt was a shared emotion – the feeling that every hour of the day should be gainfully used in research. What was remembered and what was for- gotten was surprising, for example, the feel, smell and look of old library paper book tickets were a vivid recollection for us both. Tis re-engagement with our original images was like meeting an old friend and fnding out we still had much in common. It gave each of us a greater respect for what we had actually achieved, as the anxiety of submission over- powered feelings of success. Creating these reworked images was enlightening: being able to stand-back and have a more holistic vision of our artistic development brought into focus themes that have remained constant in our work. Hav- ing the option to produce an interlude over a written chapter directly impacted on how we performed the intellectual task. In that sense, visual interludes are useful and responsive publishing options for practice-based academics. Becoming an Academic We did complete our PhDs, and we became academics. Our respective transi- tions from artist to artist-academics did not begin as we walked out into the world to search for work clutching our certifcate; the shif in our art practices becoming a researching process began as we negotiated the structures of doctoral study. By the time we each graduated, we were aware of how practice can be research, and how practices can difer across private/commercial/academic contexts. Importantly, we each understood how art is a deeply technological, intellectual and critical activity, and is much more than representation, competence and aesthetics. Te practical PhD allowed each of us to embark on an alarming journey that equipped us with excellent skills to use in our academic careers. Batey has continued to extend her research into illustration and artist’s books with many of the themes identifed within the PhD becoming a foundation for further bookworks – which are also used in teaching illustration.

116 Knight has continued to arts practice as a research focus and as a methodology, and continues to use her PhD portfolio of illustrations regularly within her current teaching in early childhood education.

References Archer, B. (1995). Te nature of research. Co-design Journal, 2(11), 6–13. Batey, J. (2018). enter.gif. [Artwork]. Retrieved from http://www.dampfat.com/ Candlin, F. (2000). A proper anxiety? Practice-based PhDs and academic un- ease. Working Papers in Art and Design, 1, 1–2. Finke, R. A., Ward, T. B., & Smith, S. M. (1996). Creative cognition: theory, research, and applications. Cambridge, USA: MIT Press. Johnson, D. A., & Edmonds, P. E. (n.d.). Differences between practice-based and practice-led research. Retrieved from http://www. creativityandcognition.com/research/practice-based-research/ diferences-between-practice-based-and-practice-led-research/ Knight, L. (2018). Linda Knight. [Artwork]. Retrieved from https://linda- knight.org/

117 REVEALING THE PHOTO BOOK AS AN ARTS-BASED EDUCATIONAL RESEARCH TOOL

Geraldine Burke Monash University, Australia

Tis chapter is about a journey through re- the creative freedom that exists in this space. search to define and articulate my teach- Te desire to expose the creative core of my ing philosophy and practice – Immersive pedagogy largely determined the method Art Pedagogy. Inspired by a/r/tography, my and form of my PhD which comprised an pedagogy emerged and continues to evolve arts-based project presented as a photo book, through my work in schools and universi- and an exegesis. The photo book was cen- ties. I am a practical academic, someone tral to my PhD as a curatorial revelation; it who “spans the somewhat ethereal world presents the created artwork/research along- of academia as a scholar and the pragmatic side reflective/reflexive commentary. This world of practice” (Walker, 2010, p. 1), with hybrid structure builds creative analysis with what Posner (2009) calls a “pracademic sen- forward making possibilities. Te following sibility that traverses the academic-practi- chapter features excerpts from the photo tioner divide” (p. 17). As a pracademic, I book that (re)make and (re)produce self into respond with equal force to the physical, discourse from the inside/outside worlds of emotional and contextual stimuli in my feld the artist/researcher/teacher. The excerpts of operation and seek to disclose and amplify are layered with observations and extracts

118 from the exegesis that refect on the photo the sea. Sometimes, even on school nights, book discourse, and discussion of the photo when scorching days simmered into breath- book’s methodological value and form. less afernoons, we would drive to the near- est suburban beach. We would ease in and out of the water, have a light dinner and wait Towards Immersive Art Pedagogy for the relieving breeze as night stole the sun As a child, my family and I spent many from the sky. I loved those times – foating, weekends at the beach soaking up the hot diving, pretending to be dolphins and mer- Australian sun and splashing around in maids with my siblings. It seemed the sea

Figure 1. Being Immersed: An embodied response to the wash and fow of water and memory.

119 and I could be anything, fuid as its changing mersive Art Pedagogy entails, and whether physical and conceptual qualities. the practice of Immersive Art Pedagogy To me art ofers endless possibilities like could connect and reconnect the pluralities those times on the beach, always prompt- of artist, researcher and teacher. ing refreshing ways to express silences, day- I conducted my research over several dreams and lived experiences. Art provides years using events to explore ways of know- me with a way to be, and become in the ing through art. These events investigate world; it powers my personal and social con- pedagogy in three contexts I call “creative tribution, even though it can be incredibly worlds” set in (i) the community, (ii) an edu- frustrating and deliciously addictive in equal cational institution, and (iii) the artist’s world. measure. Today, my teaching aims to replicate Each event encompassed processes, interac- this sense of immersive possibilities. When tions and artwork that became my source approached in this way, art takes on immer- of information; visual and textual images of sive qualities…interest, involvement, im- my research available for reflection, analy- agination, and interaction (Burbules, 2004)… sis and reprocessing. I felt it was essential to enabling simultaneous concepts to form in present these descriptive images as integral responsive or proactive gestures towards the to the research, intertwined and informing, everyday, as well as the cultural domain. still current and still capable of provoking This empowerment, made possible further creative agency. Tis requirement led through personal and immersive engage- me to the photo book genre which allowed ment with art, inspires the way I create, me to weave images, text and diagrams to teach and now research. What started as an show the exploration and development of intuitive approach to art making and teach- my pedagogical model through theoretical ing became a philosophy of practice I call examination of the evolving source of infor- “Immersive Art Pedagogy.” Te object of my mation. Te result is far more than a book PhD research, which privileges art processes of photos with accompanying text, but not and practice, was to understand what Im- an illustrated appendix, art thesis, artist’s

Figure 2. Art work. Walking/Finding/Sorting/Sculpting/Talking/Displaying/Remembering. Found objects (re)claimed from a favourite suburban beach, bound with wire and placed on a mirrored box. Installation by Geraldine, Chester and Joe.

120 catalogue, art journal or art book. Rather, it and identity by encouraging a relational view is an a/r/tist photo book; it hybridizes the of creativity and critical evaluation. photo book format and layers photographs, artwork, experience, narrative, diagrams, revelations and explanatory text to pioneer a Narrative Layers in the Photo book new scholarly form. Te photo book presents Te following vignette from my photo book the art pedagogy of the third creative world (Re)connecting: Immersive Art Pedagogy where the lens of artist/researcher/teacher (Burke, 2013a) shows how I conducted and (a/r/t) is focused on the artist. It provides the presented my research. Te vignette is from reader/viewer with an intimate immersive Section 6, “Relational Places,” and show- experience within the 7 x 7 inches space of cases an artwork together with its set of fve the book. My aim was to bring people with layered narratives which investigate the art- me on my research journey; I hoped that making experience (Figures 2 and 5). through the photo book people would expe- Throughout the photo book I inter- rience how Immersive Art Pedagogy devel- twined art practice with narrative discourse ops a socioecological understanding of place to discover what Immersive Art Pedagogy

Figure 3. Artist Narrative. Photo Book Extract. An intuitive response to the Art work which refects on the experience of being with through our making.

121 reveals and contests. The first narrative for each set of art works was always intuitive – me the artist responding to the art making (Figure 3). It was ofen poetic or observational, details captured in the moment on the back of artworks or in visual journals. It was essentially an expansion of the information sourced from art making, a descriptive process opening up space for further work. Kincheloe’s (2008) post-formal approach to “multilogical critical pedagogy” (p. 4) and his call for “critical bricolage” (p. 5) with its respect for complexity helped synthesize my methodological choices. He argues that education researchers must be aware of the existence of multiple methods of research and diverse theoretical constructs and suggests that methods and theories need to work in synergy. Kincheloe (2008) states:

The power of difference, of diverse perspectives, and of insights coming Figure 4. 4-C Narrative. Photo Book Extract. Applies creative, criti- from diferent locales in the web of cal, connecting and/or contextual insights to the artwork and artist reality reveals their signifcance. All narrative. of these worldviews – especially when they are juxtaposed in dialogue with one another – contribute to our understanding of the world in general and the oppression that leads to human sufering in particular. (p. 5)

Kincheloe’s ideas inspired the 4-C narrative which was my direct and immediate response to the concepts of Immersive Art Pedagogy at work in the art making (Figure 4). In this instance, the ecological aspects of art education emerged and Figure 5. Montage: Photo Book Chapter Elements. Te opening prompted me to research ecological per- section of the photo book explains the method for presenting the spectives such as Sobel’s (1996) approach a/r/tist’s multi-vocal research.

122 Figure 6. A/R/T Narrative. Photo Book Extract. Cross-fertilises my roles by investigating the spaces in-between artist/researcher/teacher to forge and strengthen connections.

Figure 7. Critical Narrative. Photo Book Extract. A synthesis of the insights developed through the research with specifc focus on forward-making possibilities and intentions.

123 Extract from my Exegesis: Towards a Socioecological Understanding

I am learning to understand the connect- relations between identities rather than ed, cross fertilising states of being: being describing identities, intentions, or acts of with; being about; and becoming. individuals or groups (Springgay, 2008, p. Of being: By tuning into the lived ex- 160). According to Springgay “the a/r/to- perience, I, the artist, catch the world as graphic disposition of being-with and the it moves me. This is knowledge-making in-between…enables the possibilities of an space, capturing and nurturing present ethics of embodiment” (Springgay, 2008, p. possibilities as events move forward. It 154). Gablik’s (1998) inspirational words is exciting, and calls me in. As Bourriaud still ring through the decades: “We are all (2002) suggests: “the artist dwells in the cir- being called to move beyond the mode cumstances the present ofers him, so as to of disinterested contemplation [of art] to turn the setting of his life (his links with the something that is more participatory and physical and conceptual world) into a last- engaged” (para. 2). Our humble beach-de- ing world.…He catches the world on the bris collaboration shows we have not opted move: he is a tenant of culture” (pp. 13–14). for a disembodied stance. Instead we made For Sameshima and Irwin (2008) this is a everyday life our source for creative agency liminal state informed by living inquiry, “a “grounded in immediate human experi- heightened state of being” (p. 4) that is both ence and value rather than abstracted as a sensual and sensitive in its charge. sequence of design problems” (Cary, 1998, Of being with: A/r/tography helps me p. 28). understand the possibilities and power of Of becoming: Like Gablik (1991), Im- relational and creative connections across mersive Art Pedagogy opts for a relational, roles because it encourages an ethics of social and ecological re-positioning of art being and being with (Springgay, 2008). Te to counter disengaged aesthetic views. Im- complexities across and between the art- mersive Art Pedagogy seeks to awaken the ist/researcher/teacher roles, and alongside power of imagination to transform our co-makers, can be reclaimed as a source thinking. Greene (1995) suggests imagi- of creative agency supplying imaginative nation has the power to make us awake to possibilities and strength. A/r/tography al- each other. Irwin (2007) suggests that as lows the hybrid space, the expansive other we create we convey complex ideas and within. Importantly it does not “other” the ofen these are the complex parts of our- artist self, which ofen happens in schools selves we are coming to understand. In the and universities. Even though I am an art- doing we are becoming; we are transform- ist, ofen I have been so consumed by my ing ourselves (Irwin, 2007, p. xx). Tis is at teaching that I put aside my artist identity. the heart of Immersive Art Pedagogy – the An a/r/tographic disposition embodies an complex weaving of ideas, in the making, ethics of being with by understanding the nurturing layers of possibilities.

124 ages teachers and students to reinhabit their places, that is, to pursue the kind of social action that improves the social and ecological life of places, near and far, now and in the future” (p. 7). However, since the object of my research was to expose the creative core of my pedagogy, I wanted to push beyond these observations and I felt that a/r/tography with its ethics of being and being with (Springgay, 2008) would provide an appropriate lens for deeper exploration (Figure 6). I have found that a/r/ Figure 8. Diagram from Photo Book Section 7, (Re) tographic renderings carry me forward. Like processing and (Re)producing. Illustrating how proc- artworks, they help me consider reverbera- ess and product shif. Te explanation below describes tions into further contexts and prompt me to my (re)processing and (re) producing experience. simultaneously refect back and plan forward. I deliberately layered evolving art work with the frst four narratives to create a bri- (Re)processing: I refexively tell the Immer- colage for the ffh, critical narrative which sive Art Pedagogy story in a layered format to re- refected on the three major questions of my discover the intuitive elements of the process, and research and lit the way forward to the next re-curate its products (artworks and ideas). explorative event (Figure 7). Tis emergent (Re)producing: I present the Immersive Art approach pushed me to investigate activi- Pedagogy story as an innovative a/r/tist photo ties that simultaneously embraced concepts book that connects my lived, everyday world to of creative agency and sustainable practice. theoretical research. Methodological value: In this making and telling, Immersive Art Pedagogy emerges, grows Speaking Back to the Exegesis and is tested through appraisal of the emerging The narrative layers from my research artwork, narratives, observations and images. It is project were examined in my PhD exegesis forever in a state of becoming (Deleuze & Guat- to develop an extensive critique that fold- tari, 1987). ed into major tenets of the Immersive Art Pedagogy model. Te accompanying extract from my Exegesis (Burke, 2013b, pp. 214- to place-based education which begins by fostering 215) relates to the photo book extract in Fig- empathy for the familiar that is then extended to the ure 7. Together they show how the a/r/tist home range and then to social action and reinhabita- photo book and the exegesis intertwine; the tion. Gruenewald (2003) also proposes that critical content of both draws on all that has come pedagogy and place-based education are mutually before to forge connections. By evolving to- supportive educational traditions, and he suggests gether, they reveal insights and contestations that “a critical pedagogy of place ultimately encour- made possible through their intersection.

125 Te A/r/tist Photo Book as lived, processed, produced, (re)processed, a Creative Analysis Tool (re)produced experience provoked ques- Although there is a large body of research tions and prompted action by building that promotes the value and importance creative analysis alongside forward-making of art processes, my experience as an art- possibilities. Take the following observation ist, student, and teacher is that partici- from the vignette featured in this chapter: pants’ expectations of producing tangible “We could make these works every summer outcomes and displaying results tends to as more gems wash up on shore. What other draw attention to observing and celebrating junk from our lives can we re-purpose and the fnished product. With Immersive Art re-create?” (Burke, 2013a, p. 176). Tis is a Pedagogy, process and product are equal; small beginning emerging from art process they are the essential dialogue from which and feeding into a research context which all else proceeds. Te diagram in Figure 8 looks to create new knowledge by moving illustrates how this applies to my research. forward into the unknown. This fresh and novel use of the photo book genre makes a valuable contribution Reaching Out to Community to arts-based research by providing a way of I chose the 7 x 7 inch size of the printed pho- employing a/r/tography to help capture the to book to create a sense of intimacy. I want- research topic as gerund. It helped me see ed readers to have a sense of being able to my art and research as active and evolving hold the book and bring it in to look closely by creating the momentum Leggo (2012) de- at its content. Te choice of format was delib- scribes as “searching repeatedly” (p. 10), and erately democratic, populist even, because I bringing focus to the doing, making, being, wanted to share the project with a public au- becoming of living inquiry (Irwin, 2004). It dience and reach beyond the usual confnes was a way of (re)making and (re)producing of exhibition/academia/library shelf. I put ef- self into discourse from the inside/outside fort into making the photo book visually ap- worlds, an enabling research tool because pealing, accessible, and easy to hold so that it values and validates the use of emotion to the form itself would urge people to browse. reveal arguments so the multi-subjectivities of artist/researcher/teacher emerge as singular and contiguous concerns. Cultivating Multi-Vocal The “crystallization form” (Richard- Understandings son, 2000, p. 934) of the a/r/tist photo In 2003, Finley prompted for research that book with exegesis enables sources of in- offers an open text where multiple pos- formation to be explored through multi- sible meanings provoke questions instead ple perspectives and methods for analysis of drawing conclusions. Te a/r/tist photo (Lather, 1991). Inspired by a commitment book is a ftting response because as an open like that of Barone and Eisner (1997), it text it creates space for my pracademic sen- seeks to notice, understand and appraise sibility (Posner, 2009) to tune in to lived ex- unique insights, thereby engaging with dis- perience and create new knowledge. Each course as a living, continuing concern and

126 glimpsing the “in-between where mean- USA: Te University of Minnesota Press. ings reside in the simultaneous use of lan- Finley, S. (2003). Arts-based inquiry in QI: guage, images, materials, situations, space Seven years from crisis to guerrilla war- and time” (Irwin & Springgay, 2008, p. xix). fare. Qualitative Inquiry, 9(2), 281–296. Gablik, S. (1991). Te Reenchantment of art. New York, USA: Tames & Hudson. Copyright Gablik, S. (1998). The nature of beauty in Te photo book is copyright contemporary art. New Renaissance, 8(1) Geraldine Burke 2013. 24–30. Retrieved from http://www.ru.org/ index.php/arts-and-culture/127-the-nature-of-beauty-in-contemporary-art References Greene, M. (1995). Releasing the imagi- Barone, T. E., & Eisner, E. W. (1997). Arts- nation: Essays on education, the arts, based research. In R. M. Jaeger (Ed.), and social change. San Francisco, USA: Complementary methods for research in Jossey-Bass. education (2nd ed., pp. 75–116). Wash- Gruenewald, D. A. (2003). Te best of both ington, USA: American Educational Re- worlds: A critical pedagogy of place. Edu- search Association. cational Researcher, 32(4), 3–12. Retrieved Bourriaud, N. (2002). Relational aesthetics. from www.pieducators.com/fles/Critical- Dijon, France: Les presses du reel. Pedagogy-of-Place.pdf Burbules, N. C. (2004). Rethinking the Irwin, R. L. (2004). A/r/tography: A meto- virtual. E-Learning, 1(2), 162–183. Re- nymic métissage. In R. L. Irwin & A. de trieved from http://www.seer.ufrgs.br/ Cosson (Eds.), A/r/tography: Rendering index.php/InfEducTeoriaPratica/article/ self through arts-based living inquiry. (pp. viewFile/4942/3343 27–38). Vancouver, Canada: Pacifc Edu- Burke, G. (2013a). (Re)connecting: Immer- cational Press. sive art pedagogy [PhD project, self-pub- Irwin, R. L. (2007). Foreward conversations. lished a/r/tist photo book]. RMIT Univer- In P. Sameshima, Seeing red: A pedagogy sity, Melbourne, Australia. of parallax: An epistolary bildungsroman Burke, G. (2013b). Immersive art peda- on artful scholarly inquiry (p. xx). New gogy: (Re)connecting artist, researcher York, USA: Cambria Press. and teacher (Unpublished doctoral dis- Irwin, R. L., & Springgay, S. (2008). A/r/ sertation). RMIT University, Melbourne, tography as practice based research. In Australia. S. Springgay, R. L. Irwin, C. Leggo, & P. Cary, R. (1998). Critical art pedagogy: Foun- Gouzouasis (Eds.), Being with a/r/tog- dations for postmodern art education. Re- raphy (pp. xix–xxxiii). Rotterdam, The trieved from https://www.taylorfrancis. Netherlands: Sense. com/books/9781136510212 Kincheloe, J. (2008). Critical pedagogy and Deleuze, G., & Guattari, F. (1987). A thou- the knowledge wars of the twenty-first sand plateaus: Capitalism and schizophre- century. International Journal of Critical nia (B. Massumi, Trans.). Minneapolis, Pedagogy, 1(Spring), 1–22. Retrieved from

127 http://freire.education.mcgill.ca/ojs/public/journals/Galleys/IJCP011.pdf Lather, P. (1991). Getting smart: Feminist research and pedagogy with/in the postmodern. New York, USA: Routledge. Leggo, C. (2012). Challenging hierarchy: Narrative ruminations on leadership in education. In Education, 18(1) 21. Retrieved from http://ineducation.ca/ ineducation/article/view/22/326 Posner, P. L. (2009). The pracademic: An agenda for re-engaging practitioners and academics. Public Budgeting and Finance, 29(1), 12–26. Richardson, L. (2000). Writing: A method of inquiry. In N. K. Lincoln & Y. S. Den- zin (Eds.), Handbook of qualitative research (2nd ed., pp. 923–948). Thousand Oaks, USA: SAGE. Sameshima, P., & Irwin, R. L. (2008). Ren- dering dimensions of a liminal currere. Transnational Curriculum Inquiry, 5(2). Retrieved from http://nitinat.library.ubc. ca/ojs/index.php/tci Sobel, D. (1996). Beyond ecophobia: Re- claiming the heart in nature education. Great Barrington, USA: Orion Society. Springgay, S. (2008). An ethics of embodiment. In S. Springgay, R. L. Irwin, C. Leggo, & P. Gouzouasis (Eds.), Being with a/r/tography (pp. 153–166). Rotterdam, Te Netherlands: Sense. Walker, D. H. T. (2010). Being a pracademic: Combining reflective practice with scholarship. Keynote address presented at the meeting of the AIPM Conference, Dar- win, Australia. Retrieved from http:// cms.3rdgen.info/3rdgen_sites/107/resource/AIPM2010_0092.pdf

128 DOING RESEARCH-CREATION THROUGH A MULTI-FABRIC WEDDING DRESS

María Ezcurra Faculty of Education, McGill University, Canada

This chapter reviews the multi-fabric wed- to examine, respond and resist to the way ding dress I created for my doctoral disserta- bridal fashion participates in the creation tion, called Te Treads, Trends and Treats of female stereotypes and contributes to the of the Wedding Dress. My research-creation defnition of feminine identities. project is centered on the collaboration of Te idea of creatively transforming a se- nineteen women living in Montreal who ries of wedding dresses occurred to me as a guided the artistic transformation of wed- response to the “Trash the Dress” phenom- ding dresses. Involving textiles, photographs, enon when I was pursuing a PhD in Art Ed- text and the body, this work explores the dif- ucation at Concordia University. Tis rela- ferent understandings women have about tively new and increasingly popular wedding marriage and the roles that personal experi- photography practice shows brides wearing ences and social norms play in shaping their their white dress in an environment outside identity. It combines diverse methods of in- of the traditional wedding context, damag- quiry such as participatory visual research, ing or destroying it, or even exposing them- ethnography and collaborative art practices selves during the photo session, at times tak-

129 ing part in situations in which they became This project involved each participant vulnerable, or even abused by their grooms1 choosing a wedding dress (which I had origi- This cultural phenomenon is just now be- nally bought in second-hand shops), coming ginning to attract the attention of theorists, up with ideas for its transformation, carry- scholars and artists (White, 2012). ing those ideas out, participating in a photo While fashion has traditionally been a shoot and an art exhibition, and fnally writ- repressive form of gender identity that re- ing about the whole process. By incorporat- inforces heteronormative femininity, this ing my participants’ experiences through research-creation work intends to create visual, material, performative and verbal alternative clothing styles to promote the explorations, this project allowed us to de- construction of fexible identities and to op- velop new understandings and awareness pose cultural expectations of women’s roles about the connection of fashion and popular (Crane, 2000). More than adopting heter- visual culture to the ways women learn and onormalizing behaviours through dress, or generate meaning. Together we examined, trashing a gown without proposing a con- exposed and challenged heteronormative structive alternative, my participants and I norms enforced by bridal fashion, generat- creatively generated diversity and change ing alternative, subversive, provocative and (Crane, 2000; Kawamura, 2011). Instead of meaningful interpretations of what roman- allowing these white dresses to constrain our tic love means today for many women. Love, identities – like traditional wedding gowns more than a romantic relationship between do – this project allowed us to actively trans- two individuals, in this project involved form them to collaboratively resist their op- community, collaboration, support and in- pressive expectations about our sexuality, clusion. We expanded the concept of love, femininity and behaviour (Crane, 2000). embracing equality, freedom and resistance The idea of including diverse voices (Freire, 1973; hooks, 2000; Ingraham, 2008). seemed an effective way of responding to The participating women not only revised the heteronormative connotations of bridal their close relationships, but also developed fashion. I decided to develop this research- meaningful interactions among themselves creation project in collaboration with other as a strategy to collaboratively create and women I already knew, exploring and resist- perform knowledge in ways that allow for ing together the gender-based violence I be- compassion, awareness and humanization lieve “Trash the Dress” supports. Friendship through art education. functioned as an effective creative method Te transformed wedding dresses, pho- that allowed participants to interact in mean- tographs and responses of my participants ingful and open ways (Harris, 2002; Till- are analyzed in detail in my dissertation, mann, 2015), empowering us to challenge written under the supervision of Dr Kathleen normative and constraining social practices Vaughan (Ezcurra, 2016). Tis text, however, in forms that were signifcant for us. is focused on the process of imagining, cre-

1 See: www.trashthedress.com

130 Figure 1. Te Treads, Trends and Treats of the Wedding Dress. Final Pictures. Collaborators: Anne Pilon, Carmen Giménez Cacho, Claudia Vega, Daniela Ortiz, Denisse Horcasitas, Des, Flavia Hevia, Gen, Gina, Jessie, Lee Lapaix, Nati Vega, Norma Vite, Rosa, Tina and Zacy. Photos by Enrique Uranga and Jaqueline Fortson, 2013.

131 ating, performing and documenting my own its cultural or social context, or considering wedding dress. I made a gown intending to its deeply personal implications. For the pur- integrate my professional and my personal poses of this text, I am revisiting the material lives: as an artist and academic, as a wife, and technical process of making my dress in mother, daughter, sister and friend, and as relation to the symbolic, personal and con- an immigrant Latin American woman in ceptual elements that it conveys (Rose, 2011). Canada. Te fact that it was part of a doctoral research-creation project made it feel quite Te Fabric challenging. Despite my extensive experi- I used many garments to make my wedding ence as a professional artist, it meant produc- dress, representing the several different as- ing something that was not only creative, but pects that conform and shape my identity as also academically successful and pedagogi- a woman. I chose to make it white, a tradi- cally effective, all while retaining a certain tional colour for the bride to wear. Aware of degree of honesty and enjoyment. the notions of exclusivity and white hetero- When I critically revised my feelings sexual privilege that this color involves (Ing- about marriage for this project, I was not raham, 2008), I created instead an inclusive surprised to discover that they are complex fabric made of dozens of clothes. Tis cloth and varied. Giving form to these ambigu- conformed my dress’s long and wide train, ous ideas was not easy, but I fnally decided displaying an exciting variety of tones, shades, to make a multi-fabric dress, conformed by thicknesses, textures and patterns. Initially, I many fragments. I wanted it to reflect my looked for white clothes that my family and conflicting but still complementing identi- I were not using anymore. It was important ties, refecting my experience in a relation- to me that I include not only my own clothes ship while also considering marriage as a but also theirs, to symbolically represent social phenomenon. Instead of transforming my partner and children in the piece. I also a wedding gown as was originally planned, asked my friends to donate any white gar- I chose to create an entirely new dress from ments that they were no longer using. Finally, several diferent white garments. Mediating between my body and the social world, my mixed gown validates my different experiences and refects diverse understandings. For making my dress, I needed to choose the fabric, measure and cut it, sow it together and try it on before applying the finishing touches for taking the picture. Its production process and underlying concepts are implied in the fnal piece, ofering many layers of interpretation. Tis gown – like all the dresses made for this project – can be examined through various critical approaches: from its Figure 2. Sketching my dress, 2012. Photo formal or material components, or based on by Maria Ezcurra.

132 I bought the rest of the clothes in second-hand stores, has a central position in this piece, along with used wedding dresses for my participants consideration is also given to peo- to transform. All these garments allowed me to shape ple I do not know, but who are part my many identities through clothing and also to ac- of my lived experience and affect knowledge others in my own dress. While my family it somehow, so as to understand the interweaved circumstances in which our identities are formed. Te Pattern I started working on my dress from the top, with a white blouse that I chose from my wardrobe for this project. It became both the physical and conceptual support of the whole gown. It would be the base of my identity by holding the other pieces together around my body: A T-shirt from my partner, a jersey from my son and a dress from my daughter. Tese garments formed a skirt around my body, shaping and protecting me while symbolizing the important place that they have Figure 3. Sketching my rein my life. I continued working on search through dress, 2012. the train, sewing together the doz- Photo by Maria Ezcurra. ens of garments I had bought for this piece. Tis process required a lot of work and time, and was con- cluded when I stitched together eighteen long-sleeved shirts in the train’s last row, representing the other participants in this project. Te process of sewing these clothes together was parallel to the act of thinking. It allowed me to make meaningful connections between past and present; art, academy and Figure 4. Wedding dresses life; collectivity and individual- bought in second-hand ity; private and public; art and re- shops for this project, 2012. search; concepts and experience; Photo by Maria Ezcurra. and many other ideas.

133 Te Stitches I worked on my dress alternatingly over a six-month period while also undertaking the transformation of other participants’ gowns. I started with provisional stitches made by hand and finished with the more permanent darns of the sewing machine. Stitching together the garments was not only a creative process but also a material and formal investigation. It became a contemplative activity and a meditative process. The stitches connected my ideas together, materializing my thoughts about, and in, the cloth. Te thread merged the individuality of each garment into a collective fabric. Stitching became an imaginative and constructive act that brought together diferent concepts to create something new. In this sense, sewing became an efective pedagogic process to experience the creative and transformative possibilities of our own identities (Springgay, 2004). I like to think Figure 5. My dress pattern, that I shaped my dress based on my life experiences, 2012. Photo by Maria Ezcurra.

Figure 6. Some of the books that informed my research, 2014. Photo by Maria Ezcurra.

134 using a needle to write my thoughts onto the fabric of my dress while stitching my ideas and experiences together in my doctoral dissertation to develop new insights. Te Try-On During the process of creating my white dress I had to try it on several times to be sure it ftted me well. I experienced its textures, shape and weight on my own body, both by sewing and wearing it. When it was fnished, I had to try it on in a park, as my home was too small for its long train. While it seemed smaller than I had envisioned, the diferent patterns composing the fabric looked beautiful. It felt good on my body, Figure 7. Creating my wedding dress, 2012. Photo by Pedro Orozco. too. However, walking was made difcult by the dress’s large and heavy train. I had to pull hard, walking cautiously but frmly in order to advance. I could feel the dozens of garments composing the train pulling me, and on a few occasions it almost made me fall back. Te train was as heavy and restrictive as the heteronormative and patriarchal social pressures placed by marriage on women. It made me think about some feminists who have historically used specifc garments to reproduce, challenge, reject, or question restraining gender roles (Dekel, 2011), and about all the possibilities it ofered. Te Picture A component of the project was the creation and exhibition of a photograph of each participating woman wearing her transformed wedding dress (sometimes with their partners or families). Besides the pictures I took of the whole process, I hired a professional Figure 8. Sewing my photographer to take a formal series of pho- dress together, 2012. tos at Concordia University’s Loyola Chapel. Photo by Pedro Orozco. We carefully selected a place in the chapel

135 Figure 9. Trying my fnished dress on for the frst time, Summer 2012. Photo by Pedro Orozco.

Figure 10. Wearing my dress for the second photographic session in fall, 2012. Photo by Jacqueline Fortson.

136 to enhance and distinguish the concept car- this project and decided to incorporate them ried by each participant’s dress. Because of into the dress itself during the photo shoot. my gown’s large dimensions, I chose an open Their physical involvement and active col- space at the center of the chapel for my shoot. laboration in this project was a more accu- Initially, I did not consider my family’s rate representation of my marital experience. inclusion in the photograph, as I had sym- In the picture that represents me in bolically incorporated them into the dress this project, I am placed at the front of the through their clothes. However, before the frame, and my dress’ train extends behind fnal photo shoot my six-year-old daughter me, supported by my partner at the end, my questioned my choice of posing for the pho- son on the right and my daughter on the tograph alone. Her observation had a deep lef. Like me, they are all embedded in the impact on my approach to this project, as it fabric of the dress, having placed their heads made me realize the degree to which I value and arms through the garment’s openings. her input (and by extension, that of my part- We are held together by this multi-fabric. It ner and my son, too). Accordingly, I decided gives us structure and it shelters us, but we that such an important aspect of my daily are not trapped by it. More than a wedding life should play an equally signifcant part in picture, I see this image as a family portrait. Te Multiple Fabrics of My Dress I see numerous and fexible interpretations regarding the way in which the wedding dress I made for this project helped me to generate learning experiences related to my personal and social circumstances as a woman. My white gown embraces my diverse identities, considering my conficting experiences as an artist in the academy, as an immigrant in Montreal, as a partner and a mother. Responding to “Trash the Dress,” it questions the concept of bridehood itself. My dress refects the burden that traditions such as weddings can become for some individuals, while also considering the possibilities they ofer if we creatively transform them into a more inclusive and diverse practice. Moreover, my dress not only speaks about my experience in marriage, but becomes an embodied experience in itself. Figure 11. Wearing my dress with my family With my body covered and restricted by a at Loyola Chapel, 2013. Photo by Enrique heavy social fabric, I simultaneously expose Uranga. and confront the connotations that the tradi-

137 tional white wedding dress upholds in many ing their individual identities. Tis research- women’s lives. More than reinforcing ide- creation project allowed women to transform als of female purity, objectifcation, beauty a wedding dress to explore and embody their norms and heterosexuality commonly pro- understanding of marriage and love, generat- moted by the wedding dress (Leeds-Hurwitz, ing new knowledge and validating their ways 2002), all the diferent clothes that constitute of knowing. Wedding dresses function in this the fabric of my dress shape my identity as work as a participatory visual research meth- ambiguous, fragmented, heterogeneous, odology through which we disclosed signif- fluid and even contradictory, challenging cant information about the wearer and the traditional cultural values (Crane, 2000; Ka- culture in which she lives (Rose, 2011). Rath- wamura, 2011). My dress shapes my identity er than as just a concept, white gowns func- as a woman, not by passively accepting in- tion as a lived experience (Weber & Mitchell, stitutional heteronormativity but by actively 2004). Moreover, by involving participatory creating and embodying my own lived expe- and collaborative art practices, this work al- rience while considering others. lowed us to produce an experiential form My wedding dress also functions as a of knowledge that was dependent on the metaphor for the whole Te Treads, Trends participants’ unique understandings and ex- and Treats of the Wedding Dress project, as changes (Kester, 2011). We created art while it incorporates personal garments into a so- participating in it. Tis creative collaboration cial fabric that re-signifes them while keep- was pedagogical because it functioned not

Figure 12. Final Exhibition of the pictures printed on silk, at the Maison de la culture de Notre-Dame-de-Grâce, Montreal, Quebec. Photo by Maria Ezcurra.

138 only as an instructive but as a constructive handbook [Kindle Edition]. Retrieved practice too (Helguera, 2011). Together, my from amazon.ca participants and I thought about the quality hooks, b. (2000). All about love: New visions. of the marital relationships we were explor- New York, USA: Harper Collins. ing while enjoying the process of creating Ingram, C. (2008). White weddings: Ro- new human connections (Bishop, 2011). Te mancing heterosexuality in popular cul- participants felt protected, and even em- ture. New York, USA: Routledge. powered, by taking part in this art-research Leeds-Hurwitz, W. (2002). Wedding as project not only as a group of women, but a text: Communicating cultural identities group of friends. Together we creatively par- through ritual. Mahwah, USA: Lawrence ticipated in the construction, interpretation Erlbaum. and change of our own personal and social Kawamura, Y. (2011). Doing research in fash- realities produced through dress artworks ion and dress: An introduction to qualita- that functioned as educational strategies to tive methods. New York, USA: Berg. resist gender inequity. Kester, G. H. (2011). Te one and the many: Contemporary collaborative art in a global context. Durham, USA: Duke University References Press. Bishop, C. (2011). Artifcial hells: Participa- Rose, G. (2011). Visual methodologies: Inter- tory art and the politics of spectatorship. preting visual materials (3rd ed.). London, London, United Kingdom: Verso. United Kingdom: SAGE. Crane, D. (2000). Fashion and its social Springgay, S. (2004). Body as fragment: Art agendas: Class, gender, and identity in making, researching, and teaching as a clothing. Chicago, USA: University of boundary shift. In R. L. Irwin & A. de Chicago Press. Cosson (Eds.), A/r/tography: Rendering Dekel, T. (2011). To (un)dress: Clothes, self through arts-based living inquiry (pp. women and feminist ideology in modern 60–74). Vancouver, Canada: Pacifc Edu- art. Te International Journal of the Arts cational Press. in Society, 6(2), 171–188. Tillmann, L. M. (2015). Solidarity: Friend- Ezcurra, M. (2016). Te threads, trends and ship, family, and activism beyond gay and threats of the wedding dress: A collabora- straight. New York, USA: Routledge. tive, studio-based dissertation (Unpub- Weber, S., & Mitchell, C. (Eds.). (2004). Not lished doctoral dissertation). Concordia just any dress: Narratives of memory, body, University, Montreal, Canada. and identity. New York, USA: Peter Lang. Freire, P. (1973). Education for critical con- White, M. (2012). The dirt on “Trash the sciousness. New York, USA: Continuum. dress” resistance: Photographers, brides, Harris, N. (2002). Interviewing friends and and the mess of post-wedding imaging the feminist research process. Women in sessions. Critical Studies in Media Com- Welfare Education, 5, 44–53. munication, 29(2), 113–131. Helguera, P. (2011). Education for socially engaged art: A materials and techniques

139 BEGINNING IN THE MIDDLE: MY LIMINAL SPACE OF ‘MA’: 間

Yoriko Gillard Te University of British Columbia, Canada

…understanding our identities as ence of trust and distrust may be metaphori- teachers… [is] not so much in our pres- cally represented as my own tsunami as I ences; rather, our identities, who we re-examine the meaning of life, personal val- are… [is] ongoing efects of our becom- ues and humanity. In doing so I am learning ings in diference.… – Ted Tetsuo Aoki from the diferences that may exist between (Aoki in Pinar & Irwin, 2005, p. 205) others and myself as I embark upon PhD research. Tis visual essay is presented as a sto- Appreciating my Japanese culture I value the rybook informing my a/r/tographic practice creation of tensions and conficts in my on- as an artist, poet, researcher and teacher. going contemplation of this question: What I am continuously searching for my do my creative acts do? Carl Leggo (2011) identity that resides somewhere between has been asking such an important ques- Japan and Canada. I was born and raised in tion through his poetic and creative inquiry. Japan and have lived in Canada for my adult Throughout my arts-based research, I am life. As a child I was always interested in art examining how I encounter obstacles in re- or anything creative such as painting, draw- lation to dialogic relationships with others. I ing and writing to release pain and hard- have come to understand that each experi- ships. How I talked with my parents, friends

140 and their parents, schoolteachers, sports- Tis lead to further art exhibitions and more club coaches, doctors, store clerks, waitress- poetry focusing on my inner emotions. In- es, master artists and strangers on the streets deed, I had fve exhibitions entitled Caught was precisely diferentiated with my choice in the Middle in various venues at Te Uni- of vocabulary, grammar structure, facial ex- versity of British Columbia (UBC). At each pression, tone of voice, body gesture, man- exhibition, I included poetry, paintings, and nerism, eye contact and most importantly photography yet I also started to cut people’s “ma”: 間 in Japanese that gives unspoken hair as a haircut performance. As a certifed acknowledgement that we understand each hair stylist in Japan and Canada, my haircut other’s social position (status, situations, performance helped me to situate myself as feelings, thoughts, etc…). To me, “ma”: 間 an artist performing with haircut volunteers is a Japanese concept of being and becom- and the audience. As a professional stylist, ing, existing inbetween (without an hyphen) I was comfortable performing in front of many spaces we experience in our lives. others, and I was also comfortable choos- Creative acts were a daily ritual to help ing hairstyles for the volunteers who trusted nurture my soul and assure my existence in me to cut their hair. We did not rehearse, this world of “ma”: 間. I wrote poetry and discuss or negotiate any styles in advance. stories in Japanese all the time and presented Instead, we studied trust together: inquir- them in front of friends and family. I was shy ing into how, why and what we trusted about to speak up in class but was not afraid to read each other when one person has the obvious my essay when teachers asked me to. Crea- power to cut hair the way they want without tive acts helped me to connect with people the receiver’s knowledge. Tese haircut per- positively. Tis was especially important as I formances helped me negotiate the Western worried about my mother’s critical heart con- academy as well as my daily relationships. dition. Art helped me fnd my way between As I gained confidence in my artistic my reality and my imagination. I did not un- expression, I was again hit by my own tsu- derstand how important my mother language nami. Japan was hit by the Great East Japan “Japanese” was in infuencing my creativity Earthquake in March 11, 2011. At the time, I until I came to Canada where I unfortunately was about to fnish my undergraduate study lost my confdence while learning English. My and everything I was doing to gain confi- undergraduate study was extremely difcult. I dence in a Western art academy became constantly heard criticisms based on Western unimportant because of the pain I felt in my contemporary art practice and views. It was heart and mind. Gathering information on- painful for me as I tried to create anything line only aggravated my anxiety. I embraced until I realized that I could not assimilate. At my internal sense of responsibility as an art- the same time, I was helping undergraduate ist and organized fundraising events with students learn Japanese language through thousands of people coming together. I was conversation at a local college. I found some making my next step toward realizing how confdence in this educational role. to use my skills and creative mind for soci- During my undergraduate struggles, I ety’s betterment. held an art exhibition based on my poetry.

141 During my master’s study, my supervi- research to work with others as I examine sor, Rita L. Irwin, introduced me to a/r/tog- identity, trust and reciprocal relationships. raphy. Tis is where I re-examined my past haircut performances and realized I was still searching for ways to understand how, why Section 1: Caught and what I trust in other people. More im- in the Middle Collection portantly, I realized I was searching for my Each time I paint or take photos, I strive to own identity in the middle of everything. communicate my vision. In the first com- My experience of writing my own stories in bined image below, I join together the beau- my thesis was truly a healing moment in my ty of an egg with the beauty of an egg-based life. Now as a doctoral student, artist, poet, meal. I remember the day the sun was shin- researcher and language teacher, I am con- ing in my kitchen window when I concep- tinuing my journey to use my creative ener- tualized this piece – when I felt caught in gy to connect with people who are sufering, the middle. All of the images in this section struggling and fghting for their rights. underscore my feelings of feeling caught in In the reminder of this chapter, I share the middle as a Japanese Canadian artist- examples of my visual and poetic journey scholar-educator during my undergraduate with artistic research beginning in my un- and master’s degree programs. dergraduate studies, through my master’s degree and now in my doctoral program. Perceived as an ongoing and unfolding repertoire, I refer to this as the Being and Becoming Exhibition. In this exhibition, there are two collections, Section 1: “Caught in the Middle” Collection and Section 2: “Beginning in the Middle” Col- lection. In Section 1, I included some of the works I created and showed in public during my undergraduate studies. Tey were all created as I was examining my identity in Canada. In Section 2, I am including a performance piece I created as I moved into my doctoral studies. Whereas in my earlier studies when I felt isolated and insecure, by Figure 1. Caught in the Middle, 2009, Postcard. the time I began my doctoral studies I was stronger and clearer about my own identity. I have come to appreciate how we are Te poetry, 3=1 is my way of living. It does all diferent and may have diferent ideas. I not make sense to many people or it is too am feeling more secure with my own ideas. ambiguous to most people yet my sense of This is why I named Section 2 “Begin- the number “3” is clearly representing who ning in the Middle.” I hope to extend my I am evolving into. Since I was small, I loved

142 the number “3.” I see the color yellow when When I was in an elementary student I see the number “3” in other words, if “3” my parents decided to call me by a differ- is written in red, I feel unsure if that color is ent name “Yoriko.” In Japan, we usually do the right choice for “3” and I thought every- not have a middle name, but I had “Yoriko” one thinks the same until I discovered difer- as my unofcial middle name. In the poem ently. I never spoke about this to strangers 3=1, I am exploring how my identities shif until now. according to the names attributed to me.

3=1

[Takako (Yoriko) Gillard]

You and I First was you Second then I Tird is us Emergence Sense of one Origin of sense inside belonging truth invisible desire of all beginning of middle

(2009)

143 In the next three works of art I explore a triptych that incorporates my poetry nested between two images that express my liminal, ‘ma’ 間.

Figure 2. Self-portrait (1), 2010, Installation.1

1 Presented at art events: “ART” and Caught in the Middle, AMS Gallery UBC, 2010.

144 Self -port rait

sunlight slips into blinked eyes sunlight slips into blinked eyes capture my sense of existence capture my sense of existence I hide behind the light I hide behind the light

my sense of existence my sense of existence stays in daily momentum stays in daily momentum a reciprocated world a reciprocated world

the corner of the gallery full of the corner of the gallery full of Duchamp Duchamp allows me to speak out loud allows me to speak out loud

an ironing board full of concepts an ironing board full of concepts burning sent on my white shirts burning sent on my white shirts stays forever or not stays forever or not

a letter ‘A’, a symbol appears a letter ‘A’, a symbol appears

I take my hats off to rest my mind I take my hats off to rest my mind so as my sun umbrella protects me so as my sun umbrella protects me

I see my future in a frame I see my future in a frame hiding a water jug hiding a water jug

It is empty It is empty

nothing exists quite the same nothing exists quite the same without the sun without the sun creation of grays, we command creation of grays, we command

inside out of the gall ery space inside out of the gallery space where domestically placed in the center where domestically placed in the center of attention of attention

I am an imaginator I am an imaginator

Self-portrait Self-portrait is my sense of belonging in the world is my sense of belonging in the world Figure 3. Self-portrait (2), Installation. with the light created with the light created by the shadows by the shadows in my liminal space in my liminal space

(Reflection of Self-portrait, 2017)

145 The original black and white photo of Caught in the Middle (2009) was taken at the Nitobe Garden, UBC, while I was searching for my identity during my undergraduate study. The reflection of the Japanese garden in the pond included the tall trees that are not usually found in a Japanese garden in Japan. It felt odd to see this combination. So, I thought about placing this photo as an upside down portrait of my identity: a Japanese immigrant trying to ft into a Canadian environment. During my graduate program, I then recreated the image through a tiny hole I made in a piece of paper to peek in as if I were looking back at myself as an artist considering my identity. Figure 4. Portrait of Me, 2012, Digital Photo. (Original: In 2010, I cut eight participants’ (stran- Caught in the Middle, 2009, B/W flm photo). gers) hair during my conceptual performance ART and gathered the cut hair and presented it at my exhibition, Caught in the Middle (2010) at the Alma Mater Society (AMS) Gallery UBC. This performance taught me reciprocal trusting relationships exist, even among strangers. Te cut hair from Intercultural ART (2010) was kept in a brown paper bag at my home. I forgot about it for about one year. When I opened the bag in 2011, it had acquired a natural looking form; marbled with diferent shade of hairs from international participants (see below). I did not need to alter it in any way to make it more presentable because it was already beautiful. Te frst impression I had was “oh, wow…look at this!” I thought it looked like a fetus. So then I called it a Cross- cultural sculpture: New Born. Tis sculpture was exhibited at the Asian Library, Asian Center (2011), AHVA Graduation Exhibition (2011) and the Explore Asian Figure 5. Intercultural ART, 2010, Installation.

146 Feelings of trust grow as we make an effort to understand each other’s differences and perspectives. Ted T. Aoki’s work has guided me to appreciate my own liminal space where I can enjoy both Japanese and Canadian perspectives. In this space, I have encountered a life that exists inbetween two languages and two cultures, Japanese and English: both are a source of creative thought especially when I communicate with others. “…learning a second language has been an entering into the strange world of unfamiliarity. Gradually, the new language sheds its unfamiliarity as I see more deeply into another perspective of the world and see with new eyes an already familiar world” (Aoki, 1987/2005, p. 243). Figure 6. Cross-cultural sculpture, My educational journey in Canada ‘New Born,’ 2011, Sculpture. did not start very easily and yet now I am an artist, a researcher, and a teacher. Carl Art Exhibition (2011) at the Department of Leggo, my mentor and PhD supervisor al- Asian Studies, UBC before I put it back in ways reminds me to appreciate who I am the paper bag for future opportunities. and who I am becoming. In 2013 and 2016, I visited, listened and cried with people who were sufering from the tragic event, afer Section 2: Beginning the Great East Japan Earthquake and the in the Middle Collection radiation problem in Fukushima. In the In this section I move to my current work as spring of 2017, I became a research assistant a PhD student. All of my previous work in- at Nikkei National Museum (Landscapes of forms where I am today. Te Figure 5 image Injustice), and since that time I have been was recently selected for the poster of the researching about the dark history of Japa- Margin is the Center, 39th Annual AHVA nese Canadians during 1942–9 when they (Te Department of Art History, Visual Art lost their Canadian identity due to the Sec- and Teory) Graduate Symposium + Exhi- ond World War. I listen to what is written bition (2016). Tis was a conceptual haircut in many letters and documents in Japanese performance I performed at The AHVA and cry. Tese are some of my current re- Gallery, Audain Art Centre, UBC (see be- search topics that help me to learn what I low). Participants were willing to allow me can do to contribute in society through my to cut their hair without speaking a word. doctoral studies. Tey trusted my skill as I gave each one a Who we are, who we believe we are and diferent haircut. who we want to become, ofen difers. Our

147 Figure 7. Beginning in the Middle (1) 2016, Conceptual performance & installation.

Figure 8. Beginning in the Middle (2) 2016, Figure 9. Beginning in the Middle (3) 2016, Conceptual performance & installation. Conceptual performance & installation.

148 identities are a continuum of journeys of instead, it is about relating to one another being and becoming as Aoki teaches. How, as we contemplate our diferences and learn why and what should I trust within me and from one another. As a PhD candidate, I am others is my lifetime educational journey of beginning in the middle. trust. Tis ought not be a question to answer:

脳裏に潜在し得る他者との関わり方

自分が自分じゃなくなる。自分を信じられなくなる程辛い瞬間が生きている間には幾度もある。どうして取り戻せばいいのだろう… 脳裏を駆け巡る記憶に涙腺が緩んだ瞬間、少しだけ自分が取り戻される。全ては自分の中の記憶が他者との関わりの中で高揚する感情に溺れる瞬間である。脳の働きが尋常でない感情を左右する瞬間に他者との相違に意味を見出す。自分が戻り始める。ゆっくりとそして確実にその色を持ち得ながら… そして自分が自分である事を感じる瞬間に私は声を上げて泣くのである。

Reciprocity of minds between self and others Losing myself… Becoming insecure in a moment of countless obstacles I experience in my life. How can I gain back my trust to become confdent with who I am… Te past tells me the meanings of incidents in my life…tears fall to catch my lost mind. I can catch myself in a slight moment when my mind and senses emerge with conficts of perceptions with others. I am coming back slowly and surely with some colours that only I can see perhaps… Te moment I feel myself as who I am becoming, I cry out loud in public.

(Gillard, 2013; 2017)

149 References Aoki, T. T. (1987/2005). The dialectic of mother language and second language: A curriculum exploration. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: The collected works of Ted T. Aoki (pp. 235–245). Mahwah, NJ: Lawerence Erlbaum. Aoki, T. T. (1993). Legitimating lived curriculum: Toward a curricular landscape of multiplicity. In W. F. Pinar & R. L. Irwin (Eds.), Curriculum in a new key: Te collected works of Ted T. Aoki (pp. 199–215). Mahwah, NJ: Lawerence Erlbaum. Gillard, Y. (2009). Caught in the Middle [Pho tograph]. Retrieved from http://www. ahva.ubc.ca/eventsDetails.cfm?EventID=7 85&EventTypeNumID=5 Gillard, Y. (2010, August 20). ART / Caught in the Middle. [Web log post]. Retrieved from http://schemamag.ca/2010/08/20/ caught_in_the_middle_aug_23-27/#. U6FVsM1DHsI Gillard, Y. (2017). I hair you: Creative acts as a way of communication. In B. Dias, R. L. Irwin, A. Sinner, & T. Fernandez (Eds.), Revista VIS: Revista do Progra- ma de Pós-Graduação em Arte, 16(2), 181–200. Retrieved from http://periodi- cos.unb.br/index.php/revistavis/article/ view/25101/19617 Leggo, C. (2011). What is a poem good for? 14 Possibilities. Journal of Artistic and Creative Education, 5(1), 32–58.

150 CONVERSATION AS MEDIUM: MAPPING OUT INTERVIEWS WITH CANADIAN ARTISTS

Alison Shields University of Victoria, Canada

From Individual to Network non-verbally (through interaction with the Over the course of the past two years, I trav- art work and studio space) is a creative act elled across Canada interviewing over 125 in itself. Secondly, I propose, that mapping painters in their studios. Trough in depth as a metaphor may be applied to both the art interviews with artists about their artwork, making processes described by artists, and process and communities, and exploration to the analysis of my research methods. Tis of the studios through photograph docu- mapping process allows for the open-ended, mentation, my doctoral research exam- emergent and non-linear qualities of both ines the following question: What ways of art making and conversation. learning, knowing and meaning-making I recently met for a studio visit with artist are generated within the studios of prac- Clif Eyland in Winnipeg. Eyland gave me a ticing artists as they engage with research, small painting he had made on a 3” x 5” inch art making and a community of artists? In wood panel (Figure 1). I carried that small this chapter I draw from several interviews painting, an image of a fgure, with me across with artists to propose, frstly, that conver- the country in my suitcase. Over the course sation, which happens both verbally, and of his career Eyland has made thousands of

151 these tiny paintings. Upon arriving at my fnal destination, Halifax, on the east coast, I went to see an installation of Eyland’s work, over 6,000 paintings, in the downtown Halifax public library (Figure 2). Te small paintings depict fgures, landscapes, abstractions as well as old library index cards (alluded to by the size of the paintings). I thought about a time when I used those index cards to search books, before it went frst to microfche, then to digital, and I thought about searching through libraries for one book and often stumbling upon something unexpected. Upon looking at the library installation, it was hard to Figure 1. Painting tell whether it was a clearly planned given to me by layout, making deliberate connec- Clif Eyland, tions between each small image, or Winnipeg, June, whether it was done in a random 2015. Photo by way, allowing the viewer to find Alison Shields. the connections. As I scanned the wall of images, my eyes went to one section. Close together on the wall were two replications of index cards; on one it read “painters, Canadian” and on another it read “Oral His- tory.” Looking at this section of the wall installation, I thought, perhaps that section was telling the story of my doctoral research. As I finished my interviews and I started to sift through the hundreds of hours of interviews and thousands of photographs, I thought back to Eyland’s dynamic installation. Going from receiv- ing that one art piece in our indi- Figure 2. Installation by Clif Eyland, Halifax Central Library. vidual interview to viewing 6,000 Photo taken by Alison Shields, November, 2015.

152 paintings, from a one-on-one conversation to produce a map-like web of conversations, to drawing connections between 125 con- one that creates new conversations between versations, I see my process of coming to artists, art works and research methods. understand this art installation as parallel- ing my research process. I draw from two quotes from artists I met to exemplify this Conversation as Medium: comparison. In one interview, Vancouver- At the Intersection of the based emerging artist, Rebecca Brewer Interview and Artistic Research ponders the personal, experiential process Professor of Creative Arts at Deakin Univer- of painting and states: “Maybe something sity in Australia, Estelle Barrett (2010), ar- that comes up in painting is that the radical- gues that we need to continue to fnd ways to ity is in the person, and it’s in the personal. discuss research that emerges through artis- So there is something completely personal tic practices. She questions simply applying about not only making a painting, but look- research methodologies from other disci- ing at a painting” (personal communica- plines to artistic research as being potential- tion, June 4, 2015). Monica Tap, on the other ly reductive and not allowing for the genera- hand, emphasizes the ongoing web of con- tive ways of knowing that emerge through versations in which each artist is involved: art making. As an artist coming from a fne arts background, I entered into my doctoral These paintings are phrases that are work in education from an artistic research uttered, they are parts of a conversa- perspective. Taking on social science re- tion that extends beyond us. It’s not search methodologies, I still approached my just the conversation you have with a research from my artistic lens. In response canvas, but it’s the conversation that to Barrett’s concern that methods drawn came before it that allows the paint- from other disciplines are being applied to ing to exist. Tis painting may help to artistic research methods, I ask whether the move the conversation forward and reverse is possible. I wonder, what happens it might just be in a tiny way, but it when we apply artistic research approaches doesn’t exist on its own. (personal to social science methods – in this case, in- communication, July 30, 2014) terview methodologies? Gubrium and Holstein (2003) de- In this chapter, I provide an introduction to scribe an “active interview” as a dynamic my analysis of my doctoral research. Draw- meaning-making process, where meaning ing from the art making process described by is constructed through the active dialogue artists with whom I met, I examine the rela- between the interviewer and interviewee. tionship between art making and interview As such the interview is a social encounter research methods. Trough doing so, I pro- that constructs and generates knowledge pose that the interview (referred to as a con- throughout the process. Teir examination versation) is an artistic medium. If the inter- of the interview process allowed me to view view is a medium, then what does it create? the interview anew, as a creative act that is I propose that the interviews come together constructed through the process.

153 As I entered each studio and began talk- understand the creative process of artists, ing to the artist and exploring the space, specifically focusing on painters. Further- several conversations emerged (both verbal more, through studio visits, the interviews and non-verbal): conversations between me involved interacting not just with artists, and each artist; conversations between me but also with their art works and the studio and the studio space; conversations between space, and through examining their work me and their paintings; conversations be- I was able to map out several trails of the tween paintings; and conversations between artists’ thinking process. On my research an artist and their painting. As the research journey, several artists described the art continued and I visited more artists, the making process as research or inquiry that conversations expanded beyond the walls of reveals more questions than answers or that each studio, and I began to see connections seeks out impossible questions. Another art- between the artists, between their paint- ist stated that artists do not solve problems, ings, and thus, conversations between art- they create problems that they cannot solve. ists. Troughout my research trip, the term Others described it as an experiment, while conversation opened up more and more others described how a project ofen begins until I realized that an analysis of conversa- by stumbling across a book or an image or tion was at the core of my research interests. an article at random, and following it in a How is conversation an essential component new direction, or discovering connections of art making? How might conversation be between seemingly disparate interests. a medium in and of itself? And how does Montreal-based artist, Dil Hildebrand conversation create a connection between described painting as an infnite game and my artistic research methods and my under- an ongoing process of getting lost: standings of social science interview methods? I apply the map as a metaphor to de- It’s like a walk in the wilderness scribe the ways these conversations emerged where you don’t know where you’re through the studio visits and constantly going and every decision is based on formed new pathways of connections. what’s there right now. It’s not based on a map that gets you to where you are going. I don’t have a map. I’m Research as a Form of Mapping: From just walking through the woods and Getting Lost to Making Connections making decisions. Tere are problems In a project through the Visual Intelligence with that because sometimes you do Research Project at Lancaster Institute of get lost. I get lost each and every time. Contemporary Art in 2004, artist and pro- (personal communication, August, fessor Rebecca Fortnum (2009) studied the 25, 2014) creative processes of visual artists. Trough her interviews with artists, she found that a Janet Werner (Figure 3) similarly talked about sense of discovery and a search for the un- the connection between getting lost and crea- expected was a dominant drive for art mak- tivity: “Ultimately you always learn from that ing. In my research, I sought to similarly experience of being lost, because otherwise

154 how are you going to fnd yourself. I think of the creative process like digging a hole and having to fnd your way out of it” (personal communication, August, 26, 2014). Lather (2007) analyzes research methodologies in social science and afrms the importance of not-knowing: “Undecidability becomes not the last word, but the frst in making room for something else to come about” (p. 7). In describing the importance of “getting lost” in research, Lather challenges traditional notions of research that emphasize control and mastery. She opens up a conversation around research that embraces failure, unknowing and multiplicities of meaning. Halifax-based artist Carly Butler (Figure 4) has devoted her art making career to no- Figure 3. Janet Werner’s studio, Montreal, September, 2014. tions of getting lost as she researches stories Photo by Alison Shields. of sailors lost at sea and invests in nautical tools to exemplify the idea of desperately trying to figure out where we are, while never actually knowing where we are. She described her fascination as romantic, while also being critical of these romanticized fantasies: “Being lost at sea in a life raf is the pinnacle – I’ve escaped from society and am somewhere no one’s ever been, doing something no one’s ever done” (personal communication, August 22, 2014). At the same time, she described her fascination with rules and warnings on lifeboats, the signs and symbols of sea life. Trough this juxtaposi- tion, she draws parallels between this sailing metaphor, art making and daily life. Figure 4 shows a collection of her navigational tools and an old article about her grandfather lost at sea. Connecting these ideas to Lather’s discussions of getting lost, I would like to extend this metaphor into research methods. Figure 4. Carly Butler’s studio, Halifax, November, 2015. Drawing from artistic ways of thinking Photo by Alison Shields. and making, Anne West (2011) proposes

155 ways for artists to approach research and known in art making, research and peda- writing that aligns with creative processes. gogy. She states: “A map is not a tracing. It Using the map as a metaphor for creative is about experimentation: altering, reversing, thinking, she describes the route as nonline- modifying, among individuals and groups, ar, unpredictable, dynamic and messy. With across time and space” (p. 211). Emphasiz- regards to art making, she depicts the map ing movement, the body, relationships and in the following ways: the event, Irwin describes the rhizomatic connections made through mapping. Artist Mapping organizes relevant bits of Sarah Trigg (2013) performed a similar jour- information and fragments from the ney into over two hundred artist studios. She imagination into some kind of struc- said that her project revealed not a unifed ture, creating a synthesis that car- theory of artist practices, but rather a con- ries understanding…A map can be stellation of viewpoints (p. 13). I similarly viewed in its entirety or in its details. view the map created throughout the project Maps are enterable from any side. We as a series of unique conversations. Within make the map, and the map makes each of these conversations there is a map us. Maps are living sketches of us im- of each artist’s ways of thinking. However, mersed in our work. Tey have the ca- as I continued on my journey, the map ex- pacity to stir the imagination of oth- panded beyond each artist’s own studio and ers. Maps question and maps clarify. situated each of these conversations within a Everything on a map signifes, points larger map that spans across the country. out a direction, intent. Te maps we generate are like eyes. They give us perspective. Maps embody a point of From Researching to Writing; view, reflecting tone, bias, curiosity, Mapping Conversations focus, choice, intelligence, and schol- Art theorist, Simon O’Sullivan (2010) uses arship. Maps establish connectivity. the term abstract machines to describe the Maps reflect multi-layered relation- network of connections and extensions pro- ships. (p. 6) duced by art. Rather than a linear production of knowledge, O’Sullivan argues that art Travelling across Canada for my doctoral making may more aptly produce a diagram research was similarly a form of mapping. that opens up in multiple directions. It allows Tis map, however, is not a direct map that for a continuous mixing up and reconnect- outlines one direction between here and ing of ideas to create new connections, like there, but rather one with multiple possible a puzzle that has no fnal image, but can in- directions. It is not a linear map which one stead be continuously reconfgured to create follows through time, but rather forward multiple new formations. Art making there- or backward as connections are weaved fore leads toward thoughts, ideas and mean- together like a web. Professor of art educa- ings rather than simply illustrating them. Art tion, Rita Irwin (2013), refers to cartography educator and researcher, Charles Garoian so as to describe the importance of the un- (2008) similarly explains that art making as

156 research becomes an “improvisational dis- In my conversation with Toronto-based assembling, exchanging and re-assembling of artist, James Gardner (Figure 5), he de- images, ideas and objects in ways that they scribed a studio as a pressure cooker (per- were not originally designed” (p. 221). As I sonal communication, October 17, 2014). travelled across Canada and explored the stu- He talked about the many layers of infuence, dio spaces, I began to see the studios as maps. from the landscape that surrounds him, to The spaces contain remnants of old works paintings he’s seen, to magazines and bill- next to new works, sketches, notes, piles of boards he passes on his way home. These books, trinkets, which when examined close- images stay in his mind and become activat- ly are connected together by following trails ed through painting in a process he refers to of thinking that reveal connections through as transference (Figure 7). Hamilton-based various juxtapositions. I view these juxtapo- artist Daniel Hutchinson used similar lan- sitions as opening up conversations between guage to describe intuition: “It’s everything ideas, and between images. you’ve ever learned bubbling up in random

Figure 5. James Gardner’s studio, Toronto, August, 2015. Photo by Alison Shields.

157 ways that you can’t possibly understand. I imagine this kind of soup of stuf with this unimaginable depth of knowledge that I’m not fully conscious of” (personal communication, July 25, 2014). Hutchinson talked about his anxiety of overthinking infuence, the anxiety of trying to figure out all the threads that come into one decision in the studio. Tese threads, form paths that merge together all the diverse and disparate infu- ences and experiences into a web that highlights the complexity of the thinking process of art making. Addressing how various ideas become connected together, Hamilton-based artist Andrea Kastner (Figures 6 and 7) compared her brain to a garbage truck: “You know when you see a garbage truck pull up and they throw the garbage in the back of it. Figure 6. Andrea Kastner’s studio, Kamloops, July, 2014. Ten the truck kind of mulches it, the thing Photo taken by Alison Shields. comes down and all the bags break apart and all the garbage mixes together. And you have the old things and the new things and the important things and the not important things mixing together. Tat’s how I picture my brain working” (personal communication, July 11, 2014). In our visit, Kastner showed me a photo of a house being pulled by a boat, images of old diapers, city scenes, piles of garbage and a mysterious letter that she found in a neighbour’s garbage that she mistook for a connect-the-dots. She described the mournful moment when she attempted to connect the dots, and realized that it was not in fact an image, but was just a random assortment of points on a page. While unable to comprehend the meaning of this document, she held onto the letter and used the nonsensical assortment of lines and dots for a future painting. Figure 7. Andrea Kastner’s studio, Kamloops, July, 2014. While a connect-the-dots has a pre-defned Photo taken by Alison Shields.

158 image, that is completed through follow- Garoian, C. (2008). Verge of collapse: The ing the plan and connecting the dots, Kast- pros/thesis of art research. Studies in Art ner instead looked toward this assortment Education, 49(3), 218–234. of dots and created a new unanticipated Gubrium, J., & Holstein, J. (Eds.). (2003). image, thus creating a new meaning. Figure Active interviewing. In J. Gubrium & J. 7 shows Kastner’s painting that depicts a Holstein (Eds.), Postmodern interviewing collage of imagery that reference the “con- (pp. 67–80). Tousand Oaks, USA: SAGE. nect-the-dot image,” garbage and photo of Irwin, R. (2013). Becoming a/r/tography. a house pulled by a boat. Kastner’s view of Studies in Art Education, 54(3), 198–215. the connect-the-dots parallels my view of Lather, P. (2007). Getting lost: Feminist ef- the map. I could similarly lay out my re- forts toward a double(d) science. New search journey and begin connecting the York, USA: State University of New York. dots, in multiple assortments and juxtaposi- O’Sullivan, S. (2010). From aesthetics to the tions, in a way that asks: What might these abstract machine: Deleuze, Guattari and artists say to each other? These conversa- contemporary art practice. In S. Zepke tions may be pieced together in any vari- and S. O’Sullivan (Eds.), Deleuze and ety of ways that reveal the mapping of an Contemporary Art (pp. 189–207). Edin- artist’s thinking process through the trails burgh, United Kingdom: Edinburgh Uni- lef behind by their art making, or through versity Press. drawing connections between the layers of Trigg, S. (2013). Studio life: Rituals, collec- conversations that emerged between artists’ tions, tools, and observations on the ar- practices. I continue to connect the dots. tistic process. New York, USA: Princeton Trough doing so the conversations contin- Architectural Press. ue to remain active long afer the painting is West, A. (2011). Mapping the intelligence of fnished, long afer the interview ends and artistic work. Maine, USA: Moth Press, long afer I leave the studio. Maine College of Art.

References Barrett, E. (2010). Introduction. In E. Bar- rett & B. Bolt (Eds.), Practice as research: Approaches to creative arts enquiry (pp. 1–15). New York, USA: I.B. Tauris. Fortnum, R. (2008, June 29). On not knowing; how artists think – symposium introduction. Paper presented at How Art Tinks, Kettle’s Yard, University of Cam- bridge, Cambridge, United Kingdom. Retrieved from http://ualresearchonline. arts.ac.uk/2324/1/onn_fortnum.pdf

159 III

Entangling

entangle / in’taNGel, en/ v. [Also entangling, gerund or present participle] 1 a To cause to be held in a tangle that impedes movement or extrication yet invites and involves in diffculties, doubtful undertakings, compromising relationships. b The mind-body-soul axises that make separation complicated, intricate, like nets that entangle, in an Ed- mund Burke-ian form, like the wings of a tender conscience. c A sublime resistance in intellectual seduction as a rupture of temporalities, events, interlacings a situatedness, intui- tiveness, connectedness of conceptual spaces, in sharp relief post-post-post meshing, braiding, mingling .

160 RESEARCH TECHNIQUES IN VISUAL A/R/TOGRAPHY: VISUAL QUOTATIONS AND THEIR USES IN PHOTO SERIES AND VISUAL AVERAGE

Ricardo Marin-Viadel Rafaele Genet-Verney University of Granada, Spain University of Granada, Spain

Xabier Molinet-Medina University of Granada, Spain

Visual Quotations and Dissertations 2016). Te second dissertation analyzes how Te purpose of this chapter is to explore the future primary teachers and social educa- potential of photographic-based research tors comprehend urban planning among techniques in educational studies: Visual middle and lower working-class neighbor- Quotations and their uses in Photo Series hoods, in order to better understand how and Visual Average. Te visual information to interact with people who live in that en- is presented through nine fgures from two vironment (Genet-Verney, 2016). Both re- PhD dissertations carried out at the Uni- search projects combine photos made by the versity of Granada (Spain) in which digital researcher and photos made by people en- color photographs were the main research gaged in the research process. Participants technique. One dissertation explores the in both projects were students from the Uni- concept of visual identity of university stu- versity of Granada, mainly from the Faculty dents while comparing similarities and of Education and Teacher Training. For the diferences depending on professional per- purposes of this chapter we are interested in spectives such as lawyer, sportsman, econo- highlighting the qualities of the photograph- mist, professor, and so on (Molinet-Medina, ic techniques for educational research.

161 A/r/tography and Visual A/r/tography In verbal language the use and meaning of A/r/tography is a methodological approach quotation is clear and normalized in aca- that has provoked a wide variety of con- demic writing, yet Visual Quotation is not nections with very diverse artistic positions, well known. Simply, a Visual Quotation is educational approaches and disciplinary any image that appears in a research report fields. A/r/tography is a métissage (Irwin, that has not been made by the author or by 2004) that has occurred in poetry, theater the participants in the research. Visual Quo- (Lea, Belliveau, Wager & Beck, 2011), vis- tation images resemble word-based quota- ual arts (Irwin & Sinner, 2013) and across tions within a text. Te decisive element is many artistic disciplines (Gouzouasis, Irwin, that an author repeats exactly the images Miles, & Gordon, 2013; Sinner, Leggo, Irwin, previously made by another author: Gouzouasis, & Grauer, 2006). More recently, other perspectives have been explored in- Just as writers may quote the exact cluding hauntology (Cloutier, 2016) and car- words of other writers in their text, tography (Lasczik Cutcher & Irwin, 2017), modern artists have produced icono- among other hybrids. Visual A/r/tography graphic motifs by older artists in their is a very particular perspective that posits work for various purposes by using visual images are the fundamental center of direct and clearly recognizable visual educational, artistic and research propos- quotations. Sometimes called artistic als. Indeed, the two doctoral dissertations appropriation -albeit somewhat in- shared here use visual a/r/tography within accurately- visual quotations gener- the context of the Faculties of Education. ally take the form of overt allusions Te combined results show how the photo- to well-known works of art or hege- graphic techniques are a symbiosis between monic aesthetic traditions in images research and creation, in which, according by modern and contemporary artists. to Truman and Springgay (2015), thought (Latorre, 2008, p. 37) processes are perfectly intertwined with the techniques of creative practice. While visual or musical quotations may be broadly used in the arts they are not described in publication style guides (for ex- Visual Quotations ample, APA 2010). In academic writing, spe- Visual Quotation is used in many diferent cial care is taken to follow style guide rules disciplines, but mostly where visual im- for written quotations, yet rules are not out- ages are data or fundamental elements of lined for Visual Quotations. research such as art history (Brown & Feld- Why should we use Visual Quotations? man, 2014), cultural studies (Roei, 2017), As academic work regularly uses quotations, and visual methods in social sciences (Banks, we believe arts-based research projects 2005). Some painters and visual artists have should use visual quotations. As indicated by used this term to title their paintings and ex- the standards of the American Psychological hibitions (Kaphar, 2016). Although it is not a Association (APA), quotations are part of the new technique, its use is also not widespread. structure and content of a research report

162 Figure 1. Genet-Verney, R. (2013). Casería de Montijo suburb. Fit together. Photo essay composed with a Literal Visual Quotation (Tabuchi, 2005), lef, and a digital photograph by author (2012), Two houses, right. because they serve six functions: (i) to rec- directly applicable to the needs of investiga- ognize the work of other professionals, (ii) to tions with visual images. Yet to date, Visual provide a reliable way to locate those works, Quotations have not been used in visual (iii) to support our own ideas and conclu- methodologies or visual arts-based method- sions, (iv) to justify the necessity of our re- ologies. Tis situation produces a great con- search, (v) to show the landscape of theories trast between the written portion of research in which our research is located, and (vi) to reports and the visual portion of the same justify the investigational context where our report. In the written part, many statements research is situated (American Psychological are usually supported by quotations, where- Association, 2010, p. 37). All these functions as the images are presented without any con- are used with text based quotations and are nections with previous or contemporaneous

163 images of other authors. Tis produces the writing guarantee that our verbal thoughts sensation that images have appeared in the are constructed together with the words and mind of the researcher or in the minds of writings of other people, the absence of Vis- people participating in the research, without ual Quotations suggests that visual thinking any connection with other images. In phi- springs up spontaneously in each person’s losophy there is a classic expression in Latin imagination. Tere is no evidence to support to refer to these processes of spontaneous this point of view. Te images we imagine generation: “Ex Nihilo,” which means “out are necessarily based on those we have seen of nothing.” We believe it would be interest- and known. In fact, one of the main tasks of ing to overcome this “naïve” conception of history of art and art criticism is to discover visual thinking. Just as academic forms of the complex web of references and visual

Figure 2. Molinet-Medina, X. (2014). Identitary interlaces afer John Clang. Photo essay composed with a Literal Visual Quotation (Clang, 2009), lef; and two digital photographs, Alba Garcia (2014) Female Colleague I, and by Pablo Lozano (2014) Male Colleague I, combined strip to strip, right.

164 backgrounds that, even in the case of the should not appear isolated, as independent most innovative artistic movements and art- images, but rather, they should accompany ists, explains these images. visual images made by the author. To intro- It is possible that the absence of Visual duce text citations in a research report, one Quotations contributes to the under valua- needs to use conventions whose purpose is tion of the visual results of an investigation. to clearly differentiate the cited text from The use of Visual Quotations could help the words written by the author. Tere are to overcome the diferent consideration of APA rules about the number of words in a written words and visual images in academic quotation as well as the typographical sig- research papers. Using a Visual Quotation in nals to distinguish the words cited. Te main a research report is as simple as reproducing signals are: cursive letter, “quotation marks,” the image cited within the report. Te quotes and “block quote.” in the written text do not appear isolated but Tere are no generally accepted visual introduce or comment on phrases written signal conventions that would diferentiate by the author. Terefore, Visual Quotations a Visual Quotation. Layton-Jones (2008)

Figure 3. Genet-Verney, R. (2015). “Casería de Montijo” suburb. Windows and grilles. Photo essay composed with a Literal Visual Quotation (Jimenez-Montano, 2011, p. 35), lef; and a Photographic Series composed with thirty-four digital photographs by the social pedagogy students, right.

165 states that the lack of generally accepted focus of each research report. The double- standards on the use of Visual Quotation lined frame in the Visual Quotation is the in academic writing inhibits their use by re- equivalent of quotation marks or italics in searchers, even in disciplines such as history texts. Just as in written text, the caption of of art and art criticism in which images, as images with Visual Quotations must explic- visual evidence, is necessary. According to itly state the author’s surname, the year, and Layton-Jones, the lack of generally accepted the page number if necessary, all in brackets. standards on how to use the Visual Quota- Ten, in the References section, a complete tions and the restrictions on the maximum reference of the image must be included. number of images normally accepted in re- Each of the nine images shown in this search journals, are the main reasons to ex- chapter includes a Visual Quotation. The plain why the images continue to be consid- preference was to display the Visual Quota- ered merely as illustrations or as decoration tion on the lef side of the images, except in in a research work. We suggest four basic Figure 5 where the visual quotation appears ideas for the use of Visual Quotations: at the bottom. Tere are two reasons behind this layout: frstly, the quotation should not (i) In research reports that use visual occupy the most attractive visual area, thus methodologies or visual arts-based it should not appear in the center or in the methodologies in which images right side of the image; and secondly, ac- made by the author or by the par- cording to the conventional reading order of ticipants appear, the use of Visual Euro-American cultures, the Visual Quota- Quotations should be recommended. tion should come frst as it is the origin or (ii) Visual Quotations should not ap- foundation of the whole image. pear isolated, but directly connected Figure 1 is composed with a Visual with the images made by the author Quotation, on the lef side of the image, and or the participants in the research. a photograph by Rafaele Genet-Verney on (iii) Visual Quotations should have a the right. Te Visual Quotation reproduces lower visual importance than the a complete photograph of the French artist images made by the author or the Eric Tabuchi (2005), who has developed an participants. extensive work on architectures and cities.1 (iv) Visual Quotations must be clearly The photography by Tabuchi visually identifed by some kind of visual combines vehicles and buildings in the con- device to ensure they are readily dis- temporary cityscape. By matching vertical tinguishable from non-cited images. and horizontal lines of trucks and facades, the author manages to unify vehicles and Other decisions that we have adopted for architecture as pieces of the same urban ma- Visual Quotations are of a more particular chine. Rafaele Genet-Verney has used this nature and could be adjusted to the specifc same visual concept for photographing the

1 www.erictabuchi.net

166 Figure 4. Molinet-Medina, X. (2015). University student groups. Photo essay composed with a Fragment Visual Quotation (Versluis & Uyttenbroek, 2014), lef, and a Photographic Series composed with 36 digital photographs by the author, right.

neighborhood named “Caseria de Montijo” of the city. She used the visual idea as a way in the northwestern edge of the city of Gra- of demonstrating the combination of new nada. In her photography, the corners of the brick buildings next to traditional country old white house exactly match those of the houses. Tat’s why her fnal image combines cement and brick building, both seem to ft a Visual Quotation with her photography. perfectly. Te wild plants around the rural Figure 2 shows a Visual Quotation of house reinforce the surprising combination. the Singaporean artist John Clang (2009): Rafaele Genet-Verney focused her pho- a photograph of a human face. The image tographs on that neighborhood because an is a combination of two photos of two dif- important part of her empirical fieldwork ferent people, printed on paper. Each pho- took place there with her students. One of tograph is cut into thin vertical strips. Te the main features of this neighborhood is strips of the face of each of the two people, the urbanization and construction of large the artist and a friend, are combined to cre- apartment buildings from the 1970s along ate a new face that is the combination of the with plots of land that conserve the old two. The Visual Quotation belongs to the farmhouses that were once on the outskirts series of photographs entitled “Me and my

167 friends” in which the artist proposes several tions, which is an exact copy or reproduc- ideas that are very appropriate for inquiries tion of the complete original image, but of a into identity. For this reason, the students very small size, just large enough to identify of Xabier Molinet-Medina in the Faculty of the elements that make up the image. Te Education carried out the same process, spe- change in size is a necessary condition of a cifcally seeking a combination of male and quotation despite the potential alteration of female faces to create a synthesis of both. the original image. A small size is a neces- In the two examples of Visual Quota- sary condition for any quotation, either for tions the process of elaboration of the fnal written text or for visual images. image consists of presenting both the quota- In Figures 4 and 5 another type of Vis- tion and the photography by the researcher. ual Quotation appears: Te Fragment Visual In both cases, the basic rules of a quotation Quotation. In this case the quotation does not have been applied. Te Visual Quotation is reproduce the original image completely but presented in combination with the image only partially. In a similar way to text quota- made by the author. Te Visual Quotation tions, the selection of a fragment of an image has a small size and is not the focus of the must respect the general sense of the image complete image. The Visual Quotation is to avoid transgressing or improperly alter- clearly differentiated from the other ele- ing its senses and meanings. Tere are other ments of the image. Besides these three con- types of Visual Quotations but they have not ditions, the fnal image has been elaborated been represented in the images in this chap- in a coherent way, taking care of the thematic ter (Marin-Viadel & Roldan, 2010; 2017). and chromatic equivalences, the proportions Te main functions that justify the in- and the visual rhythm of the photographs by clusion of quotations in a research report the researchers and the Visual Quotation. can serve as a guide to propose the quali- Tere are several types of Visual Quo- tative criteria for Visual Quotations (APA, tations. In academic writing two types of 2010, pp. 169–170): Does the Visual Quota- quotations are established: one, the direct or tion included in the research report recog- literal quotation, in which the words pub- nize the work of other professionals work- lished by another author are reproduced ing visually on the same issues and with a exactly, the same number and order; and similar methodological approach? Does the two, the paraphrase, which summarizes the Visual Quotation provide an adequate basis ideas of another author but without using for the images created by the researcher? exactly the same words (APA, 2010, p. 171). Is the Visual Quotation useful to justify A wider variety of different ways of refer- the need for the new images proposed by ring directly to the works of other authors the researcher? Do the Visual Quotations are recognized in the arts: quotations, para- show the panorama of theories and authors phrases, versions, variations, appropriations, in which the research is located? Have the pastiches, etc. (Hoesterey, 2001). In the Fig- Visual Quotations been used to justify the ures in this chapter two diferent types of context in which our research has been lo- Visual Quotation have been used. One type cated? Do the Visual Quotations support corresponds to the Literal Visual Quota- the arguments and the visual conclusions?

168 Te Use of Visual Quotations in Photo- grilles. Te small size of the windows, the graphic Series and Visual Average low quality of the materials and the simplic- Visual Quotations can be used in conjunc- ity and vulgarity of the decorative elements tion with Independent Photographs (a sin- indicate that they are cheap apartment gle photograph) as in Figures 1 and 2; but buildings built in the 1970s in Spain. can also be used in conjunction with other Te Visual Quotation has been used as types of visual techniques in a/r/tographic a reference for the general structure of the investigations. We will analyze the specifc image (the organization of the photographs problems that arise when Visual Quotations in rows and columns) and also to establish are used in two diferent techniques: Photo- the rhythm of the vertical elements and the graphic Series and Visual Average. Due to chromatic balance of the whole. Tere is a the length of this chapter, it is not possible to clear equivalence between the whites, blacks, present each of these techniques in all their greens, ochers and reddish in the Visual breadth and complexity. We will simply indi- Quotation and in the image by Rafaele cate some of its basic characteristics to ana- Genet-Verney. lyze the functioning of the Visual Quotations. This way of organizing many photo- Figure 3 presents, on the lef, a Visual graphs into a single image makes up a Photo Literal Quotation and on the right, thirty- Series. This technique differs from other four photographs organized in four hori- visual techniques in which many diferent zontal rows. The Visual Quotation is com- images are combined such as photo collage posed of twelve photographs, all of the same or photo montage (Hockney & Joyce, 1988; size, arranged in three rows and four col- Renau, 1977). Its main feature is that the umns. Each of the photographs display the photographs that make up the image are or- same theme, a doorway to a private home ganized according to a geometric and homo- in a neighborhood of Puerto Rico, and has geneous straight-line pattern so that each of been made with the same frame and light- the photographs has the same thematic and ing as the set. Te thirty-four photographs conceptual importance. of grills and windows in the ‘Casería de Te Photographic Series has been wide- Montijo’ neighborhood of Granada have ly used across diferent disciplines for many been taken by the students of Social Educa- decades, because it is a very useful research tion to describe the urban and architectural technique to describe and compare a great characteristics of this social environment. diversity of phenomena either in develop- The students have taken the photographs. ment psychology (Gesell, 1945) or in media Teir teacher/researcher has organized the studies (Hunsinger, Klastrup, & Allen, 2010). fnal image. Te two central horizontal rows Te Photographic Series is an ordered and show twenty windows with diferent grilles consistent set of photographs, whose coher- (10 in each row). In the upper row, the pho- ence responds to a criterion: thematic, con- tographs show a wider area of the façade, ceptual, temporal, formal or stylistic. Sev- with details such as advertisements, blinds, eral photographs of successive moments of plants and hanging clothes; and in the lower an event can describe the process (Figure row, details of the decorative elements of the 6). Several photographs, each of a diferent

169 object or person, present and compare the ural and the background is completely white. elements of a set (Figures 3, 4, 5 and 7). Te Each series of twelve portraits groups people Photographic Series works as a descriptive who wear clothes of the same color and ma- technique of people, contexts, actions and terial: ochre wool coats, black leather jackets processes. The systematic presentation of and trousers, white coats, etc. Te composi- the members of a group evidences both the tion of the set of all the Photographic Series common characteristics and the diferences creates a chromatic pattern of similarities within the group or over time. A Photo- and diferences that identifes professional graphic Series does not usually have totaliz- corporations, urban tribes and social groups. ing or generalizing pretensions. Repetition, Xabier Molinet-Medina used these same as Deleuze (1994) argues, is not generality photographic concepts to examine the iden- and must be distinguished from it. A Pho- tity elements of university students accord- tographic Series is a visual narrative that ing to faculties and degrees. moves between description, analysis, com- In Figure 5 the structure of the Photo- parison and interpretation. graphic Series has been modified to intro- Figure 4 is a Photographic Series fea- duce into the description not only people turing 36 students from the University of (in this case a group of Fine Arts students), Granada. The two most striking features but the context. Te strict rows and columns of this series are the large number of pho- organizing the image have been maintained, tographs and the strict homogeneity of but the central row is occupied by a single the frame, focus and lighting (all human photograph in which one of the walls of the figures are impeccably cut out on a white clay sculpture workshop appears instead of background). Tese features contribute to people. Te decisive challenge was to make the sensation that the series can be contin- the photography on the context visually con- ued in an unlimited way up and down, lef gruent with the overall concept of the Photo- and right. Tese traits come from the Visual graphic Series. Te geometric tiling of white Quotation that is part of the image. Its au- wall tiles stained by the use and the visual thors, photographer Ari Verluis and stylist rhythm between empty areas and objects Ellie Uyttenbroek began a photographic exactly matches that of the student portraits. project in October 1994 entitled ‘Exacti- Photographic series such as those in Fig- tudes,’ which they continue to work on. ures 3, 4 and 5 have eminently descriptive and Te project website2 is a mosaic composed comparative functions: would it be possible with 125 Photographic Series of 12 portraits to solve, by means of photographic research each. The 1,500 portraits are made under techniques, other research functions in order the same strict photographic conditions: all to reach a conclusion or, at least, to point out the human fgures are placed exactly in the trends? How can a synthesis of all the par- center of the photograph, the frame shows ticular cases be established photographically? the person from head to middle of thigh, Figures 6 and 7 show a procedure to everything is clearly focused, colors are nat- synthesize in a single image the successive

2 See www.exactitudes.com

170 phases of a process or the diferent descriptions of the same object. In both cases the ideas coming from the Visual Quotations have been decisive. Figure 6 is composed of a Visual Quotation, a Photographic Series and a Visual Average. The Visual Quotation corresponds to the artist Stephanie Jung (2016). Her photographic work seeks to fnd the vibration and frantic movement of cities. Tis photo, entitled “Museum Island,” is made in Berlin and represents several people wait- ing in front of the museum of ancient art. Te Photo Series, located at the top of the image, is composed of three photographs that describe the activity of a teacher in her classroom. She is in the center of the group of students and is recording the sounds of the mobile phones of her students, approaching each one of them. Te third photograph, larger size, is the Visual Average made by the teacher-researcher about her own teaching process. The complete sequence is represented in a single image, which emphasizes the teacher’s interaction with the students. Visual Average is used in computer science (Warner, 2016) and also corresponds to the Figure 5. Molinet-Medina, X. (2015). Students and university contexts. frst words to designate a semi-au- Photo essay composed with a Photographic Series composed with four tomatic technique to calculate the photos by the author, top, a digital photograph by the author, center and a speed at which a vehicle circulates Fragment Visual Quotation (Versluis & Uyttenbroek, 1998), bottom. on the road. Tese two uses of the name are very far from our purpose. But in other areas, the name is used with a sense very similar to the one we use. One of them is the study

171 of medieval manuscripts (Hourihane, 2017). cept in quantitative research approaches in Jesse Hurlbut (2013) has developed the tech- human and social sciences. Te arithmetic nique of superimposing the digital images of average is a measure of central tendency, all the pages of a manuscript for discovering probably the most used and easy to calcu- the fundamental structural qualities of the late in a statistical analysis of numerical document, such as margins, organization of data (Salkind, 2007). The arithmetic aver- the text in columns and combination of text age seeks to synthesize in a single numeri- and illustrations. cal data a very broad data set, so that this Te name Visual Average derives from single data is representative of the whole. Its the arithmetic average. This is a key con- main disadvantage is that the result blurs the

Figure 6. Genet-Verney, R. (2015). Dialogue in the classroom with sound compositions. Photo essay composed with a Literal Visual Quotation (Jung, 2016), right; a Photographic Series Rafa teaching, composed with three digital photographs by P. Palau (2013), top; and a Visual Average by R. Genet-Verney (2015) Me teaching, lef.

172 Figure 7. Genet-Verney, R. (2015). “Casería de Montijo,” playground I. Photo essay composed with a Literal Visual Quotation (Keyes, 2005), right; a Photographic Series Record of playground viewings by the students composed with ten digital photographs by the social pedagogy students taken in 2013, top; and a Visual Average playground rendering by the students, by R. Genet-Verney (2015), lef. amplitude of the differences between the The use of a degree of homogeneous opac- particular data. On the contrary in the Visu- ity does not generate a convincing result be- al Average, this sensitivity to the irregularity cause it creates an insubstantial uniformity. or the singularity of the data is still percepti- Te transparent overlap causes greater dark- ble because all the photographic data are still ness in the common areas of the diferent im- represented in the fnal result. ages, while the contours, where the greatest Visual Average is an image that synthe- variations are found between one image and sizes the set of original images. This is ob- another, the colors are weaker. Te fnal re- tained by superimposing and and adjusting sult is an image in which the contours of the transparency of each of the original images. elements are blurred and vibrant, very simi-

173 lar to the concept of “sfumato” used by Leonardo da Vinci. In recent decades, some artists have been recognized for their photo-overlays of photographs taken by other people, either by great artists, as in the case of Idris Kahn (2007), or by anonymous people, such as Doug Keyes (2012), Ken Kitano (2003) and Steph- anie Jung (2016). Also, the artist Corinne Vionnet (2007), in her series Photo Opportunities, combines photos shared on social networks by tourists who have photographed the Eiffel Tower, the pyramids of Egypt or the Coliseum in Rome. Te most usual point of view seems clearly perceptible in the visual result indicating that we all look at these monuments in the same way and focus our attention on concrete Figure 8. Molinet-Medina, X. (2014). Identitary points of the building. The visual scribbles. Photo essay composed with a Literal Visual average corresponds to a multitude Quotation (Khan, 2007), right, and a Visual Average of simultaneous perceptions. Photo-Collages I composed with a series of Photo- Figure 7 is composed of a Vis- collages by primary teacher’s training students, lef. ual Quotation (Keyes, 2005), a Pho- tographic Series and a Visual Aver- age. Te Visual Quotation by Keyes Series summarizes these ten photographs. Te yellow represents the old neighborhood of slide, in the center of a small public garden is the cen- Beacon Hill in Boston, seen from tral element in most of the photographs. However, the diferent overlapping perspectives. point of view that each student has used is diferent. The result is an innovative image Figure 8 is composed of two visual elements. On of the city in which space becomes the lef side we fnd a Literal Visual Quotation by the multiple. In the upper part of the English artist Idris Khan (2004). Tis artist makes a image there is a Photographic Se- cumulative superposition of the industrial architec- ries composed of ten photographs ture photographs of Bernd and Hilla Becher (2004). taken by the students of Social Edu- Tese two professors and photographers published a cation of the University of Granada series of black and white photographs on industrial during a photographic journey. Te buildings, including water tanks, gas tanks, grana- Visual Average below the Photo ries, etcetera. They grouped the photographs in an

174 orderly manner into a single panel with nine or fifteen different photographs to create a Photo Series. The photographs were taken in a very similar way: same framing, tonality and contrast. This technical rigor allowed highlighting the beauty of each architectural work with respect to the others. Te artist Idris Khan superimposes in a single image all the photographs from the same Photo Series of the Bechers, creating a single building with blurred contours and multiple structures. On the right side of Figure 8 there is a photograph by Xabier Molinet-Medina which is a Visual Average of the 49 exercises of combining portraits through nar- row strips between classmates. Tey were carried out in the art class of the Faculty of Education and Teacher Training of the University of Granada during a visual exercise on the identity of the students. Tis exercise derives from the work of Clang (2009), which was already explained above. For this photograph, Xabier Molinet-Medina superimposed all the photographs taken by his students, to obtain a Visual Figure 9. Molinet-Medina, X. (2015). Two Visual Average of all the exercises. In the Averages. Photo essay composed with a Literal Visual fnal image we recognize a human Quotation (Keyes, 2012), lef, and a Visual Average face but it is difcult to discern gen- School of Communication composed with six digital der and peculiar features, or to rec- photographs by the author, right. ognize particular people. In Figure 9, on the lef there is a Visual Quotation from Keyes (2012), who in his project “Collective Mem- ory Series,” creates Visual Averages from images made by other artists,

175 or published in magazines, books or online. Establishing Research Techniques Te photograph on the right is a Visual Av- Although arts-based research method- erage that combines the half-length photo- ologies have been used over the past three graphic portraits of a group of university decades, the establishment of specific re- students of the Faculty of Communication search techniques of this methodological of the University of Granada, who selfessly approach is still very weak. In research, us- accepted to pose for the author. To achieve ing photographs are almost exclusively of a this visual result each of the photographic documentary nature. portraits was prepared with a uniform Visual Quotations are necessary in white background, and the same frame and Visual Arts-Based Research because it is a lighting conditions for each of the partici- specific type of quotation when visual im- pants. All those photographic portraits con- ages are used. We have shown how Visual stitute a Photographic Series that has been Quotations may be used similarly to written synthesized in this Visual Average. This text quotations in academic research. Visual highlights diferences in the clothing and Quotations can be used in conjunction with accessories of students. The overlapping Independent Photography as well as other faces are especially interesting. The char- educational research photography tech- acteristics of visual identifcation of a man niques. Description and comparison are two (mustache, beard, etc.) and those of women very common processes in educational re- (braids, bangs, etc.) have merged into an search. A Photographic Series is an efective intriguing combination. The final image instrument to describe and compare stu- presents a summary of the identities of the dents, processes and contexts. Visual Quo- current students of the Faculty of Commu- tations may support the use of Photo Series nication in the University of Granada. in educational research. Te photographs of The Visual Average eliminates part of several contemporary artists support the use the original information obtained by each of Visual Average in a/r/tographic projects. student to create a new image where the Te Visual Average is a technique that has common visual ideas are reinforced and the been developed from an analogy with the diferences are blurred. Unlike the arithme- concept of statistical average. Teir main in- tic mean, in which it is perfectly established terest is to show how new visual ideas may what are the operations that must be per- occur through the search for analogies be- formed with the original data; it is not pos- tween contemporary photography and non- sible to obtain an efective Visual Average visual research techniques in education. mechanically or automatically. Te intensity of the transparencies of each of the original photographs has to be applied individually by the researcher to obtain an acceptable result. Te procedure of obtaining a Visual Average is more similar to making a written summary of several texts than to the application of a mathematical operation.

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178 Sinner, A., Leggo, C., Irwin, R., Gouzouasis, P., & Grauer, K. (2006). Arts-based educational research dissertations: Reviewing the practices of new scholars. Canadian Journal of Education, 29(4), 1223–1270. Tabuchi, E. (2005). Mobile home series. Mo- bile ville [Digital photography]. Retrieved from http://ecriture-en-chantier.over-blog. com/article-eric-tabuchi-re-90934739.html Truman, S. E., & Springgay, S. (2015). The primacy of movement in research-creation: New materialist approaches to art research and pedagogy. In M. Laverty and T. Lewis (Eds.), Art’s teachings, teaching’s art: Philosophical, critical, and educational musings (pp. 151–164). New York, USA: Springer. Versluis, A., & Uyttenbroek, E. (1998). 22. Butchers – Rotterdam [Photography]. Re- trieved from http://exactitudes.com/index. php?/series/detail/22 Versluis, A., & Uyttenbroek, E. (2014). Ex- actitudes [Photography]. Retrieved from http://www.exactitudes.com/ Vionnet, C. (2007). Photo opportunities: Rome. Retrieved from http://www.corin- nevionnet.com/-photo-opportunities.html Warner, R. A. (2016). Optimzing the display and interpretation of data. Amsterdam, Te Netherlands: Elsevier.

179 BEYOND THE VISUAL: ALTERNATE WAYS OF THINKING THE ROLE OF IMAGES IN EDUCATIONAL RESEARCH

Mariane Blotta Abakerli Baptista University of Barcelona, Spain

Building Visual Conditions: Form, workshops and academic appointments Content and Design of the Dissertation undertaken during the PhD stimulated my This chapter is based on the visual meth- thinking about a process of construction, odology I used to engage in dialogue with each taking into account not only the onto- the images I created for my doctoral the- logical, epistemological, methodological as- sis, “Relaciones entre la Cultura Visual y pects of study, but also the linkages we bring la Perspectiva Educativa de los Proyectos from our lived experiences as researchers. de Trabajo en un Trayecto de Formación” In order to investigate these questions, I (Baptista, 2014), in the Arts and Education drew upon the fundamentals of arts-based Department at the University of Barcelona. educational research (ABER) (Barone & Ei- During the narrative construction process, sner, 2012) where qualitative inquiry in the my foremost concern was with the nature of arts focuses on how art is the basis for (re) relationships between text, image and lived thinking assumptions in education, Moreo- experience, and in turn, my core research ver, this orientation was consistent with my questions became: Do artistic methods gen- existing teaching practice. My academic life erate pedagogic knowledge, and if so, how began many years afer my professional ca- (Hernández, 2014)? Can we frame visual reer began, making the research I undertook methods with relational dynamics embed- for my PhD degree connected with my past ded in the design? A rich array of seminars, teaching, as well with the field of arts and

180 design, and my current academic interests. cial issue that involves the subjectivity of the More importantly in my research design subjects participating in the actions, thereby considerations, I realized I was not primarily displacing attention to the images towards the performing an artistic study, that is, the in- relationship processes that are constructed in vestigation was not focused on my art prac- an investigation in the attempt to narrate the tice alone, nor solely on an existing collection facts with and through the use of images. of art. Te focus was instead on how to create conditions in a study to use visuals and visual methods in ways that unpack experience as a precursor to what form and content emerged in the design of the dissertation, page by page (Macbeth, 2001), rather than simply analyzing the image as an end-product in artistic research, or as a resulting form of data from a qualitative perspective. From this point of view, I describe “the layers” that I have set for the images to perform this condition in the course of research design (Al- Figure 1. Art images, catalogues and books that have been exander, 2006). Lastly, I discuss building my visual culture. Layering images from my library. additional factors that helped me refect on and generate a way of narrating Visual Conditions as visual methods capable of creating a distur- Arts-Based Educational Research bance to visual thinking. In the process, I ex- As an ethnography, my research was con- plore changes in the image/text relations on stituted in relation to the feld throughout the actual pages of the dissertation. the study: before I entered, when I prepared Before I begin, I would like to point out myself for feld research; during my observa- that the focus of this chapter is not to corrob- tional work in the feld; and especially afer, orate a methodology, but rather to point out when the ethnology came together as a con- how I used some clues of the methodologies crete material expression of being inside of a that work with images as data of an investi- “performance text” (Denzin, 1997). Writing gation, understanding therefore that this is was the place where it was possible for me a feld that is under construction. Te main to interlace the feld research with teacher idea is to provoke in readers possible dia- reflections and at the same time mediate logues between the investigation, images, and the theoretical texts knowing that my back- text: these are a refection on the use of visu- ground as a teacher was always implicated, alities, as suggested by Foster (1988), as a so- and always mindful that as a researcher, I

181 was increasingly concerned with the dynam- to prompt thinking through the conditions ics of the visual as a condition of research. underway in the study. For instance, going From my perspective, the questions that to an exhibition inspired me to connect with guided me in this process were efectively fo- the problematics of my ethnographic inves- cusing my attention on how to make images tigation and helped me “visualize” the way play a role that can promote the construc- in which the group produced knowledge. tion of positionality, especially as an eth- Together these two streams of images had a nographer who intends to understand how reflective aspect, because they brought me relations are built through interpreting the closer to concepts and relational processes I “other” and what a perception of the “other” was performing at that time. means pedagogically as defned by represen- Tis intuitive response insight led me to tation strategies (Hall, 1997). My fundamen- refect on how artistic methods may generate tal frst step was to set which methodological pedagogical knowledge. According to Know- axis would guide the research process of the les and Cole (2008), the use of art in such a thesis writing. The main idea would be to social investigation opens “possibilities for create a testimonial that did not talk about alternative perspectives, modes, media, and what exists and what one uses, but attends to genres through which to understand and what one produces in order to represent the represent the human condition” (p. xii). In- relational spaces when one documents and formed by Eisner’s proposal to refect on the explores pedagogical relations in the feld. importance of the “qualitative forms of intel- In order to express this condition, I ligence rooted into the artistic,” I then began used visual referents for my language (Conle, to consider how visual conditions served me 1996) which changed both the form and as a researcher, and much like Figure 1, how the content of the dissertation. Tis is a dis- the visual conditions were an invitation to course I know intimately, and it is a location think about the relationships between “form of thought where I felt comfortable generat- and content,” specifcally in terms of unpacking a dialogic space. It was in this way I con- ing the role images played in research (Eisner, structed a narrative plot about the research 2008, p. 12). If we engage in methodology as process in which I was able to articulate the a form of living inquiry, a position articulated experiences shared by the group. At the same in response to innovations in technology and time, my thesis was not explicitly about im- the way in which technology afects our sub- ages or works of art as the main objective. In- jectivity, my concern was to reveal something stead, I engaged in photographs I had taken more in the design of the dissertation about from the group’s meetings and from visits to the interrelated processes between individu- their school. Tese photographs were made als, images and pedagogical refexivity. while they were discussing, studying and re- I believe the above strategy encouraged constructing the educational perspective that dialogues to be established from a perspec- led to their teaching practices. And while I tive of relational recognition. For example, was writing, I expanded the spectrum of im- teachers recognized aspects of themselves ages, referring to photographs from works of as they recognized some of their actions de- art and expositions I had visited previously picted in images (techniques, responses, fa-

182 cilitations). However, this reassurance gener- feld is doubled in notes (written register), in ated strangeness (otherness) as well, and this images (photography and cinema) and in resulted in ongoing refective questions: Why sounds (tape recordings). Ten the research- were these photographs selected? What is er “recollects the real the way it is,” that, “col- so special about them? What are the teach- lects data…” (Guber, 2004, p. 166). ers depicted doing diferently? As we talked Contemporary ethnography recognizes about these questions, the conversation dem- the impossibility of registering “everything” onstrated how other non-visual elements (Guber, 2004) and a constructionist per- accentuated a sense of strangeness among spective (Ibáñez, 2001; Gergen & Gergen, my participants. Tese elements originated 2011) understands photography is but a from a host of personal and professional slice of “the real the way it is.” As a visual sources: using the principles of ABER helped condition, the photograph informs feld re- to reposition us in relation to images. ABER search with what Rose (2012) described in proposes a way of looking that is not what it her book Visual Methodologies as systema- addresses, but how it addresses. My intention tization. When explicating and setting the was to reveal the mechanical and structural research methods about and with visual relations between image and words in a re- materials, I found another way to have pho- fexivity process, and as a visual condition of tographs assume the role of evidence for the research (Alexander, 2006; Macbeth, 2001). research. Among her methods about so- Recognition is the frst layer in this de- cially constructed images for research, Rose sign. According to Barone and Eisner (2006), (2012) refers to ‘photo-documentation’ as a “arts-based research is defined by the pres- relational condition constituted through a ence of certain aesthetic qualities or design series of photos taken by the researcher in elements that infuse the inquiry process and such a planned way as to document and an- the research ‘text’” (p. 95). Te diference is alyze a phenomenon in particular. Adapt- in the way in which we were involved with ing this practice, I came to understand that the images (either photographs or sen- the photographs taken of the group had to tences, drawings, scenes) in our research follow the problematics that conducted the and in the ways the data became actively inquiry. In this way, I started photograph- involved in the inquiry process, instead of ing the situation as a research dialogue. In being illustrations or decorations of what addition to this method, I also attempted we reported. Te methodological issues that to generate a text that created “spaces prevailed brought me closer to the teachers, for the merger of multiple voices and expe- and more deeply entwined in the inquiry riences” (Denzin, 1997, p. 91). Tese voices process, rather than the image. Te image represent the ones who took part in the became the visual condition to make visible research and were simultaneously prospec- the experience that generated the images. In tive readers of the thesis as well, suggesting order for the images to achieve this aspect, it a double role: teachers as participants and was necessary to change the traditional way readers. Tus, they could interact with their in which the ethnographer conceived of the voices and project again their experiences feld: “…the register is a means by which the in relation to the inquiry.

183 Te continual refnement of the scribes this as the diference between the self and the visual methodological approach al- other, noting that diference resides not only in the say- lowed me to get closer to the image, ing and the showing, but in the supposing of how and the defnition of the theoretical axis why we relate. For example, the word heard, quoted and and the problematic, in ways that inscribed, as well as the consequential actions – seen, supported the writing process, in- fgured or described – are entry points to understand- formed my knowledge in the arts, ing the conditions necessary for the visual in research. visual culture and art education, I suggest that this notion of diference is the third and confrmed the artistic and aes- layer of design in such research. thetic fundamentals that placed the In turn, in an attempt to create a polyvalent text links between text, image and ex- that welcomed the voices of the participants and the perience in my research. All of this paths of knowledge construction that had been de- created a narrative in which the text scribed during our meetings, the text in my thesis itself became a visual condition. incorporated layers that were interconnected with Problematics is the second sensorial conditions. Tey showed ideas (theoretical layer in this design. texts) and images – from either the meetings or the expositions – meetings excerpts, refections about the facts, memories taken in notes during the feldwork Text / Image and interviews. All these features were interlaced to What characterizes an image? Ac- form the ethnographic inquiry feld study wherein cording to Block (2008), the researcher and participants were co-constructors, thus making the text a reading of multiple, possible …the basic visual compo- evidences (Rose, 2012). According to Kan (2009), this nents are space, line, shape, “…open[s] up more channels for others’ reception of tone , movement , and knowledge and perhaps stimulate[s] a sense of cu- rhythm. These visual com- riosity and motivate[s] readers also to examine the ponents are found in every nexus of ideologies embedded in the axioms underly- moving or still picture we ing their everyday decisions and actions” (p. 26). see.…A visual component In addition, from a design perspective, the as- communicates moods, emo- semblage process of feld research held another layer tions, ideas, and most im- of connections that was demonstrated by the visual- portantly, gives visual struc- ity of the horizontal space ofered by the actual dou- ture to the pictures. (p. 2) ble pages. In this way, the printed page prevailed in relation to characters, photographs, fonts, symbols, We know that the ability to commu- brackets and other elements. Tis was not performed nicate ideas through images is difer- so that the verbal condition was reinforced by text, but ent from verbal and written expres- rather to have the images promote “their own theo- sion. Each of them, understood as ries,…their own power, their own say in the structure” another means of representation, is (Elkins & McGuire, 2013, p. 1). accompanied by its specifcities for Te Figures 2, 3 and 4 provide some examples in understanding. Mitchell (1994) de- which the layers are in conversation with themselves.

184 In the dissertation as a document, each teachers who used the same classroom. On page was built so that the page itself high- these pages, I discussed the notion of uni- lighted the problematics analyzed. Trough versity as a knowledge producer and if such this kind of page construction, deeper mean- knowledge was also part of the knowledge ings inside the representation could take production of the group itself. Te image of place when viewed and/or read. In Figure the page on the right dialogued with the the- 2, for example, we can see the picture from oretical text on the lef when criticizing the the group of teachers seated in a circle in university’s imposition to have the students’ one of the university rooms where the meet- desk organized in rows: thus visually rein- ings were held. Below, we can see a banner forcing the idea that knowledge is not pro- where the university asks the teachers to put duced horizontally, but from top to bottom. the desks where they were placed before, in In Figure 3, the pages are not split into order not to create problems with the other two parts, as visually suggested, but into three.

Figure 2. Pages 184–185 of the thesis “Relations between the Visual Culture and a Project Based Learning in a formation path” (Baptista, 2014).

185 Figure 3. Pages 214–215 of the thesis “Relations between the Visual Culture and a Project Based Learning in a formation path” (Baptista, 2014). Te pages involve multiple movements from about their teaching practices. Tis became a vertical photographic sequence, and a frag- the basis for layers within visual conditions ment of dialogue from the meeting, followed that informed the resulting page in my disser- by a horizontal mapping of theoretical text. tation. In fact, beyond the visual, this page is Tese three spaces are progressive, ordered in actually composed of a large sequence of 22 ways to talk about the importance of afect in photographs, and this is the only sequence I the knowledge construction process. In this used in the whole thesis. Trough the excess, case, the ethnographic distance was crucial. I I intended to have the reader “live” the afect had to distance myself as a group member in that was present in the meetings live the af- order to realize what I lived in the meetings. fect that was present in the meetings as a vis- While I looked at the photographs I noticed ual condition that then resides in the layers of again and again the afect among the teachers the text of the dissertation. in the group, and I felt and understood that In the third part of the sequence, I ana- dynamic as a sensorial condition of research lyzed in the theoretical text the way “being that was operating alongside conversations supported” influences knowledge produc-

186 tion. While placing photographs in relation, In Figure 3 it is also possible to see the I became increasingly aware of fragmenta- insertion of what I regard as a visual breath- tion as a further condition. That is, there ing space or spare spaces on the pages. In were fragments of conversation shared by order to make the polyphony of voices pos- the group in which critical moments as sible in my narrative, I used three kinds of teachers were shared implicitly or explicitly. fonts and numerous shades of gray and a At times, teachers circled back to those mo- broad tonal range of black: ments in conversation. I intended to show I i. Times New Roman, in black, for the was aware of the existence of the problems narrative that structures the text; they described, about how the group han- ii. Garamond, in gray 75%, for the dled them collectively in response by their most subjective texts, refections that ability to “visibilize” the feld study in new were coming out while I was writing, ways (Lierberman & Miller, 2003). my notes in the feld diary, and/or

Figure 4. Pages 250 and 251 of the thesis “Relations between the Visual Culture and a Project Based Learning in a formation path” (Baptista, 2014).

187 my dialogue with the things onstrate. Tis was a way to let the text open itself to I could see in the meetings; continual reconstruction to take into account experi- iii. Optima, in black (because ences of teachers and readers, and to maintain sus- it was inserted in the narra- tainability for the feld research from that particular tive that structured the text), time and place. Applying a photomontage technique, to the teachers’ voices in the I organized the problematic while I was in the others dialogues of the meetings and while I was in the process of developing the feld and interviews. study. Moreover, I could then refect on the learning It is possible to see some spare spac- processes that defned the way the group constructed es on pages 250 and 251 (see Figure knowledge within those set parameters. 4). Page 251 is placed below the top Albeit this chapter is but a brief introductory con- margin on the right, as compared versation to a number of complex ideas, I posit that to a full page 250 on the lef. Such the pages of the dissertation became works of art spare spaces were based on the idea themselves. Tis suggests we must now recognize that that writing is always in action (Pol- the form, content and design of the dissertation is an- lock, 1998) and when it finds its other living layer in arts-based educational research. own form and moves, it becomes When we use the artistic and aesthetic fundamentals part of a performative act of design. in social research, it is possible to generate provocative Spare spaces is the fourth layer texts that open space for dialogue with research, about in this design. research, and through research. Te artistic embrace Reflecting now on the layers of the visual condition in the design of my ethno- in the design of the dissertation, graphic study and my resulting dissertation, interprets I regard the notion of the visual what we see and read in the feld and beyond, not only condition as a form of translation, as a function of the text, but also as an interpretation be that visual, verbal, sensorial of what we see and read as a function of seeing. or intellectual. I recall that when Such an approach to visual methodology allows I started transcribing the inter- us to have a shared conditionality, but not necessarily, views, I began to understand how a single view. the silences and as well as the res- piration of those interviewed were important. I noticed that their ca- References coethes helped them to develop an Alexander, B. K. (2006). Telling twisted tales: Own- idea. These indicators were also ing place, owning culture in ethnographic research. signs that they understood what In J. Hamera (Ed.), Opening acts: Performance in/ they were talking about, since they as communication and cultural studies (pp. 49–74). interrupted the fow of their speech London, United Kingdom: SAGE. with silent moments, akin to spare Baptista, M. B. A. (2014). Relaciones entre la Cultura spaces. I understood that it was im- Visual y la Perspectiva Educativa de los Proyectos portant to keep some of those “gaps” de Trabajo en un trayecto de formación [Relations for readers in the design of the dis- between the visual culture and the educational sertation, as the sample pages dem- perspective of the work projects in a training path]

188 (Unpublished doctoral dissertation). Uni- Hall, S. (1997). Representation: Cultural rep- versity of Barcelona, Barcelona, Spain. resentations and signifying practices. Lon- Barone, T., & Eisner E. W. (2006). Arts- don, United Kingdom: SAGE. based educational research. In J. Camilli, Hern andez, F. (2014). Pedagogias Cul- G. Green, & P. Elmore (Eds.), Comple- turais: o processo de (se) constituir em mentary methods for research in educa- um campo que vincula conhecimento, tion (3rd ed., pp. 95–110). Washington, indaga cão e ativismo [Cultural pedago- USA: American Educational Research gies: Te process of (if) constituting a feld Association. that links knowledge, inquiry and activ- Barone, T., & Eisner, E. W. (2012). Arts ism]. In R. Martins & I. Tourinho (Eds.), based research. Los Angeles, USA: SAGE. Pedagogias Culturais (pp. 329–356). Santa Block, B. (2008). Te visual story: Creating Maria, Brasil: Editora UFSM. the visual structure of flm, TV and digital Ibáñez, T. (2001). Municiones para disi- media. Burlington, USA: Focal Press. dentes. Realidad-Verdad-Política [Ammu- Conle, C. (1996). Resonance in preservice nition for dissidents: Reality-truth-poli- teacher inquiry. American Education Re- tics]. Barcelona, Spain: Gedisa. search Journal, 33(2), 297–325. Kan, K. H. (2009). Caught in the betwixt- Denzin, N. K. (1997). Interpretive ethnog- and-between: Visual narrative of an Asian raphy: Ethnographic practices for the 21st artist-scholar. International Journal of century. Tousand Oaks, USA: SAGE. Education & the Arts, 10(29), 1–31. Eisner, E. (2008). O que pode a educação Knowles, J. G., & Cole, A. L. (2008). Hand- aprender das artes sobre a prática da edu- book of the arts in qualitative research: cação? [What can education learn from Perspectives, methodologies, examples and arts on the practice of education?] Curríc- issues. Berkeley, USA: SAGE. ulo sem Fronteiras [Curriculum without Lieberman, A., & Miller, L. (Eds.). (2003). Frontiers], 8(2), 5–17. La indagación como base de la formación Elkins, J., & McGuire, K. (Eds.). (2013). Te- del profesorado y a mejora de la educación. orizing visual studies: Writing through the [Inquiry as a basis for teacher education discipline. New York, USA: Routledge. and improving education]. Barcelona, Foster, H. (1988). Vision and visuality. Seat- Spain: Octaedro. tle, USA: Bay Press. Macbeth, D. (2001). On “refexivity” in qual- Gergen, K. J., & Gergen, M. (2011). Refex- itative research: Two readings, and a third. iones sobre la construcción social [Refec- Qualitative Inquiry, 7(1), 35–68. tions on social construction]. Barcelona, Mitchell, W. J. T. (1994). Picture theory: Es- Spain: Paidós. says on verbal and visual representation. Guber, R. (2004). El Salvaje metropolitano: Chicago,USA: University Press of Chicago. reconstrucción del conocimiento social en Rose, G. (2012). Visual methodologies. el trabajo de campo [The metropolitan Tousand Oaks, USA: SAGE. wild: Reconstruction of the social knowledge in feld work]. Buenos Aires, Argen- tina: Paidós.

189 MISE-EN-SCÈNE: TROUBLING THE VEXATIONS OF VISUAL ARTS DISSERTATIONS IN EDUCATION IN AUSTRALIA

Alexandra Lasczik Southern Cross University, Australia

Provocation Undeterred, and afer the exhibition was a I begin this chapter with a metaphor. great success, the customs appraiser held In 1926, the Romanian artist Constantin his ground, stating by way of evaluation Brancusi was travelling with his friend Mar- and assessment, cel Duchamp to New York, accompanied by Brancusi’s iconic bronze sculpture Bird in Several men, high in the art world were Space and other works, which were intend- asked to express their opinions for the ed for an imminent exhibition at Brummer Government….One of them told us, ‘If Gallery, an avant-garde space in Manhat- that’s art, hereafter I’m a bricklayer.’ tan. Customs ofcials, upon examining the Another said, ‘Dots and dashes are as sculpture, found that the masterwork was artistic as Brancusi’s work.’ (Kracke, unrecognisable as a bird, and as such, mis- 1927, in Giry, 2002, para 4) represented as Art. Because of this, the ofcials refused to Subsequently, legal action ensued, the es- exempt the sculpture from customs duties sence of which was the question of what was as an artwork, and imposed the regulation to be considered as Art. By this time, Brancu- levy for manufactured metal objects, defn- si was well known, however his counsel had ing the sculpture in the category of kitchen to establish that Bird in Space was indeed an utensils and hospital supplies (Giry, 2002). artwork, was original and had no utilitarian

190 purpose (Giry, 2002). Afer much testimony Tis was certainly the case with my own from critics and fellow artists and the staging doctoral research, completed in 2004 and of a vigorous case by Brancusi’s lawyer, the arguably one of the frst ABER theses in the court was persuaded of the aesthetic validity country. Te conservative Faculty of Educa- of the sculpture. Tus the tax that the work tion in which I studied, struggled with this originally attracted was negated: Brancusi’s new form of research and how it would be Bird in Space was valued as Art afer all. assessed (Cutcher & Ewing, 2011). Despite Te fact that this legal scandal was em- Kisber’s assertion that there was a shift in bedded in the artworld makes it doubly rele- the academy fourteen years ago as ABER vant; this work is a sublime interpretation of was then accepted as doctoral submissions Brancusi’s lifelong quest to portray the con- (Kisber cited in Sinner, Leggo, Irwin, Gouz- cept of fight. Te reason that I have includ- ouasis, & Grauer, 2006), in Australia we ed this account here as a metaphor, is that it were and still are trailing behind. artfully demonstrates the shock of the new However, the sticking point does not and the signifcance of context, culture and appear to be the Art, or its use as a re- exposure. It also speaks to cogency, accept- search method. Many institutions, includ- ance and evaluation, all concepts that this ing my own, openly embrace and encourage chapter explores. When a style is new, origi- arts-based research (ABR) dissertations in nal or innovative, audiences will ofen need schools of Fine Art, Design, Media Stud- to be educated in order to comprehend it. In ies and Creative Writing, and have done so the world of arts-based educational research since 1984; although it was not until the end (ABER), this point has been a sometimes ex- of the 1990s that creative practice PhDs were asperating lived experience for researchers a more common variant and even a growth (Cutcher, 2013; 2014). area in Australia (Hamilton & Carson, 2013). Indeed, the federal government Office for Learning and Teaching (OLT), recogniz- Incite/Insight ing the increasing number of Creative Arts Specifcally relevant for this chapter, are the dissertations and a need for a consistent ex- continued concerns in Australian contexts re- amination approach, recently funded a major garding how ABER is accepted, assessed and project entitled Examination of Doctoral De- evaluated in doctoral dissertations.1 In Aus- grees in Creative Arts: Process, Practice and tralia where ABER traditions are doubly new Standards (Webb, Brian, & Burr, 2013). compared to our North American counter- Te project found that there was great parts, Schools and Faculties of Education have need in Australia to examine further, the struggled with the proposition of a method- practices for examination of Creative Arts ology that appears to be antithetical to educa- PhDs and that there is insufcient support tional research (Cutcher & Ewing, 2011). for examiners, whilst university policies

1 The term ‘dissertation’ is a North American convention. In Australia, we usually use ‘thesis’ although we may also use dissertation. In this chapter the terms are used interchangeably.

191 and practices need major revision given the style, methodological design and exemplif- inconsistencies of standards across institu- cation. It is no wonder that we are grappling, tions. Webb et al. (2013) identifed that ABR since there is little guidance in the Austral- doctoral studies were most ofen an investi- ian context for the examination of ABER (as gation of an arts practice or through an arts opposed to ABR) theses. Northern Hemi- practice. Tis difers from the ABER project sphere PhD processes, whilst illuminating, that most usually examines an educational do not correlate with those in Australia. concern through arts practice, using Art as Tis is largely due to the diferences in the methodological disposition of inquiry program and examination structures. Most (Blumenfeld-Jones, 2014; Sinner, et al., 2006; usually a PhD program in Australia goes like Sullivan, 2008). Although the OLT project is this: Each student is allocated 2–3 supervi- comprehensive in its scope of ABR in Aus- sors who act as mentors and critical friends tralia, and lists the types of doctoral program who provide continuing feedback on the in- oferings, it makes no mention at all of the quiry as it develops. As Kiley (2013) explains, use of the arts as methodology in Schools sometime early in their candidature, the and Faculties of Education. This focus on student will present a proposal colloquium, only arts (and related) schools powerfully where formal feedback is provided – at my demonstrates the status of the ABER disser- university, this is called a Confirmation of tation in this country: in this comprehensive Candidature. In many Australian universi- national study, it is resolutely absent. ties, this process determines whether the At time of writing, my own, small, region- candidate is allowed to progress onwards. al university has yet to confer students who The student subsequently presents a Mid- have completed ABER doctoral work. I am Candidature Review 18 months into the PhD the only academic with a PhD in my school and then fnally prepares a written thesis of who is an ABER scholar, having commenced around 100, 000 words for examination, or if in mid-2011. Since that time, we have assem- a practice-based dissertation, an exhibition bled a cohort of 8 graduate students. I have (or performance or other creative work) and supervised an ABR thesis to completion, but exegesis. Te thesis is sent out for evaluation it was as external supervisor on a dissertation by 2–3 external (to the university) examiners. undertaken wholly in our School of Arts and Approximately half of all PhD theses in Aus- Social Sciences. This particular ABR study tralia are examined internationally and half was completed by an artist and consisted of all Australian universities use three exter- of an exhibition and exegesis (see Eales & nal examiners (Kiley, 2013). Te examiners Cutcher, 2015). Te student sailed through all do not have contact with each other, nor does of that school’s progress imperatives and the the candidate know whom they are until afer examination process, which required live at- the process of examination is complete. Each tendance by the examiners to the exhibition examiner then compiles an independent component, was seamless and problem free. and thorough examination report detailing In stark contrast, my School of Educa- formative feedback, and subsequently makes tion has in the past grappled with notions of a recommendation the university’s higher evaluation, theoretical framing, processes, degrees committee. Tis recommendation is

192 either “‘accepted as is’, ‘accepted with minor Although there has been much writ- editorial, or with more substantial editorial ten regarding assessment and evaluation of changes,’ ‘re-submitted for examination afer ABER work (e.g. see Barone & Eisner, 1997; substantial change’, or ‘considered unaccept- 2012; Cole & Knowles 2001; Diamond, 1998; able’” (Kiley 2013, p. 3). Te oral examination Sinner et al., 2006; Siegesmund & Cahn- or defense is not a common practice in edu- mann-Taylor, 2008;), some of which will be cation faculties in Australia. examined below, for us in Australia, where The issues with this process for ABER the examination processes controvert the PhD scholars are many. Firstly, as Webb et ABER PhD, these are not applied holistically. al. (2013) assert, there is no consistent assess- I am thus compelled to lean into the ment rubric that has been developed by Aus- very thing that is at issue. Tat is, I am driven tralian institutions for ABR PhDs. Tere are to turn towards Art as educational research, few scholars in Australia who work through in order to fnd a way through, to unearth a an ABER methodology and the available lay way forward and, taking particular heed of examiners are not experienced in the area of Sinner et al.’s (2006) assertion that artfulness assessing an ABER PhD. If a School were to is at the heart of inquiry. seek one or two international examiners to Thus, this next section of the chapter, fll this void, then the imperative to engage in keeping with ABER and the themes of directly with the exhibition (or performance) cogency, acceptance and evaluation, and in becomes challenging, in that most universi- the spirit of ofering a constructive contribu- ties (and certainly my own) cannot aford to tion to the feld with respect to these issues, transport and accommodate multiple visiting will perform a visual/verbal poetic portrayal international examiners, let alone the issue of of the landscape of evaluation. Tis staging their availability for the time it would require seeks to constructively destabilize the read- to do so. Tis is an inequitable situation for ing, interrupt the present discourses and, ABER PhD students and a vexing one for the drawing down from the literature, create a institution. The assessment process for an scope and sequence of possibilities for the ABER PhD candidate is marginalizing, due assessment of ABER PhDs in the Australian to the privileging of the textually constructed, context. In homage to Brancusi, the imagery portable, A4 size thesis document. in the portrayal is thematically linked to the In this reality, I am reminded of Bran- concept of fight and an altered gaze. cusi’s predicament with the customs assessment of his work in New York, in a cultural climate that was not yet ready and had no mechanisms to assess the artwork’s abstract, material or conceptual dispositions. Trough the lens of history, we see this case as a star- tling blip on the American Art world’s development. As this case demonstrates, contexts and cultures must be developed and exposure is essential. Audiences change with time.

193 Mise en scène Education is not a dirty word in the spaces of Art, spaces it doesn’t easily digest, doesn’t see, doesn’t know, doesn’t really understand. Art is educative, it bends, it elucidates, it tolerates. Art and education are a prime ft really, if only science would move out of the light.

In education, theoretical framing, methodology, data, discussion, conclusions and limitations and suggestions for further research are easily separated. In Art, aesthetics and meaning, materiality and message are sinuous and moving, slippery and troubling; not so easily uncoupled.

In fact, somewhat insurmountable to detach. Methodology is ofen ontology, epistemology, theoretical framework and portrayal at once, languages that are not easily translated to adhere and conform to institutional imperatives, to structural evaluation.

And so I am brought to these questions to guide my quest: What is research for? What is educational research for? What is Arts-based research for? What is Arts-based educational research for?

194 Questions of audience and purpose and contribution to knowledge resonate as they do for all doctoral theses, irrespective of form or content, technique or value. But,

Researchers disagree about the importance and/or desirability of establishing criteria for judging the quality of Arts-based research works. Art is constantly changing, they say, we can’t limit artistic authority they say, an obsessive focus on criteria refects the long standing anxiety of social science regarding the scientifc nature of their work, they say.2

Diferent forms of Art need to be considered diferently and their purposes are fundamental to this end. An ABR PhD in an Arts school has diferent imperatives to an ABR PhD in a Health Sciences Faculty and these difer in essential ways from an ABER PhD. It’s the education part, not the Art part that is the trick. A common language of evaluation to describe ABER PhDs, explore ABER PhDs and explain ABER PHDs and their reception is needed: assessment frameworks/guidelines/scafolds/criteria are needed for the Australian context, culture and exposure, refecting the global that are valid, accepted and continuously evaluated as the method grows. To wit: Te creation of a virtual reality; the sence of ambiguity; the use of expressive language; the use of contextualised and vernacular language; the

2 Lafreniere & Cox (2012, p. 321).

195 promotion of empathy; the personal signature of the researcher/writer; and the presence of aesthetic form.3

Openness is a cornerstone of strong arts‐based research… research questions emerge and change over time through a perspective of living inquiry… Arts‐based research must demonstrate that artful expression is at the heart of inquiry.4

To wit:

Te articulation of a politics of hope, through symbolic and rhetorical means; the presence of aesthetic form; the efect created, such as empathy; the generation of new questions/inspiration for dialogue; efective, accurate, evocative, aesthetically interesting and engaging Arts-based research.5

But,

…arts‐based inquiry cannot be governed by pre‐established rules and cannot be judged according to predetermined criteria. Tose rules and categories are in part what the work itself is looking for.6

3 Barone & Eisner, 1997, pp. 73-78. 4 Sinner et al., 2006, pp. 1238–1239 5 Lafreniere & Cox’s scoping of the literature on these criteria includes the perspectives of a range of ABER scholars including Barone & Eisner, 1997; Denzin, 2000; Ellis, 2000; Knowles & Cole, 2008; Siegesmund & Cahnmann-Tay- lor, 2008. This review is most helpful in scoping the feld and effcient for the purposes of this chapter. 6 Diamond, 1998, p. 392.

196 To wit: Appropriateness, clarity, reliability, rigour as well as artistic criteria such as composition, creativity, originality, thematic unity and performative criteria of emotions/feelings, understanding, response, change.7

…the presence of the researcher must be “ felt” in research involving the arts, explicitly revealing “the intersection of a researcher’s life with that of those researched.8

To wit:

A/r/tography’s methodological concepts of contiguity, of living inquiry, of openings, of metaphor/metonymy, of reverberations and of excess. Of self as a/r/t, and of the identities of and between.9

But,

7 Lafreniere & Cox. 8 Cole & Knowles in Neilsen, Cole, & Knowles, 2001, p. 215. 9 Sinner et al., 2006

197 Can we evaluate ABER from a postmodern perspective and encourage border crossing, social activism, multiplicity, unauthorized methods, and unconventional styles? Might our purpose be to evoke and provoke all research in education? Are we called on to be the prophetic voices of resistance?10 To wit:

Relevance to Education; Arts-based research is the methodology employed;

Signifcance; Aesthetic Qualities; Resonance; Refexivity; Ethical Considerations11

So much of ABER is about feel. It’s challenging to criteriorize subjectivity, to determine what ABER is, what good ABER is.

But ,

we must try. Brancusi would understand.

10 Slattery, 2003, p. 196 11 Dissertation award criteria for the American Educational Research Associa- tion’s Arts-based Educational Research Special Interest Group [AERA ABER SIG].

198 References suicide from an original voice, collabo- Barone, T., & Eisner, E. W. (1997). Arts- rative, arts-based perspective: Issues for based educational research. Complemen- doctoral research, supervision and exami- tary Methods for Research in Education, 2, nation. Creative Approaches to Research, 75–116. 8(2), 70. Blumenfeld-Jones, D. (2014). How can ABER Ellis, C. (2000). Creating criteria: An ethno- serve the public good? A critical Brechtian graphic short story. Qualitative inquiry, perspective. International Journal of Edu- 6(2), 273–277. cation & the Arts, 15(SI 2.1). Retrieved Hamilton, J., & Carson, S. (2013). Efective from http://www.ijea.org/v15si2/ supervision of creative practice higher Cole, A. L., & Knowles, J. G. (2001). Qualities research degrees: Literature review. Re- of inquiry: Process, form, and ‘goodness.’ trieved from http://supervisioncreativeart- In L. Neilsen, J. G. Knowles, & A. L. Cole sphd.net/wp-content/uploads/2014/01/ (Eds.), Te art of writing inquiry (pp. 211– Supervision_Creative-arts_Lit-Review.pdf 219). Halifax, Canada: Backalong Books. Giry, S. (2002). An odd bird. Legal Affairs. Cutcher, A. (2013). [In]accessibilities: Pres- Retrieved from http://www.legalaffairs. entations, representations and re-presen- org/issues/September-October-2002/ tations in arts-based research. Creative story_giry_sepoct2002.msp Approaches to Research, 6(2), 33–44. Kiley, M. (2013). Rethinking the Austral- Cutcher, A. (2014). Performing the text, tex- ian doctoral examination process. TEXT, ting the performance: Presentations, rep- Special Issue 22. Retrieved from http:// resentations and re-presentations. In R. www.textjournal.com.au/speciss/issue22/ Ewing, A. L. Cole, & J. G. Knowles (Eds.), Kiley.pdf Performing Scholartistry (pp. 45–74). Hal- Knowles, J. G., & Cole, A. L. (2008). Hand- ifax, Canada: Backalong Books. book of the arts in qualitative research: Cutcher, A., & Ewing, R. (2011, January). Re- Perspectives, methodologies, examples, fecting on making, presenting and exam- and issues. New York, USA: SAGE. ining arts informed research: A biography Lafreniere, D., & Cox, S. M. (2012). “If you of the processes of creating a doctoral the- can call it a poem”: Toward a framework sis, in two voices. Paper presented at Nar- for the assessment of arts-based works. rative, Arts-based, and “Post” Approaches Qualitative Research, 13(3), 318–336. to Social Research Conference, Phoenix, Siegesmund, R., & Cahnmann-Taylor, M. Arizona, USA. (2008). Te tensions of arts-based research Diamond, C. P. (1998). “Brethren [and sis- in education reconsidered: The promise ters] in bonds”: Arts-based release from for practice. In M. Cahnmann-Taylor & marginalization. Curriculum Inquiry, R. Siegesmund (Eds.), Arts-based research 28(4), 387–395. in education: Foundations for practice Denzin, N. K. (2000). Aesthetics and the (pp. 231–246). London, United Kingdom: practices of qualitative inquiry. Qualita- Routledge. tive inquiry, 6(2), 256–265. Sinner, A., Leggo, C., Irwin, R. L., Gouzoua- Eales, M., & Cutcher, A. (2015). Researching sis, P., & Grauer, K. (2006). Arts-based

199 educational research dissertations: Re- viewing the practices of new scholars. Canadian Journal of Education, 29(4), 1223–1270. Slattery, P. (2003). Troubling the contours of arts-based educational research. Qualita- tive Inquiry, 9(2), 192–197. Sullivan, G. (2008). Painting as research: Create and critique. In J. G. Knowles & A. L. Cole (Eds.), Handbook of the arts in qualitative research (pp. 239–250). Tou- sand Oaks, USA: SAGE. Webb, J., Brien, D. L., & Burr, S. (2013). Ex- amination of doctoral degrees in creative arts: Process, practices, standards: Final report. Canberra, Australia: Office for Learning and Teaching.

200 REFLECTIONS OF THE TIDE: THE ADVENTURE OF THE WOMAN AND THE SEA

Darlene St. Georges University of Lethbridge, Canada

Epiphany our subjectivity becomes inseparable from What are the social, cultural and pedagogi- the social because our personal stories act in cal implications of developing counter nar- relation to broader social/cultural dialogues ratives through one’s own story in creative (Pinar, 2012). Through this lens the story practices as a form of resistance to historical can be understood as an active dialogical (imperialistic) narrative about one’s posi- counter-narrative that holds the power to tioning in the world? Tis visual essay dem- contest dominant discourse. Importantly, onstrates how research inquiries can be tak- through critical creative practice(s) we can en up in deep and meaningful ways through learn how to (re)construct our relationships critical creative practice. with ourselves, others and the Earth through If we consider the connective signifi- a process of claiming, honouring and shar- cance of our story, that it holds multiple dis- ing our narratives, a process of decoloniza- courses and voices and that sharing our story tion (Smith, 2012) that recognizes and hon- politicizes memory, we can interpret person- ours each contribution to our collective and al narratives as powerful spaces in which al- continual unfolding multiplicity (Deleuze & ternative histories can emerge (Smith, 2012). Guattari, 1987) of meaning and understand- As we create, re-create and share such stories ing of and in the world.

201 As an artist, poet, teacher and emerg- self, a multi-contextualized self who evolves ing scholar rooted in Indigenous ways of through a critical ontological process. Each being and knowing, I enact methods of in- image symbolizes Mo’s diverse and vast jour- terruption of dominant discourse through ney, traversing land and sea, as she resists contemplative practice and Indigenous the colonial lens and reshapes her sense of methodology in my creative/artistic re- self. She is becoming, and through her be- search. Embedded in Indigenous traditions coming she is powered by the particles of en- of storytelling, my visual essays intend to ergies within her whose origins range from create openings – spaces to engage with a variety of known and unknown events in and develop alternative forms of knowing the universe. Modsiw could be construed as through emergent and evolving performa- a cosmic being, a child of the Earth and a tive inter-text (Boutet, 2013; Irwin, 2013). creature of the sea. My stories harness visual imagery, created using my own photographs and photo-digital collage processes, along with poetics to weave together experience(s) of selfhood, identity, loss of identity, erasure, connection, disconnection, spirituality, and my relationship to the Earth, my ancestors, Indigenous knowledge(s), dreams and memories. Refections of the Tide: Te Adventures of the Woman and the Sea is a personal narrative of becoming that explores the complexities of decolonizing “self,” one that ultimately begins with the journey inward, followed by a plethora of work unravelling, restructuring and rebuilding self relation- ally, in connection with Earth and Others. By sharing my story, I invited the wider arts education community to consider the pedagogical value of advancing experimental perspectives and methodologies in artistic research and to ofer a view into the nature and potential of the creative dissertation in art education research. Tis story begins with a departure from scholarly obedience and enters into a rite of passage toward identity through related- ness. “Modsiw” is a character I created for this story as a transcendental figure that metaphorically represents my auto-poetic

202 Refections of the Tide: Te adventures of the woman and the sea

Te Emergence of Mo In the shadows of the folds of her skin arose an illuminating light exposing the place where Mo emerged - on the inside of her middle fnger. Te power of this movement ignited energy in the universe so great that it created a crack that traversed sky and sea, revealing a large crescent moon. Now, a new space-time dimension existed through which Mo’s emergence would change the course of her-story.

Figure 1. Te Woman and the Sea

203 Every pore in my body opened itself up before me.

G A I A

a geo-physiological system wherein the resident life of a planet coupled with their environment together act as a single, self-regulating system (Lovelock, 2000). Tat this was signifcant only began to defne the possibilities for Mo on her journey.

∞2

In thinking of where she came from and imagining where she could go Mo was certain of at least a few things. She wanted to develop a language of selfood to define herself within various contexts and she wanted to experience authentic connections that would empower her abilities to act in relation to a multi-dimensional and living world.

Te problem had been, however, that Mo felt she lost her self- power through the limitations of individualism, from the world she emerged, which she had to somehow now unravel.

∞ Through critical creative practice we can learn how to (re)construct our relationships with ourselves, others and the Earth. The beginning of this path lies in the ability to reconnect with our inner knowing, to perceived things differently.

204 Epiphany # 1: Envisioning the possibilities of deconstructing the social and political forces that isolated and positioned me in opposition to others. Gaining insight into the elements and conditions that link me to the world;

Goal # 1: Reconfgure suppressive elements in my mind to regain a sense of belonging.

∞3

Figure 2. Sea (E)scape

∞ As we create, re-create and share our stories we can experience the link between our subjectivity and broader social and cultural experience. Develop- ing this connection is a process of decolonizing the “self,” as we recognize our interconnectedness with OTHER.

205 Figure 3. Binocular Vision

∞44

Immense blocks of ice; landscapes blaze my eyes; bones singing like small birds…

∞ Resisting the colonial lens creates openings for provocative intellectual dialogue that explores alternative knowledge, expanding our perceptions to consider how we can envision “truth.”

206 Mo’s Remembering Mo found herself at the edge of a universe standing in the smallest rowboat possible, foating on a surface that instinctually reminded her of an umbilicated belly. It was here that Mo encountered the great smoking mirror within a hermetic star. Legend has it that the great smoking mirror refects our belief systems and what we hold as the “truth.”

Figure 4. Row Row Row your Boat

207 D A N C I N G T H E D R E A M in front of my smoking mirror, creating illusions, through separation and disconnectedness; M A S K S worn to ft into the hierarchical world; internalizing the images, campaigns, rumors, gossip and judgments of others.

∞5

Crying over you, it cannot be true that YOU and I are NOT LIVING – for no one; for something for what?

Lying in bloodstained blankets; what is the dilemma? Death certifcate, birth certifcates, seeds of origins – Lost records.

Lying there cold and without tools to negotiate the contradiction, to de-construct, mask after mask – this hierarchy of gifts; good little girl, obedient woman, pure woman, beautiful woman, oh cursed independent woman, man-woman. collected like marbles, she had them in her chest where they congregated with her love poems.

∞ As an active dialogical counter-narrative, stories hold the power to contest dominant discourse. The connective signifcance of our story is in the sharing, where alternative histories can emerge. (Smith, 2012).

208 Epiphany # 2: compartmentalization and superiority– self-imposed restrictions, of being – from being - in being -- being in confict with relentless expectations. Disconnected from spirit– isolated at the core, desperately running on the treadmill of imposing superiority over things, reducing ourselves, others, animals and the environment to objects for possession.

Goal # 2: get off the treadmill

∞616 c o n s c i e n t i z a c a o

∞“getting off the treadmill” is an act of emancipation through conscientizacao (Freire, 1972). Through contemplative practice, as we focus and give our attention to discovering meaning and connecting to our inner source(s) of knowing and knowledge we liberate ourselves (Walsh, Bickel & Leggo, 2015). Can you fnd conscientizacao in the word search? What else might you fnd on your search?

209

Figure 5. Trough Cathedral Windows

I come from the earth, resisting closed doors of silence, drifting toward encounters of another language; Sliding down rivers in my refugee boat with love in my hands; Entering the motionless world where fragrance of magnolia lifts the living wings of my heart; re-awakens my spirit. I am rooted in the cusp of singing birds RAVENS piercing me like a dart.

210 Mo was shown the interdependence and interconnectedness in those communities of the earth, sky and sea, galaxies and constellations and the forces that kept them together in equi- librium. She had felt deeply that the elder’s visions of active liberation, creativity, clarity, connectedness and dignity could call for the return of the great cosmic grandmother to rest on the original patio with itchy palms and her fowery chest flled with gems and obsessive ideas.

Figure 6. See-Do Medicine

∞717

∞ Claiming and sharing our narratives is an Indigenous pathway to learning. Each contribution to our collective and continual unfolding multiplicity (Deleuze & Guattari 1987) of meaning and understanding of and in the world is recognized and honoured. (Absolon, 2011; Archibald, 2008; Ermine, 1995; Kelly, 2015; Hasebe-Ludt, Chambers & Leggo, 2015; Smith, 2012).

211 S H E

is the keeper of ancient wisdoms

WITHIN

permeating your existence.

A river runs through her dress, connecting her with the power of the lunar crescent moon and the elements of the universe, elements that cannot be captured, imprisoned, boxed or sold.

Her breath animates your soul, lucid intuition that will scream hysterically to be heard, through deafening cathedral bells, sirens, gunfre.

Cutting through confusion with a reckoning force and then, slipping away down bends in the road, making its way through your dreams.

w h i s p e r s

212 Tat she and the elders were in sync sparked Mo’s sense of hope because she realized that blood is actually blue and emancipation, essential, critically and powerful, is very BRIGHT YELLOW – so bright that it can create a wild fre that will expose myths and decode power. Learn with the people how to T A K E P O W E R B A C K, one elder said, free yourself from the fear of freedom and proceed through authentic connections. Liberate your embodied spirit another elder told her, but you have to be willing to make the pilgrimage, to build bridges between the mind and imagination and activate alternative knowing.

Figure 7. Freedom Swing

213 MODSIW

Although she saw it in a dream and it seemed to be nonsense, like stumbling in branches, she never-the-less believed that belonging in ancient parks with defant trees; where wild seas coddle their coral like their testimonies of survival, the emptiness of indifference barely succeeds;

Where mobs of alternatives, fertilizing bees and rites of leathered skin, ignite promises of joy, prosperity and courtesy of heart;

Where fragrances of love and fragrances of death congregate in dignity; where liberty and where love exist in the light of houses on a distant mountainside; where, while carrying ancestral bones, songs of night birds rise over city bridges, piercing silence before vanishing in soft rains.

To have passage through the earth and emerge as we are – all things, all bodies, each to itself adored, necessarily magnifcent of all reality.

214 Refections of the Tide: Te Adventure of the Deleuze, G., & Guattari, F. (1987). A thou- Woman and the Sea is a visual essay that sand plateaus: Capitalism and schizophre- invites the arts education community to nia. (B. Massumi, Trans.). Minneapolis, consider a shifing paradigm in arts educa- USA: University of Minnesota Press. tion research where politicizing memory, Ermine, W. (1995). Aboriginal epistemology. generating counter-narratives and sharing In M. Battiste & M. Barmand (Eds.), First stories invites innovation and embraces the Nations education in Canada: The circle unfolding metamorphosis of scholarship in unfolds (pp. 101–112). Vancouver, Cana- provocative, creative and intellectual spaces. da: University of British Columbia Press. Trough critical creative practice(s) person- Freire, P. (1972). Pedagogy of the oppressed. al narratives are powerful spaces in which New York, USA: Herder and Herder. alternative histories can emerge, a critical Giroux, H. A. (2001). Teory and resistance process of decolonization that recognizes in education: Towards a pedagogy for the and honour each contribution (Smith, 2012) opposition (Rev. and expanded Ed.). West- to our collective and continual unfolding of port, USA: Bergin & Garvey. meaning and understanding. Radical forms Hasebe-Ludt, E., Chambers, C., & Leggo, C. of resistance are an expression of hope, and (2009). Life writing and literary métissage an element of transformation as we move to- as an ethos for our times. New York, USA: ward creative dialogical approaches to learn- Peter Lang. ing, research and knowledge production Irwin, R. L. (2013). Becoming a/r/tography. (Giroux, 2001). Attending to such provoca- Studies in Art Education, 54(3), 198–215. tions not only challenges scholarly obedi- Kelly, V. (2015). To see, to know, to shape, ence but is an opportunity to advance ex- to show: Te path of an indigenous artist. perimental perspectives and methodologies In S. Walsh, B. Bickel, & C. Leggo (Eds.), through artistic research. Arts-based and contemplative practices in research and teaching: Honoring presence (pp. 46–65). New York, USA: Routledge. References Lovelock, J. (2000). Homage to GAIA. New Absolon (Minogizzhigokwe), K. (2011). York, USA: Oxford University Press. Kaandossiwin: How we come to know. Pinar, W. (2012). What is curriculum theo- Halifax, Canada: Fernwood. ry? (2nd ed.). New York, USA: Routledge. Archibald, J. (2008). Indigenous storywork: Smith, L.T. (2012). Decolonizing method- Educating the heart, mind, body and spir- ologies: Research and indigenous peoples it. Vancouver, Canada: University of Brit- (2nd ed.). London, United Kingdom: Zed ish Columbia Press. Books. Boutet, D. (2013). Metaphors of the mind: Walsh, S., Bickel, B., & Leggo, C. (Eds.). Art forms as modes of thinking and ways (2015). Arts-based and contemplative of being. In E. Barrett & B. Bolt (Eds.), practice in research and teaching: Honor- Carnal knowledge: Towards a “new mate- ing presence. New York, USA: Routledge. rialism” through the arts (pp. 29–39). New York, USA: I.B. Tauris.

215 PERFORMING INTERVENTIONS: A PRACTICE-LED APPROACH TO DOCTORAL RESEARCH

Natalie LeBlanc University of British Columbia, Canada

Abandonment: disrupting with more traditional approach- A Conceptual Exploration es to the dissertation format. Rather than In this chapter, I discuss my recent doctoral trying to capture an event in a more tradi- research entitled, In/Visibility of the Aban- tional photojournalistic way, I engaged in a doned School: Beyond Representations of counter-photojournalistic approach (Cot- School Closure (LeBlanc, 2015), a visual and ton, 2009), in which the wake of an event practice-led mode of inquiry in which I pho- was depicted by what had been lef behind. tographed closed and abandoned schools in This genre of photography, in which ab- Canada and I engaged in a conceptual explo- sence of the human body emits a powerful ration of the term abandonment. presence, plays with what is seen and what Inspired by inventive engagements of is not seen in the visual composition. Te contemporary art, my research explored encounter – meaning, what is presented be- the performative quality of the a/visual, an fore the viewer and what the viewer brings emergent motif in my practice that pro- to the photograph – becomes a method of voked the exegesis to take a conceptual turn, imagining the economic, social, cultural and

216 political forces that have motivated the act of abandonment. It captures the static temperament of an abandoned school through a deadpan aesthetic, creating the conditions necessary for a dynamic encounter to unfold. As such, it is an invitation for the viewer to enter the image and to ponder the memories, stories, myths and meanings that an abandoned school provokes. I developed five concepts for abandoned schools: the void, the ghost town, the crypt, the corpse and the wake, and through an examination of art-making as a form of inquiry, I came to understand abandonment as an act of surren- der and reclamation that can be a tool for understanding the self in relation to places and/or things that are simultaneously engaged in a state of transition. My inquiry examined the role of photography in arts-based educational research and the function of the photo-essay, which allowed for multiple interpretations through emphasizing the rhetorical potential of images. Recently, there has been a surge of arts-based researchers (Boulton-Funke, Irwin, Le- Blanc & May, 2016; Irwin, 2013; Irwin & O’Donoghue, 2012; May, O’Donoghue & Irwin, 2014; Jensen, Ziegler, & Rajanti, 2018; Roll- ing, 2015), who are drawing from interventionist art practices, purposely staging interruptions into Figure 1. Te Void (Digital composite mundane, everyday events and and photography by author), 2015. activities in order to produce new

217 ways of thinking. An intervention is most an integral part of the artwork. In my disser- commonly used in daily vocabulary as a tation, I articulate how this type of inquiry method of disruption; confronting someone acts as an intervention – a social practice to seek help with a problem, a dependency that ignites possibilities to materialize, not or an abuse of some kind. In the discourse in form, but in moments of interaction. As of contemporary art, however, the term re- a result, it is concerned with the encounter fers to an artwork that is installed in a broad and with the experience that occurs because range and most often, public site (Suder- of art and because of the artist who is work- berg, 2000). Following in the tradition of ing as a catalyst within the context of the site-specifc art beginning in the 1960s and everyday (Lofus, 2009). 1970s with Fluxus Happenings, Minimalism, Dadism, Environmental art, and Land art (Bishop, 2005; Grande, 2004; Kwon, 2000; Te Exegesis: Lippard, 2014), an artistic intervention is A Virtual Spatial Confguration ofen described as a social practice or a rela- Conceptualized as a work of art, my exegesis tional form of aesthetics that is a re-territori- challenges the more traditional or formu- alization of space (Smith, 2010), taking over laic style (Casaneve, 2010) of the disserta- an urban or rural site in order to speak of, tion structure, becoming an intervention address or infuence the political, historical within the academy. Rather than answering or cultural perspectives of the time (Debord, or advancing a hypothesis, it asks that read- 2006; Loftus, 2009; Pinder, 2008; Smith, ers/viewers consider artistic inquiry in a 2010). Conceptualized as a provocation, it is new way, perhaps even “provoking a shif in meant to generate a reaction or a debate. Te thought itself” (Bolt, 2007, p. 29). Bringing focal point, therefore, becomes the dialogue together art and writing, it shifs the focus and the exchange that takes place on-site, from the artwork, as an objective artifact, to taking into consideration the event as the the spaces between the artist, the artwork work of art (Bishop, 2006; Bourriaud, 2002; and the viewer. By bringing together the Kester, 2004). written and the visual, the exegesis is situated To complete my research, I photo- as a spatial practice, or ‘spatial morphology’ graphed sixteen closed schools in cities (Stein, 1989; Trigg, 2012) that parallels simi- across Canada and I spoke with principals, lar concepts in geographic and urban studies, students, board directors, faculty and com- particularly how urban development is community members about their experiences posed of an interconnected series of process- with school closure. For one of the fnal stages that lead to unforeseen situations and ac- es of my inquiry, I projected images of the tions (Bataille, 1991, cited by Nielsen, 2002). inside of the de-commissioned school onto Inspired by artist and art critic Jane the physical structure outside and invited Rendell (2010), my dissertation explores the the public, community members who ex- material, emotional, political and conceptual perienced the closure of the school, to take sites of artistic engagement by taking into part in an immersive experience in which consideration its site-specificity. Working their own stories and imaginations became within the realms of phenomenology and

218 psychogeography, it is a mediation of reality relational world. Conceptualized as an im- based on the projection of emotion, memory mersive exhibition organized into fve subse- and imagination. As such, it is unlike a thesis quent installations, each concession is guided in that it is not designed to answer, address, by a single metaphor that holds a specific create or advance a hypothesis nor is it meant vantage point, perspective and employment as an explanation of the artwork. Rather, it of space and time through which I weave “give[s] direction to theoretical ideas” (Irwin together theoretical interpretations, journal & Springgay, 2008, p. xxix) and it produces entries, observations and images. In doing a multi-sensorial engagement where the po- so, each concession becomes rhizomatically tential for relationships and meaning making (Deleuze & Guattari, 1987) connected as to remain open, fuid, and unfxed. remain partial, yet relational to one another. Te written report is organized as a top- Entering the abandoned school, the reader/ ological confguration (Rendell, 2010), that viewer encounters a myriad of images, some is, it is divided into fve concessions; the void, of which are overexposed, blurred, or inti- the ghost-town, the crypt, the corpse, and mately close-up and they are asked to enter- the wake. In the case of abandoned schools, tain the afect or the impressions that they concessions refer to the right to use land encounter in their wake – even if under- or property for a specifc purpose, a condi- standing is perforated, raw or formless. tion normally granted by the government My exegesis parallels other situation- or other controlling body. Each concession, based artworks found in many twenty-frst sounding both like ‘session’ and ‘confession,’ century art practices in that the reader/ then is a written and visual act of disclosure, viewer is invited to become an active par- leading the reader/viewer into a diferent, yet ticipant with the work. This format not

Figure 2. Te Void in 2 Perspectives (Photography by author), 2015.

219 only challenges the more tradi- tography, records some of the overlooked places and tional dissertation structure, it cre- textures as observed in Canada’s decommissioned ates an engagement that asks the schools. Each photograph, carefully selected and ar- viewer to become engrossed in “a ranged in the exegesis, holds a specifc place within psychologically absorptive, dream- the larger photo-essay that comprises the work. For like environment” (Bishop, 2005, p. Ricardo Marin-Viadel and Joaquin Roldan (2010), a 10) that requires a bodily response photo-essay lends itself to multiple interpretations that may trigger personal fantasies, while exploiting the “rhetorical and narrative poten- individual memories or cultural tial of images, not just their fgurative or representa- associations. In this context the tional functions” (p. 11). Each photograph is curated reader/viewer does not encounter as an intertextual form of imagery (Duncum, 2010), a character on scene, but rather, is purposely staged in and through the written text in positioned in the scene as the pro- order to extend, and at times, disrupt what was writ- tagonist of the story. This stance ten, asking that the reader/viewer pause and to look demands that they become attuned at the abandoned school as a visual (de)composition. to how they are being positioned in I employed visual organizational frameworks pro- space and time. posed by Marin-Viadel and Roldan (2010) who argue extensively for the role that photography plays in arts- based educational research (also see Marin-Viadel & Te Visual Exegesis Roldan, 2012; Marin-Viadel, Roldan, & Cepeda-Mo- Comprising 2,487 photographs, my rales, 2013). In one sense, the entire exegesis can be inquiry is positioned as a visual understood as one entire photo-essay, however, each archive that, in the traditions of concession and each individual series (in the form of documentary and conceptual pho- diptychs, triptychs, and so on), and each photograph,

Figure 3. Unfxed, Te Void Un/Done (Photography by author), 2015.

220 can also function as singular units. As a photographic ess in which I used language in a discourse (see Marin-Viadel & Roldan, 2010), my ex- fgurative (or non-literal) sense in egesis can also be interpreted as a congruent visual an attempt to make connections sequence in which the abandoned school, staged as through: metaphor (similarity and a singular experience, transforms in successive stages comparison); metonymy (associa- as the investigation unfolds. Te conceptual order in tion and contiguity); synecdoche which they have been placed intentionally draws at- (interchanging of more and less tention to the interrelations and the interconnections inclusive terms); and irony (contra- between each image, series and concession, which cre- ries and awareness of incongruity). ates a visual line of reasoning throughout the entire Tese tropes created various layers body of work. Among the visual frameworks already in and through my photographic discussed and proposed by Marin-Viadel and Roldan practice, producing multiple planes (2010), I also employ the conception of a photo- of meaning. Pauline Sameshima abstract, a series of photographs that synthesizes the and Rita Irwin (2008) argue that main idea of the whole exegesis, along with visual literary tropes form “various lay- quotations that are presented throughout the text at ers of vibrant interpretation” (p. 5) the bottom of the page like a footnote. because they create intersections that are emergent, connective, and relational. As such, each conces- Te A/Visual as an sion begins with a composite image Emergent Visual Motif in the Exegesis comprising of one or more photo- Combining literary tropes with my imagery was graphs that are in some instances a way of working that emerged during my proc- superimposed and layered over one another with varying opacities, with a series of metaphors that play off the central metaphor framing the concession (see Figure 1). Tis image is an “ekphrastic text,” a rhetorical trope that creates a relation between one medium and another (Edwards, 2012; Russek, 2008). It is an invitation for the reader/viewer to not only look at the artwork, but to participate with/in the void that is present in both forms of representation. Tese images also suggest that the text be read aloud, provoking a performative, even theatrical response while allowing the work to be accessed in several Figure 4. Visual Remains, (Photography by the author), 2015. ways (Edwards, 2012). In turn, I de-

221 liberately adopted this approach to ual” becomes a “phantom temporality” — something my dissertation. Although the text that continues to haunt because it never achieves in each image may be read from lef “full visibility” (p. 36). to right as is the traditional mode of reading in the west, it may also Te Performative Quality of the Exegesis be accessed through the various Although it may not be apparent, the structure of my openings in the negative space that exegesis enables analogous strategies in which the punctuate the text, the photograph, fve concessions create a multi-layering of process/es. and the spaces in-between both, William F. Pinar (1975) has long argued that we use further opening spaces for think- analogous strategies constantly and consistently with- ing, imagining and asking ques- out explicitly thinking about them. For example, when tions pertaining to “the thingness” we encounter a seemingly inexplicable conundrum of the abandoned school, which as or enigma, we may decide to back away from it or to an object of contemplation and as a do another task or a series of other tasks so that we site of invention, is something that may come back to the encounter at a later time. Pinar is both slippery and inefable. deducts that when we do this, we enable time to pass Both the photograph and the so that we may move to another ontological level in text present a void, the central which the problem not only looks diferent, but is dif- visual motif that emerged in my ferent. Pinar (1975) recounts, “we lef the problem ini- work that renders the students, the tially because we could not solve it on the conceptual teachers, the administrators, the level where we were.” (p. 3). Each concession speaks faculty and the curriculum in the to the ontology of wanting, or desiring to know more abandoned school as an absent, yet about something that we are unable to see while “in- ever-present subject. Although the exegesis is largely built on a visual body of work, the unseen takes precedence, hinting to the immanence of the abandoned school, staging it as something that can only be imagined. Evoking the subterranean, the hidden and the ghostly, it also suggests my power as the artist, someone who sees but is not seen in the body of work. Cultural scholar Esther Peeren (2014) claims that the power of the invisible resides in the “avisual,” in which the things that are unseen are an accumulation of sensing the visual without actually observing Figure 5. Absence of Power/Power of Absence anything visual. As such, the “avis- (Photography by author), 2011.

222 side” (LeBlanc, 2015) the abandoned school place (Ellsworth, 2005) that may even pro- because an understanding of the present voke bodily responses that lie outside verbal- demands that we shif our perspective, our semantic-linguistic representation (Bennett, angle, and our point of view. Tis is an anal- 2005). Te a/visual also pertains to my role ogy for the difficulty that practice-led re- as an artist/researcher, who had to trust the search entails in which movement can only process as it unfolded not knowing where it be gained through the repetitive acts that would lead. As a form of inquiry, it was led art practice makes possible (Barrett & Bolt, and guided by an acute sense of wonder and 2007; Bolt, 2009). Drawing on the work of curiosity about the world and my place with/ Martin Heidegger, Barbara Bolt (2007) ar- in it. Furthermore, when the photograph gues that artistic practice enables a particu- and my photographic practice was examined, lar form of sight known as “circumspection” elaborated, generalized, and individualized, (p. 30) whereby knowing arises through han- it became what Derrida (2010) describes as dling materials in and through practice. Te “a metalanguage through which larger philo- exegesis allowed my art practice to lead the sophical, historical, aesthetic, and politi- inquiry, emerging and unfolding in space cal questions [could] be brought into focus” and through time. Inaugurating movement (Derrida quoted in Richter, 2010, p. xxiii). and transformation, it was conducive to the Drawing on Martin Heidegger’s (1971/2001) performative research paradigm (Bolt, 2009; concept of the nothing and Hannah Arendt’s Haseman, 2007), a mode of engagement that space of appearance (1958/1998), this artis- can only be understood belatedly as a form tic and philosophical endeavor provoked me of retrospection (Stewart, 2007). In my ex- to shif my stance. It demanded that I look at perience, opening my art-as-research up things more closely and that I look at things to experimentation ofered a new model of again – from a varying angle and through knowledge that can work with/in the acade- a different lens. In return, the exegesis is my (Arnold, 2012), allowing for new dimen- staged so that the reader/viewer is invited sions and defnitions of knowledge and how to pay attention to the subtle nuances of the they can contribute to learning. abandoned school while taking into consideration their (implicit) assumptions. With this stance, they may begin to pivot through Echoing Artistic Practice multiple levels of perception, coming to un- My exegesis echoes artistic practice in that derstand that the abandoned school tells an it does not provide any specifc hypotheses alternate story to that of closure, emphasiz- or conclusions. The a/visual form empha- ing how several cultural, historical, politi- sizes the superimposed and fragmented cal, and social lineages are simultaneously at quality of my inquiry where, as a force, it work in the temporal exchange. produces a rupture/encounter (O’Sullivan, As an a/visual form of arts-based, prac- 2006) in that rather than providing a narra- tice-led research, this dissertation falls within tive, it creates a point of entry into narrative the performative paradigm, which Barbara inviting the reader/viewer to participate in Bolt (2009) and Brian Haseman (2007) argue, an ambiguous, transitional and anomalous difers from the more dominant qualitative or

223 quantitative paradigms in research. Although Bishop, C. (2005). Installation art: A critical my exegesis presents a narrative, it punctu- history. London, United Kingdom: Tate. ates it with negative space afecting the read- Bishop, C. (2006). The social turn: Col- er/viewer by work of omission (Russek, 2008). laboration and its discontents. Artforum, As such, I am telling a story through pho- 179–185. tography and through writing with a com- Boulton-Funke, A., Irwin, R., L., LeBlanc, mitment to art and reciprocity so that the N., & May, H. (2016). Interventions and viewer/reader can participate in the meaning intraventions of practice based research. of the work while making further connec- In P. Burnard, E. Mackinlay, & K. Powell tions, questions, and insights, thereby open- (Eds.), Routledge international handbook ing the work up to possibility and to multiple of intercultural arts research (pp. 248– interpretations. Situated within the context 258). New York, USA: Routledge. of curriculum studies, my exegesis speaks to Bourriaud, N. (1998/2002). Relational aes- the significance that subjective experience thetics. (S. Pleasance, F. Woods, & S. M. in which the embodied, the felt, the porous Copeland, Trans.). Dijon, France: Les and the fuid, in conjunction with the outside, presses du réel. the hidden and the null curriculum (Eisner, Bolt, B. (2007). Te magic is in the handling. 1994) holds for (re)shaping perspectives, dis- In E. Barrett & B. Bolt (Eds.), Practice as positions, skills, and knowledge (Schubert, research: Approaches to creative arts en- 2008). As a form of invention, it asks that we quiry (pp. 27–34). London, United King- position ourselves within the work so that we dom: I.B. Tauris. may explore and discover new and alternate Bolt, B. (2009). A performative paradigm ways of teaching and learning. for the creative arts? Working Papers in Art and Design, 4. Retrieved from http:// www.herts.ac.uk/__data/assets/pdf_ References fle/0015/12417/WPIAAD_vol5_bolt.pdf Arnold, J. (2012). Practice-led research: Cre- Casaneve, C. P. (2010). Taking risks?: A case ative activity, academic debate and intel- study of three doctoral students writing lectual rigour. Higher Education Studies, qualitative dissertations at an American 2(2), 9–24. university in Japan. Journal of Second Arendt, H. (1958/1998). The human condi- Language Writing, 19(1), 1–16. tion. Chicago, USA: University of Chi- Cotton, C. (2009). The photograph as con- cago Press. temporary art (2nd ed.). London, United Barrett, E., & Bolt, B. (Eds.). (2007). Practice Kingdom: Tames & Hudson. as research: Approaches to creative arts en- Debord, G. (1973/2006). Society of the spec- quiry. London, United Kingdom: I.B. Tauris. tacle. (K. Knabb, Trans.). London, United Bataille, G. (1991). Te accursed share (Vol. Kingdom: Rebel Press. 1). New York, USA: Zone Books. Deleuze, G., & Guattari, F. (1980/1987). A Bennett, J. (2005). Empathic vision: Affect, thousand plateaus: Capitalism and schizo- trauma, and contemporary art. Palo Alto, phrenia. (B. Massumi, Trans.). Minneap- USA: Stanford University Press. olis, USA: Minnesota Press.

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226 “STITCHING” VOICES INTO THE PATCHWORK QUILT OF QUALITATIVE RESEARCH

Gai Lindsay University of Wollongong, Australia

To Assemble and Stitch bly process would not produce a quilt likely a Research Dissertation to be appreciated for its beauty, stability or When I learnt the art of patchwork quilting, warmth. I extend this notion to the doctoral the elderly teacher bemoaned the need to thesis process.1 hold a quilt together with stitches. Te joy in Beginning doctoral research afer more quilting, she explained, stems from a delight than twenty years as an early childhood in fabrics, colours and the quilt design. She teacher, the complex task of layering and joked that were it possible to ‘whack a quilt constructing a piece of work with value for together’ with glue, it would be preferable to both myself and my colleagues in the early the labour-intense process of assembly by childhood sector demanded a methodo- stitching. However, to ‘short-cut’ the assem- logical approach that would appreciate and

1 The terms thesis and dissertation are used interchangeably in this chapter to discuss the written and illustrated doctoral thesis developed by a PhD research candidate.

227 feature the voices of participants, while ac- constructed, intentionally pieced research knowledging my own labour of love in craf- design (Creswell, 2013; Kramer-Kile, 2012; ing the research. I intuitively sought ways to O’Sullivan, 2015). Inspired by O’Donoghue retain my identity, while making sense of the (2015), these imperatives compelled me to complexities of research design and satisfy- embrace the provocative mind-set of an art- ing the expectations of the academy. As a ist to articulate my ideas visually and to con- quilter, I found myself increasingly applying nect the familiar to the unknown in order to familiar quilting terminology to visualise make sense of the world (and the research research processes and elements. Advised context) through artful design. Conse- by my supervisors to investigate the arts- quently, the dissertation process, envisaged based educational research paradigm, I con- as a patchwork quilt, was articulated and sequently embraced the invitation by Sin- diagrammatically constructed from card, ner, Leggo, Irwin, Gouzouasis and Grauer text, thread and transparent parchment to (2006,) to “muse on the aesthetics, consider position the researcher as quilt-maker. the ambiguity, and reside in the divergence,” This chapter describes and illustrates which ultimately led me to visually decon- how my thesis operates as a qualitative struct qualitative research and the disserta- patchwork quilt, a metaphor developed to tion construction process using a quilting guide arts-based educational research that metaphor (p. 1254). aims to not only appreciate and respectfully Much like a quilt, the construction of disclose the visual arts beliefs and pedagogy an effective research design requires the of early childhood educators, but to exam- methodological alignment of questions, ine, interrogate and articulate my own voice, aims and methods wherein the elements of interests and methodological reflections the research project are joined together as within the complex construction of a PhD a “cohesive whole” rather than “fragmented” thesis by compilation.2 Tese voices, stitched parts (Creswell, 2013, p. 50); and where the into the patchwork layers of the research, in- methodological choices align with, and are formed an emergent and refexive explora- informed by, the philosophical and theoreti- tion of the visual arts beliefs and pedagogy cal assumptions of the study (Hesse-Biber & of Australian early childhood educators. In Leavy, 2011; Kramer-Kile, 2012). My desire addition, I propose that not only is my ren- to conduct iterative research that appreciates dered researcher’s voice the stitch that holds the complexities of the case to reflexively together the assemblage of research find- evoke meaning (Flannery, 2001; Koelsch, ings, but also that my intentionally hidden 2012) was concurrently tempered by the voice, slip-stitched into the seams and in- suggestion that to credibly interpret and ar- between spaces of the research story, further ticulate the beliefs and interests of both par- strengthens and stabilises the dissertation. ticipants and researcher requires a carefully- The complex layers and processes of re-

2 A higher degree research thesis by compilation enables the PhD candidate to include published or publishable journal articles and book chapters in their thesis.

228 search design and thesis construction are metaphori- my research aims to stitch together cally aligned with the notions and elements of quilt a dissertation that connects the ex- making to propose a reversible research quilt where pectations of the academy with my the pieced construction of an enlightening conceptual own desire for expressivity. Sup- framework features equally with the research fndings porting this desire, Eisner (1997) as a contribution to the academy. encourages researchers to align Te imperative to undertake a PhD thesis emerged qualitative methods with their per- from my own “professional” and “educational” life sonal interests, strengths and apti- (Sinner et al., 2006, p. 1237) and was underpinned by tudes. My use of familiar quilting my desire to present research “that matters for others” terms progressively demystifed the (Chambers, 2004, p. 7, cited by Sinner et al., 2006, p. complexity of research design and 1238). Afer two decades as an early childhood teacher enabled me to embrace my identity I was concerned about the pedagogical impacts of an as a researcher and align it with my apparent lack of visual arts confidence and content identity as a teacher and artist. knowledge amongst early childhood educators. My research therefore presents an examination, appreciation and articulation of the visual arts beliefs and pedagogy Quilt Layers and of twelve early childhood educators located in four Research Layers early childhood education and care settings in two While others have previously uti- regional communities in New South Wales, Australia. lised a quilt metaphor to linguisti- A comparative case study design utilised interviews, cally describe the assemblage of observation, document analysis, environmental audits research data (Deleuze & Guattari, and photography to gather rich data. At the same time 1987; Flannery, 2001; Khalfa, 2003;

Figure 1. Te quilting stitch holds three constructed layers together.

229 Koelsch, 2012; Parr, 2010), I extend the metaphor to interrogate and a/r/tographically (Sinner et al., 2006) visualize the layered components and construction of research dissertation. Parsons’ (2015) suggestion that metaphors can be visually illustrated inspired me to construct stitched diagrams from card, text, thread and transparent parchment to enlighten the layers and components of the research design process. Indeed, the images presented in this chapter offer a methodological metaphor by aligning visual makings and text. A patchwork quilt is constructed from a decorative, pieced top layer, a fabric backing and, between these layers, a piece of wadding. The three layers are sandwiched and held together by a decorative running stitch known as the quilting stitch (see Figure 2. Gathering data and theories. Figure 1). Aligning quilting with research, Flannery (2001) suggests that the quilt top represents the re- and steps within my research study and po- search data that is seen by others and that sitioning myself as the stitch that constructs, the backing of the quilt, while not readily connects and embellishes the multiple ele- visible, aligns with the knowledge and ex- ments of the research. pertise that underpin processes of inquiry. She further aligns the completed quilt with the publication of fndings (Flannery, 2001). Commencing the Construction While my research design shares several of a Qualitative Research Quilt metaphorical design elements with Flan- Te frst phase of my research journey was nery’s imagery, it extends upon these ideas an overwhelming tangle of confrontation to consider both the component layers of between my prior knowledge and experience, the research design as well as the thesis con- my desire to gather information that would struction. I now share my emergent journey matter, my developing identity as a research as a researcher, aligning quilt-making layers student and the demands of constructing

230 a PhD proposal within the new and unfamiliar con- to present patterns of data to sup- straints of academia. Te processes of reading, won- port the reader to question and in- dering, data collecting and musing, alongside the mul- terpret the phenomenon through titude of decisions to determine theory, epistemology my eyes (Eisner, 1998). Drawing and methodology are aligned with the early stages of upon Dewey’s notions of holistic quilt construction (see Figure 2). Tis helped me to ap- inquiry, Siegesmund (2012) pro- preciate the necessity in gathering, sorting and even re- poses a/r/tography as a methodol- jecting some of the ideas I collected. Choices must be ogy that joins together “brain and made in the construction of patterned blocks of data. heart, spirit and flesh, conscious Terefore, rather than becoming overwhelmed by the and unconscious” (p. 103). Similar- choices before me, the quilt metaphor enabled me to ly, while I pragmatically employed accept this messy reality as vital to the research process. the research principles and methods of traditional case study design, I consciously valued my experi- Valuing Voices: Research ences as a teacher and sought ways as an Emotional Construct to express the construction of my To value the experiences and voices of research par- research dissertation with artistic ticipants requires that personal stories, knowledge sensitivity. Tis desire to sensitively and experiences be acknowledged, both within the envelop and inform the research data and within the researcher’s interpretation of the data. My intention to honour both the voices of the participants and my own voice as a pre- school teacher and researcher was informed by Dewey’s (1934) ideas about inquiry and uncertainty. Dewey explained that clear understandings of the dominant themes within examinations of lived experience might not develop “without excla- mations of admiration, and stimulation of that emotional outburst often called appreciation” (p. 2). Mindful of the responsibilities and the risks in selecting, appreciating and disclosing the beliefs of the research participants, I sought Figure 3. Sorting and piecing data.

231 problem through the presentation Sorting and Piecing Together and theoretical interpretation of the Collected Stash of Data each participant’s lived experience A quilt top is constructed from pieces of plain or pat- aligns with the quilt-making proc- terned fabric that have been cut and stitched together ess in which fabric is collected, se- to form patterned blocks. Similar to Flood’s (2009) lected, layered, pieced and stitched “textscapes” and “threadscapes,” the constructed to form a patchwork construction. “patchwork blocks” within my research heuristically

Figure 4. Tematic assemblage and overlay.

232 represent the visual arts beliefs, pedagogical content skilfully aligns, and shapes it into knowledge and stories of the research participants (p. narrative patterns and summary 59). I therefore sought to feature participant voices blocks. Just as there would be no without judgement to enable the reader to interpret quilt without a quilt-maker, there the shade and pattern of educator beliefs about vis- would be no research were it not ual arts pedagogy. Yet, data is a delicate, sometimes for the intent, action and purpose slippery, fabric; prone to fray unless the researcher of the researcher. Consequently, it

Figure 5. Seen and unseen stitching.

233 was also necessary to acknowledge my own political and historical analysis of Dewey’s role in stitching threads of connection be- influence on educational philosophy and tween the audience, participants and myself pedagogy in Reggio Emilia constitutes (Flood, 2000) as I drew upon my knowledge an academic contribution to early child- and experience, along with the conceptual hood visual arts research in its own right. I framework, to analyse, compare, connect therefore determined that my dissertation and stitch together the case study narratives should be positioned as a fipped or revers- (see Figure 3). ible quilt, where both the research fndings and the constructed conceptual framework are presented with equal value, and where Conceptual Backings: the presentation of research data is concur- A Reversible Research Quilt rently enlightened and stabilised by con- In a real quilt the backing is the bottom layer structed layers of theory. of the quilt ‘sandwich.’ It is traditionally comprised of a large piece of fabric that serves the dual purpose of stabilising the quilt and Te Researcher as Both encasing the messy stitches and frayed raw Seen and Unseen Stitch edges of the pieced quilt top. However, in A quilt is made up of countless stitches that seeking a single theoretical framework to connect many pieces of fabric that subse- guide and inform data analysis in my study, quently form the quilt blocks and layers. existing theoretical lenses were as unsatisfy- Once complete, a final decorative quilting ing to me as a plain singular stretch of fabric stitch anchors the quilt layers together, con- backing on a patchwork quilt. Instead, the currently strengthening the quilt and en- foundational backing of my research is com- hancing the design (see Figure 5). Tis em- prised of an intricately pieced socio-political, bellishing stitch, while adding another layer historical and conceptual synthesis of the of complexity to the design and drawing at- art-centric pedagogical values jointly articu- tention to particular blocks, also enables lated by John Dewey and the Italian Reggio the quilt to withstand examination and use. Emilia educational approach (Lindsay, 2015; Applying this notion to my research, Barone 2016). Tis conceptual lens inspired, guided and Eisner’s (1997) ABER conception of the and anchored my analysis and discussion of researcher as a connoisseur and critic of the the visual arts beliefs and pedagogy of early case positions my researcher’s voice, formed childhood educators, just as the fabric quilt through years of pedagogical experience backing on a quilt stabilises the whole quilt. and informed by the constructed conceptual (see Figure 4). framework, as the stitch that both holds to- Te pieced data and the pieced concep- gether and enriches the complex layers and tual framework in my dissertation contrib- elements of the research. ute equally to the research feld and to my At the same time, I heed Irwin, Beer, desire to create contexts for pedagogical Springgay, Grauer, Xiong and Bickel’s (2006) refection about early childhood visual arts notion that rich learning occurs in the “in- beliefs and pedagogy. Indeed, my socio- terstitial” and “in-between-spaces” (p. 72). I

234 acknowledge that it would be impossible to ologies remain neglected in some contexts. express every element of my research jour- In my own research journey, I initially ney, including the multiple refections about perceived a subtle expectation that PhD dis- which threads of data and fndings should sertations should follow traditional research feature and be explicitly rendered in the dis- design patterns. Additionally, although pre- sertation. Instead, this background work on sented with the option to develop a thesis by my part remains located in the seams and publication, few guidelines were provided to wadding of the research quilt. I explicitly support the non-linear piecing together of reveal that in constructing my dissertation traditional thesis chapters and published ar- there were times when I deliberately placed ticles in order to satisfy external examination. the threads of my overt voice and opinion Amidst this ambiguity, and despite the fact into the seams of the research data – as the that my thesis must undergo external exami- unseen stitch - to intentionally strengthen nation, I was emboldened by the notion that and feature the fabric of participant voices ABER is located in the “liminal space” be- and beliefs. Sinner et al. (2006) afrm that tween traditional approaches to research and arts-based research, in sharing lived expe- artistic practice and should not be “judged rience, seeks to “include voices in research according to predetermined criteria” (Sinner that may not otherwise be heard” (p. 1249). et al., 2006, p. 1229). Additionally, Dewey’s I contend this sometimes demands a disci- (1934) philosophies about aesthetic inquiry plined silence on the part of the researcher. and experiential learning have inspired my Tough not always visible, I am still there; determination to construct a dissertation of still explicitly involved in the construction “genuine artistry in scientifc inquiry” where and strengthening of the dissertation. I proceed “neither by rule, nor yet blindly, but my means of meanings that exist immediately as feelings having qualitative col- Satisfying and Disrupting our” (p. 125). Similarly inspired by Dewey, the Expectations of the Academy Siegesmund (2012) suggests that because Recognising the ongoing “tensions in the a/r/tography is a “methodology that seeks academy concerning arts-based inquiry” to capture, record and artistically re-present” (Sinner et al., 2006, p. 1227), my approach new perceptions and wisdoms, it supports to PhD research sought to both satisfy and researchers to embrace uncertainty and put disrupt the dissertation requirements within aside externally imposed pre-occupations my academic context. Although arts-based with “production of knowledge” (p. 106). educational research and a/r/tographic However, located as I am in the seam methodologies are well established in some allowance between traditional research ex- academic communities, such as those ar- pectations and my own ABER aspirations, ticulated by Sinner et al. (2006) and LeBlanc, it was necessary that I carefully align and Davison, Ryu and Irwin (2015), I identify stitch my preference for a creative, dynamic with Bogumil, Capous-Desyllas, Lara and and emergent process of inquiry together Reshetnikov’s (2015) view that such method- with traditional patterns for qualitative re-

235 search. Sinner (2006) also combined tra- basic standards of sound design and con- ditional qualitative research methods with struction must remain constant, contempo- ABER to tell “a subjective story of lived rary quilters employ processes akin to art experience” that may have otherwise been design, where play with fabric, form and overlooked in more traditional paradigms colour align with visual arts processes, and (p. 369). Terefore, while I employed tradi- where the quilt artist intuitively develops tional case study and data collection meth- the quilt design in response to the gathered ods, I positioned the research process as an materials and intent of the project. Similarly, emergent, fexible and responsive practice ABER and the methodology of a/r/tography to embrace my own creative inquiry and to encourage me to refexively situate my “own shape assumed dissertation formulas into presence and contribution to the construc- more satisfying patterns. I applied quilting tion of meanings throughout the research imagery and metaphors to not only make process” (Bogumil et al., 2015, p. 3). sense of methodological processes for my- My research journey highlights the self, but to provoke the academy within my complex patterns and layers of interpreta- context to consider the visual articulation of tive meaning-making embedded within a research methodologies, so that my disserta- research design and aims to appreciate and tion might ofer a localised platform for ex- articulate the research process in ways acces- panding approaches to educational research. sible to both researchers and practitioners. In crafing a dissertation that stitched con- By metaphorically visualising the elements necting threads between traditional case of research design as the pieced fabrics, lay- study design and my own desire to artisti- ers and stitches of a quilt, the ofen-alienat- cally express research “practice, process ing language of research inquiry is rendered and product”, I sought to “trouble the un- accessible not only to the early childhood derstood framework of qualitative research” educators that this research aims to inform, and redefine “methodological vehicles” in but to researchers seeking a refexive expres- my own educational research context (Sin- sion of their own identity. ner et al., 2006, pp. 1255; 1225). References Quilting the Dissertation Barone, T., & Eisner, E. W. (1997). Arts- Te construction of a research dissertation based educational research. In R. M. is a long, intricate process. As with a tradi- Jaeger (Ed.), Complementary methods for tional quilt pattern, once the research design research in education (pp. 95–109). Wash- is established and the methodical collection ington, USA: American Educational Re- and construction of data is underway, the search Association. principles of rigour and trustworthiness, Bogumil, E., Capous-Desyllas, M., Lara, P., along with the external expectations of dis- & Reshetnikov, A. (2017). Art as mode sertation examiners, discourage signifcant and medium: A pedagogical approach to deviation from the plan. However, as with teaching and learning about self-refexivi- quilts, not all research is traditional. While ty and artistic expression in qualitative re-

236 search. International Journal of Research Irwin, R. L., Beer, R., Springgay, S., Grauer, and Method in Education, 40(4), 360–378. K., Gu, X., & Bickel, B. (2006). The rhi- doi: 10.1080/1743727X.2015.1114602 zomatic relations of a/r/tography. Stud- Creswell, J. W. (2013). Qualitative inquiry ies in Art Education, 48(1), 70–88. Re- and research design: Choosing among trieved from http://ezproxy.uow.edu.au/ fve approaches (3rd ed.). Tousand Oaks, login?url=http://search.ebscohost.com/ USA: SAGE. login.aspx?direct=true&db=vth&AN=228 Deleuze, G., & Guattari, F. (1987). A thou- 51144&site=eds-live sand plateaus: Capitalism and schizo- Khalfa, J. (Ed.). (2003). Introduction to the phrenia. Minneapolis, USA: University of philosophy of Gilles Deleuze. London, Minnesota Press. United Kingdom: Continuum. Dewey, J. (1934). Art as experience. New Koelsch, L. E. (2012). The virtual patch- York, USA: Penguin. work quilt: A qualitative feminist research Eisner, E. (1997). Te new frontier in quali- method. Qualitative Inquiry, 18(10), 823– tative research methodology. Quali- 829. doi: 10.1177/1077800412456957 tative Inquiry, 3(3), 259–273. doi: Kramer-Kile, M. L. (2012). Research col- 10.1177/107780049700300301 umn: Situating methodology within Eisner, E. (1998). Te enlightened eye: Quali- qualitative research. Canadian Journal of tative inquiry and the enhancement of Cardiovascular Nursing, 22(4), 27–31. Re- educational practice. Upper Saddle River, trieved from https://www.cccn.ca/content. USA: Prentice-Hall. php?doc=209 Flannery, M. C. (2001). Quilting: A femi- Leblanc, N., Davidson, S. F., Ryu, J. Y., & nist metaphor for scientific inquiry. Irwin, R. L. (2015). Becoming through Qualitative Inquiry, 7(5), 628–645. doi: a/r/tography, autobiography and stories in 10.1177/107780040100700507 motion. International Journal of Educa- Flood, A. (2000). Common threads: The tion Trough Art, 11(3), 355. doi: 10.1386/ place of the narrative voice in research- eta.11.3.355_1 ing artists’ lives. Australian Art Education, Lindsay, G. (2015). Reflections in the mir- 23(1), 3–8. Retrieved from https://search- ror of Reggio Emilia’s soul: John Dewey’s informit-com-au.ezproxy.uow.edu.au/ foundational infuence on pedagogy in the fullText;dn=103858;res=AEIPT Italian educational project. Early Child- Flood, A. (2009). Finding new landscapes hood Education Journal, 43(6), 447–457. of a creative identity. Critical Perspectives doi: 10.1007/s10643-015-0692-7 on Communication, Cultural and Policy Lindsay, G. (2016). John Dewey and Studies, 28(1), 55–71. Retrieved from Reggio Emilia: worlds apart – one vi- https://search.informit.com.au/documen sion. Australian Art Education, 37(1), tSummary;dn=181249579232666;res=IE 21–37. Retrieved from https://search- LHSS informit-com-au.ezproxy.uow.edu.au/ Hesse-Biber, S. N., & Leavy, P. (2011). The fullText;dn=214909;res=AEIPT practice of qualitative research. Tousand O’Donoghue, D. (2015). Art, scholarship Oaks, USA: SAGE. and research: A backward glance. In M.

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Mª Jesús Agra Pardiñas is a Visual Artist, has a particular interest in immersive art PhD in Fine Arts by the Complutense Uni- experiences, intergenerational and commu- versity of Madrid, is a permanent lecturer of nity based arts projects and material think- Art Education in the Educational Sciences ing as a way of knowing. Contact: geraldine. Faculty of Santiago of Compostela University. [email protected] Her latest research is framed within the Ar- tistic narrative-based research (Art Based Re- Sophia Chaitas is currently a PhD Candi- search), and how the new trends of Contem- date at the University of the Aegean, under porary Art should be taken into account in the supervision of Dr. Georgia Liarakou. An Art Education. Contact: [email protected] a/r/tographer, artist researcher teacher and Art education coordinator for S. Aegean Mariane Blotta Abakerli Baptista com- and Crete. Contact: [email protected] pleted a PhD in Arts Education at Barce- lona University. Since 2016 Mariane has Kathryn Coleman is an a/r/tographer in been teacher in Santa Marcelina Univer- Melbourne, Australia. Her work focuses sity, advisor for an Educational ONG, and on the integration of digital pedagogies a researcher in a Cultural Mediation Re- and digital portfolios for sustained creative search Group in São Paulo, Brazil. Contact: practice and assessment. She has recently [email protected] submitted her digital PhD at the Melbourne Graduate School of Education, University of Jackie Batey is course leader for MA illus- Melbourne where she is a lecturer. Contact tration at the University of Portsmouth. She [email protected] has extensive experience in practice-based research within Art & Design. Her own Jason Cox is an Assistant Professor of Art Ed- practice is within artist’s books and zines, ucation and the head of Art Education for the her work is exhibited and held in many per- University of Toledo in Toledo, Ohio. He re- manent collections around the world. Con- ceived his PhD from the Ohio State University tact: [email protected] (2015), and his BFA (1998) and MAT (2006) degrees from the Maryland Institute College Geraldine Burke is a practicing visual artist of Art. E-Mail: [email protected] and lecturer in art education and art, community and environment units at Monash Alexandra Lasczik is Associate Professor, University (Melbourne and Singapore). She Arts Education at Southern Cross Univer-

239 sity. She is Founder and Research Leader of versity of British Columbia. Her research is the Creativity, Arts and Education Research titled KIZUNA and HEARTH Project: hear/ Group (CreArE), World Councillor for the heart/art/earth, both of which are a series of International Society of Education through her creative pedagogical initiatives. She is Art (InSEA) and Chair for the Arts-Based currently teaching at Capilano University. Educational Research SIG for the American Contact: [email protected] Educational Research Association. Contact: [email protected] Noemi Genaro-Garcia is a photographer and self-portrait artist. She teaches Artis- Samia ElSheikh is a professor in art educa- tic Photography in Almería School of Arts tion, hand weaving and fber arts in the col- (Spain). She works with family photo-biog- lage of art education. Member of the higher raphy and auto image. Her work on identity scientifc committee for promotion. She is through self-portrait takes place in socially one of InSEA’s World Councillors. She is an disadvantaged environments. Contact: artist, researcher and teacher deeply com- [email protected] mitted to the arts and education. Contact: [email protected] Jun Hu, PhD, Chair of Art Education De- partment, Hangzhou Normal University, Maria Ezcurra, MFA, PhD, is an artist, China, and is currently a PhD student in educator and mother currently working Art Education at Concordia University, in the Faculty of Education at McGill as Canada. His interest is in the pedagogical Art Facilitator at the Art Hive, and in the application of a/r/tography in Chinese cul- P. Lantz Artist-in-Residency Program. Her tural context based on comparative edu- areas of research interest are arts-based cational study. Contact: 胡俊 hujun_688@ research, collaborative creative processes, hotmail.com feminist pedagogy, gender-based violence, dress, identity and immigration. Contact: Rita L. Irwin is a Distinguished University [email protected] Scholar and Professor of Art Education at the University of British Columbia, Can- Rafaèle Genet-Verney is an architect and ada. She is best known for employing a/r/ photographer. She is Professor of Art Edu- tography in a range of contexts and for her cation in the Faculty of Education of the international leadership in art education. University of Granada, Spain. Her research Contact: [email protected] focuses on learning the city through photography. Contact: [email protected] Jaime Mena, Ph.D in Art Education, has focused on Arts-Based Research methodolo- Yoriko Gillard, MA, studied A/r/tography gies. He has experience in art mediation and with Dr. Rita Irwin and is a PhD candidate heritage in international institutions (Cen- studying with Dr. Carl Leggo at the Uni- tre Pompidou and Collection of the Russian

240 Museum, both in Málaga, and Alhambra Natalie LeBlanc is an artist, researcher, and Foundation Rodríguez-Acosta and Me- and educator. She is a Postdoctoral Re- moria de Andalucía Museum in Granada search Fellow at Te University of British (Spain). Contact: [email protected] Columbia in Vancouver, Canada. With a background in painting and photography, Timo Jokela is as a professor of Art Educa- her artistic practice is fuelled by her inter- tion at the University of Lapland and a head ests in arts-based (educational) research. of Northern Culture Institution of Lapland Contact: [email protected] University Consortium. He is also a lead of University of Arctic’s thematic network on Georgia Liarakou is an Associate Professor Arctic sustainable Art and Design (ASAD). of Environmental Education at the Peda- His theoretical studies and artistic projects gogical Department of Primary Education at focus on relationship between northern cul- the University of the Aegean (UAEGEAN). tures, art and nature. He has been respon- Contact: [email protected] sible for several international, national and regional art-based action research projects, Gai Lindsay has a keen interest in early where art education, community art and childhood visual art pedagogy, teacher environmental art has been studied in the education, arts-based research and crea- contexts of decolonization, revitalization tive blended learning design. Her research and cultural, social and economic sustain- to date has examined the visual art beliefs ability. Contact: [email protected] and pedagogy of early childhood educators and explored John Dewey’s philosophical Ásthildur B. Jónsdóttir is an assistant pro- infuence on the Reggio Emilia educational fessor at the Iceland Academy of the Arts. approach. She currently lectures at Wol- Her research interests include arts and cul- longong University, Australia. Contact: tural movements that support sustainable [email protected] development and Education for Sustain- ability at all levels, within both formal and Laura Lee McCartney earned her B.A. in informal contexts. She has curated exhibi- art history from Southwestern University tions, developed curricula and taught in di- and both her MA and PhD in art education verse settings. Contact: [email protected] from the University of North Texas. McCa- rtney’s arts-based dissertation, Unpacking Linda Knight is in Early Childhood at Self in Clutter and Cloth: Curator as Artist/ Queensland University of Technology, Aus- Researcher/Teacher explores opportunities tralia. Linda creates art as a social practice for deconstructing material culture as a to explore afect, movement and power as means to trouble the practices of hoarding, critical, pedagogic, and methodologic prac- creating, and curating as living curricula. tices. Linda has exhibited internationally Contact: [email protected] and her work is held in private collections globally. Contact: [email protected]

241 Allyson Macdonald is a professor at the Master of Visual Arts and Education in the University of Iceland. She has worked both University of Granada (Spain) and photog- outside and inside academia. Her work out- rapher. Contact: [email protected] side is repeatedly useful as it reminds her that in her university work she must never Joaquin Roldan is a sculptor and photog- forget the feld, and also that good ideas are rapher. He is an associate professor in the those best shared. Each new doctoral stu- Faculty of Fine Arts and in the Faculty of dent is a challenge. Contact: [email protected] Education of the University of Granada (Spain). His research, teaching and artistic Bilal Makled is a professor of printmaking creation focus on the development of arts- in Faculty of Art Education. He received based research and teaching methods. Con- his PhD through a channel program be- tact: [email protected] tween Helwan and New York University in 1993. His research interests have spanned Alison Shields is an artist and art educator in-service arts education and printmaking in Victoria, British Columbia. She received issues. He is a researcher, artist, and teacher a Masters of Fine Arts at the University deeply committed to the feld. Contact: en- of Waterloo and is a PhD Candidate at the [email protected] University of British Columbia. She is currently an Assistant Teaching Professor at the Ricardo Marin-Viadel is professor of Art University of Victoria. Trough her doctoral Education in the Faculty of Fine Arts in research, she explores creative processes, ar- the University of Granada (Spain) and tistic research and the relationship between artist. He publishes on Visual Arts-based thinking and making through studio work. Research and on Contemporary Draw- Contact: [email protected] ing and Archaeological Heritage. Contact: [email protected] Anita Sinner is an Associate Professor in the Department of Art Education at Con- Cristina Trigo Martínez is a Lecturer in cordia University. Her interests include Art Education, Educational Sciences Fac- arts research methods, life writing, teach- ulty of Santiago de Compostela University er education, international art education (2010, 2014). Currently she is a researcher and community art education. Contact: in Education and Contemporary Art in the [email protected] museum context and belongs to a research group in Santiago de Compostela Universi- Darlene St. Georges is a Métis artist, poet, ty focused on processes and projects on Art Assistant Professor, Art Education, Uni- Education. Contact: [email protected] versity of Lethbridge and PhD candidate, Concordia University. Darlene embraces Xabier Molinet-Medina is an engineer of the unfolding metamorphosis of scholar- image and sound. He is professor of the ship by harnessing multiple lines of in-

242 quiry through visual imagery and poetics. “My creation-research endeavors to explore, through an evolving ontological process, my deepening connection with All My Rela- tions.” She explores complex issues of identity and politicized memory to create spaces in which alternative histories can emerge. Contact: [email protected]

Vasilis Vasilakakis is an assistant professor at the School of Visual and Applied Arts, in the Faculty of Fine Arts Aristotle Uni- versity of Thessaloniki (AUTh). Contact: [email protected]

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Tis timely book contains a splendid variety of essays in the diverse and developing area that is visual inquiry & doctoral study in art education. With eloquently presented studies, conducted by art educators using a range of art-based methods. The richly illustrated investigations from ten countries, mean that there is something for everyone in this volume. Whether you are an artist, educator, researcher; or consider yourself a combination of all three, I believe this is a necessary addition to your bookshelf.

Glen Coutts, President- Elect, International Society of Education through Art

Cover: Anna-Mari Nukarinen Images by Natalie LeBlanc, Alison Shields, Darlene St. Georges, Elina Härkönen & Jaime Mena-de-Torres