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Arabic Speaking Objects: a Collaborative Research-Creation Project Exploring Recent

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Arabic Speaking Objects: a Collaborative Research-Creation Project Exploring Recent Arabic Speaking Objects: A Collaborative Research-Creation Project Exploring Recent Immigrants’ Narratives of Displacement and Settlement Emma Harake A Thesis In the Department of Art Education Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art Education) at Concordia University Montreal, Quebec, Canada March 2019 © Emma Harake, 2019 ii CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Emma Harake Entitled: Arabic Speaking Objects: A Collaborative Research-Creation Project Exploring Recent Immigrants’ Narratives of Displacement and Settlement and submitted in partial fulfillment of the requirements for the degree of Master’s of Art Education – Thesis Option complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final examining committee: ______________________________________ Chair Lorrie Blair Examiner Barbara Lorenzkowski Examiner Kathleen Vaughan Thesis Supervisor(s) Approved by ____________________________________________________ Chair of Department or Graduate Program Director ________________________________________________ Dean, Date ________________________________________________ iii Abstract Arabic Speaking Objects: A Collaborative Research-Creation Project Exploring Recent Immigrants’ Narratives of Displacement and Settlement Emma Harake A collaborative creation project, this thesis uses research-creation and oral history to explore Arabic-speaking newcomers’ experiences of displacement and settlement as told through personal objects. It is centered on the involvement of five participants, including myself, who guided the creation of a collaborative art exhibition that combined oral narratives in the form of sound recordings, photography, text, and artifacts. Using the framework of cultural studies and critical pedagogies, Arabic Speaking Objects employed reflexive approaches and focused on fostering an ethical researcher-participant relationship based on compassion, empathy and agency to examine the pedagogical impact of collaborative art practices on new immigrants’ sense of identity and belonging, with specific reference to Montreal’s diverse Arabic-speaking communities. Overall, the project resulted in engaging a myriad of discourses around the notion of objects as conceptual entities carrying with them the affective memory of the migration experience. These discourses were then re-constructed and disseminated through a collaborative process/exhibition that re-conceptualized conventional ideas of researcher/artist as main author. A coffeepot, orthodox icon, identity card, rescue tools, spices, comic books, earring, family photographs, bracelet, Keffiyeh, clothes, soap bar, food and travel souvenirs became the plinths on which five participants shared their stories and journey from their homelands to Montreal. iv Territorial Acknowledgement I would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtiá:ke/Montreal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. We respect the continued connections with the past, present and future in our ongoing relationships with Indigenous and other peoples within the Montreal community. This territorial acknowledgement and resources were created by Concordia University’s Indigenous Directions Leadership Group (2017). v Acknowledgements I would first like to express my gratitude to the research participants. Thank you for agreeing to take part in this journey. I am forever grateful for the kindness and openness of each and every one of you. I would also like to thank my supervisor, Dr. Kathleen Vaughan, without whom I could not have produced this thesis. Thank you for your guidance, support, insightful questions, meticulous comments and for always reminding me to trust the process. I would like to also thank Dr. Lorrie Blair and Dr. Barbara Lorenzkowski, who have been with me along this journey. Thank you for your contributions and assistance, and for providing me with brilliant advice and feedback. Also, I would be remiss if I did not mention the undeniable impact of the Centre for Oral History and Digital Storytelling (COHDS) at Concordia on shaping this thesis. I would like to extend a big thank you to my OCE colleagues, for your continuous encouragement, empowerment and motivation; and for giving me a great example of what community engagement really means. Additionally, I would like to thank my family and friends, who have been my support system throughout this journey. Lastly, to Maher: my best friend and companion, for your support, for the improvised walks along the canal, and for listening to me شك ًرا .and being there along the way vi Table of Contents List of Figures ………………………………………………………………………………….. viii Foreword: Overview of the Exhibition …………………………………………………………. 1 Chapter One ……………………………………………………………………………….……….5 Situating myself: Point of Departure or Naiiman ………………………………………. 5 Situating the Research ………………………………………………………………….. 7 Montreal …………………………………………………………...................... 7 Arabic-Speaking Countries ………………………………………………...…... 9 Research Questions …………………………………………………………………….. 11 Theoretical framework …………………………………………………..……………. 11 Cultural Studies ……………………………………...……………………….… 11 Critical Pedagogies …………………………………..…………………..…….. 15 Literature and Resource Review ……………………………………..…………..…… 16 Chapter Two: Methodology and Practices……………………………………………….......... 29 My Art as Research……………………………………………………...……………... 29 Research-Creation ……………………………………………………...………….…… 30 Oral History ……………………………………………………….…………………… 32 The Other Four Participants………………………………………….………………… 36 Procedures …………………………………………………….....…………………… 38 Chapter three: Arabic-Speaking Objects: The Exhibition …………..………………………... 50 Logistics ………………………………………………………...…………………… 52 One Story at a Time……………………………………………………..…………… 55 Wissam………………………………………………………………………. 55 Dunya…………………………………………………...……..…………….... 59 Farah ……………………………………………………………….…...……… 63 vii Emma……………………………………………………………………..…….. 67 Béatrice…………………………………………………………………………. 71 Arabic-Speaking Objects: The Vernissage………………………………………...…… 75 The days that followed………………………………………………………………… 82 Chapter Four: Learning together ……………………………………………………………….. 85 Data Collection and Analysis………………………………………………………....... 85 Research question #1………………………………………………………….… 86 Research question #2 ………………………………………………………….. 92 Research question #3 ………………………………………………………….. 97 Collaborative Practices: The Exhibition as A Cultural Text ………………………..… 101 Chapter Five: Relevance/implications for art education …………………………………….... 112 Limitations ……………………………………………………………………………. 113 Closing thoughts and future actions ……………………………………………………….. 115 References …………………………………………………………………………………….. 117 Appendix A : Sample Questionnaire – First Interview………………………………………… 123 Appendix B : Sample Questionnaire – Second Interview …………………………..………….124 Appendix C : Sample Questionnaire – Feedback Questionnaire…………………………….. 125 Appendix D : Information and Consent Form………………………………………………. 126 Appendix E : Ethics Certificate ………..……….…………….………………………....… 130 viii List of Figures Figure 1... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... 1 Figure 2... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... …3 Figure 3... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...4 Figure 4... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...6 Figure 5... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ..10 Figure 6 ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .........17 Figure 7... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ......20 Figure 8... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ......21 Figure 9... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ......22 Figure 10 ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...40 Figure 11 ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... .. ... ... ... ... ... ... ... ... ... ... ... ... ... …....43 Figure 12 ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...44 Figure 13 ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...46 Figure 14 ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ...51 Figure 15 ...... ... ... ... ...... ... ... ... ... ... ... ... ..
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