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Life History Case Studies of Three African American Art

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CENTER OF GRAVITY: LIFE HISTORY CASE STUDIES OF THREE AFRICAN AMERICAN ART TEACHERS RECONCILING MULTIPLE IDENTITIES by GLORIA J. WILSON (Under the Direction of Carole Henry) ABSTRACT With respect to the discipline of art education, there is an understanding that a smaller percentage of art teachers of color exist than in the overall general teacher workforce (Galbraith & Grauer, 2004). The following life history case studies of three African American art teachers, examine—through personal narratives—how each experiences and reconciles their social and professional identities of African American/artist/teacher. Aiming to locate their life stories as they operate in particular social, historical, and institutional circumstances, the task with each participant in this study was to understand and render elements of their lives in context. Looking at the career decisions African Americans have made about teaching as a profession, when a multitude of options are available and more specifically, those who have embraced teaching art, this study reveals how Black Americans have in fact, negotiated full participation in spaces where they are often discussed as under-represented. Employing counter narratives of agency and resiliency through creation of written portraits, this study revealed how each participant negotiated and embraced these multiple identities. Applying methods of narrative analysis and portraiture and using an Afrocentric paradigm in tandem with theories of agency (social cognitive theory) and social identity, the researcher gaze is turned toward an affirmation of forces that surround and embrace these individuals through an initial exploration of the anthropological concept of fictive kinship. In doing so, a case is made for the implementation of culturally responsive pedagogy and mentorship. INDEX WORDS: identity, art education, African American, art teacher, artist, teacher, life history, arts participation, race, racial identity, Afrocentrism, Afrocentric, agency, narrative, case study, social cognitive theory, social identity theory, group identity, culturally responsive, fictive kinship, portraiture, method, methodology. CENTER OF GRAVITY: LIFE HISTORY CASE STUDIES OF THREE AFRICAN- AMERICAN ART TEACHERS RECONCILING MULTIPLE IDENTITIES by GLORIA J. WILSON B.S., The University of South Alabama, 1995 M.Ed. The University of South Alabama, 2001 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2014 © 2014 Gloria J. Wilson All Rights Reserved CENTER OF GRAVITY: LIFE HISTORY CASE STUDIES OF THREE AFRICAN- AMERICAN ART TEACHERS RECONCILING MULTIPLE IDENTITIES by GLORIA J. WILSON Major Professor: Carole Henry Committee: Tracie Costantino Richard Siegesmund Peggy Kreshel Freda Scott Giles Electronic Version Approved Maureen Grasso Dean of the Graduate School The University of Georgia May 2014 DEDICATION To my parents Henry Joseph Wilson and Gloria Rosario Wilson, my beloved sister, Mary Ellen Rosario Wilson Thomas, and Miles Elijah Thomas. Each of you has inspired me to continue to live with courage and compassion. 4 ACKNOWLEDGEMENTS This work is not mine alone. It has been the collaborative efforts of many minds, voices, ears and hearts. There but for the grace of God, I followed the path that was set before me in beginning this work. To my beloved big sister, Maryellen Rosario Wilson—I know you have always been by my side, especially on the days I didn’t believe I could go on. I came into this world, and you were already there. You were with me when I decided to undertake this journey, and though you are unable in physical manifest to experience this small victory, you are ever present. There isn’t a single day that goes by that I don’t think of you. I miss you dearly. My beloved parents Henry and Gloria Wilson, my biggest cheerleaders. I adore you both for always believing that I was stronger than I could imagine myself to be. Your example has shown me how to remain humble. Though outwardly you live modestly, you both reside in a spiritual wealth unknown to many. The five members of my dissertation committee have been tireless in their commitment to see this work through until the very end. Carole Henry, you were the first person I met on my visit to UGA in November 2009. Sharing a common experience in K-12 classrooms was only the beginning of our journey. Working closely with you on this dissertation and through supervising preservice teachers, I have come to know you as a powerhouse in the art education community. Your presence will be missed in your much-deserved retirement. Tracie Costantino, you introduced me to research and always encouraged my voice as an essential part of class discussions. Your gentle yet firm guidance was the perfect balance to reassure and challenge me not only to think in new ways, but also to forge ahead in the Ph.D. 5 process, even in times when I wanted to walk away. Richard Siegesmund, your ideas always pushed me to discover new ways of thinking. My dissertation is rich because of your intense inquiry. Thank you for further introducing me to the world of visual culture in ways I had not considered. Peggy Kreshel, you were the inspiration that kept me close to the central part of this work. Your firm guidance “held me up” when I did not feel confident to speak confidently about issues of racial identity. It was your feedback on my original IRB proposal that encouraged me to be courageous in pushing forward. I believe you said, “Come now Gloria, isn’t race central in your study?” Freda Scott Giles, you provided my with the notion of using an Afrocentric paradigm; a much need and final piece to my research puzzle. Thank you for taking the time to nurture me with your wisdom. You have taught me to push forward in this work, despite the challenges associated. I wish you well in retirement. My qualitative research mentors: Jude Preissle, Kathleen DeMarrais, Kathy Roulston, and Jori Hall. Each of you has contributed to the rigor of my qualitative study. NaJuana Lee, your trail blazing research paved a road for me that softened the blow. Thank you for always generously sharing your knowledge. My extended family: Virginia Lee (Auntie Baybee), Zia Mustafa, Shadia Tilahun, Chandra Brown and Leonard Stewart, Tara Waller Lockett, Lee Brislin McAnally, Everage Thomas, III and Aimee M. T. Berry. Thank you for holding me up and putting up with me in the most difficult of times. Each of you has allowed me the space to falter without judgment. Auntie Bertha, thank you for always reminding me of the importance of self-care. Your support enabled me to remember to take a break away from the work and relax. Auntie Baybee, thank you for your loving and supportive emails. Auntie Geri, thank you for reminding me of early family memories and helping me find the laughter I needed. 6 Yuha Jung, Ashanti Gholston and Raymond Griffin, as my unofficial editors and mentors, I thank you for the ways each of you have challenged me to think and grow. Makeba Dixon-Hill, you provided the creative thinking and space for me to keep this a living, breathing organism. My UGA graduation cohort: Lisa Whittington, Ginny Jones and Kelly Guyotte. I am thrilled to share in our commencement together. Each of you knows intimately what this journey has meant for me. Finally, the participants of this study, Kevin Cole, Eleanor Neal, and Ronald Young: the generosity of your time, commitment and the sharing of your personal life stories have inspired many. I humbly thank you. 7 TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ........................................................................................................... v LIST OF TABLES ........................................................................................................................... x LIST OF FIGURES ....................................................................................................................... xi CHAPTER 1 Introduction to the Problem ........................................................................................... 1 Subjectivity Statement ............................................................................................. 3 Black Americans: The Arts and Education .............................................................. 6 Counter-Narratives ................................................................................................. 10 Purpose ................................................................................................................... 11 Sensitivity to Racial and Ethnic Labels ................................................................. 12 Definition of Key Terms ........................................................................................ 14 Charting a Path ....................................................................................................... 15 2 Review of the Literature .............................................................................................. 18 Visual Culture “Pedagogy” .................................................................................... 19 African American Response to Racial Discourses ................................................ 24 Discourse of Underrepresentation: African Americans in Visual Arts Studies and Professions ........................................................................................................... 25 Career Decisions Among African American Adolescents
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