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Art As Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research

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Art As Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research Cleveland State University EngagedScholarship@CSU ETD Archive 2012 Art as Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research Vanessa M. Jones Cleveland State University Follow this and additional works at: https://engagedscholarship.csuohio.edu/etdarchive Part of the Education Commons How does access to this work benefit ou?y Let us know! Recommended Citation Jones, Vanessa M., "Art as Method: Complicating Tales of Visual Stenography and Implications for Urban Education and Research" (2012). ETD Archive. 149. https://engagedscholarship.csuohio.edu/etdarchive/149 This Dissertation is brought to you for free and open access by EngagedScholarship@CSU. It has been accepted for inclusion in ETD Archive by an authorized administrator of EngagedScholarship@CSU. For more information, please contact [email protected]. ART AS METHOD: COMPLICATING TALES OF VISUAL STENOGRAPHY AND IMPLICATIONS FOR URBAN EDUCATION AND RESEARCH vanessa m. jones Bachelor of Fine Arts in Art Education Ohio University June, 2002 Master of Arts in Art Education Case Western Reserve University May, 2005 submitted in partial fulfillment of requirements for the degree DOCTOR OF PHILOSOPHY IN URBAN EDUCATION at the CLEVELAND STATE UNIVERSITY December, 2012 © Copyright by vanessa m. jones This dissertation has been approved for the Office of Doctoral Studies, College of Education and the College of Graduate Studies by ________________________________________________________________ Anne Galletta, co-Chair Curriculum and Foundations ________________________________________________________________ Brian Harper, co-Chair and Methodologist Curriculum and Foundations ________________________________________________________________ Karen Sotiropoulous, Member History ________________________________________________________________ Michelle Fine, Member City University of New York _______________________________________________________________ Karen Clark-Keys, Member NewBridge DEDICATION M, Kam, E, Naloni—why I grind like I do. This is for you, Marc, Kamryn, Naloni, and Ethan. Stay bright and be brilliant on purpose. Be the best. Create. For my foremothers, Mary Irene Waytes, Lillian Marie Lyons, and Gwendolyn Ruby Miller (missing you everyday) and for my mother, Jo Ann Martin, I am a feminist because of you; I enjoy the beauty and complexity of being a woman because of you. You are the measure for this feminine idea and I write this as a gift in appreciation for what you’ve given me. You have helped define for me what it is to be a woman, and I can honestly say it is your image and example for which I strive. And when I speak of complexity, I know your life has not been easy and far from picture perfect. I absolutely respect your struggle for survival and womanly existence—your Being a constant reminder of proactive faith and the Creator’s grace. You must know that it is through your own life that I am first familiar with the power of the Creator and the awesome strength the Creator places in woman. Your life is proof of possibility. I promise you whenever I am shy or insecure it is recognition of the fact that your blood flows through my veins that straightens my back and lifts my chin. You have given me the strength and the courage to raise my child in love, so that as he grows into a man he will recognize the forceful complexity of a woman like you knowing well how to appreciate and love her. So when I tell you to keep a journal, to write down your memories, it’s because I want to know your story to get insight into this wonderful legacy you have given me. Your story is the blueprint of femininity. It is such a plan that guides me through life and womanhood. I have It, extraordinary and unique to my bloodline, because of you. My hope is to return the love and sincerity you’ve shown me by mirroring the image of the woman you are. I treasure this invaluable gift, this legacy, and write as an endeavor to honor you, for you to Know the depths of your beauty. I love you so much. Your life is a blessing to me. Thank you. If you find goodness in my work it is from the Creator and I give thanks to the Creator for that. If you find any shortcomings in my work, this is from my own shortcomings and I ask the Creator and you to forgive me for that. Peace. ACKNOWLEDGMENT “You must love me…”—Jay‐Z I would like to send a shot out to the following sources of Peace, Light, and Love: GreenHouse Studios; Abu Nasara; Wanda Pruett‐Butler; Todd Masuda and Volunteer Lawyers for the Arts; my “Dream Team” committee—Dr. Karen Clark‐Keys, Michelle Fine, PhD, Anne Galletta, PhD, Dr. Brian Harper, and Dr. Karen Sotiropoulos; participating artists—MiLisa R. Coleman, C. Izzrael Coles, Derick Prosper, and Marquette Williams; Dr. Carmine Stewart; my supportive friends and family; my father’s service to this country that aided my studies and his wake up calls to me during the witching hours that kept me grinding; and my Son, whose Love, patience, and maturity extend beyond his years. I sinseriously appreciate the unconditional support you have generously offered me. I am in awe of your unwavering patience and give thanks to the Creator for the blessings you have been. I am indebted. Bless you. ART AS METHOD: COMPLICATING TALES OF VISUAL STENOGRAPHY AND IMPLICATIONS FOR URBAN EDUCATION AND RESEARCH vanessa m. jones ABSTRACT How Black artists—othered and positioned at the margins of “civilization” in the United States—construct knowledge, context, and historical memory is informative to urban education research and policy. The exploration of this reflects the wisdom of an African proverb that others will tell the story of the struggle should it not first be told by those who live it. To create reciprocity between participants and the researcher, this study employed participatory methods and critical analysis of data from interview sessions, observation, works of art, journal reflections, and information from existing studies and artist documentaries. The study uncovers an approach to the creative process—a form of visual stenography fusing art, inquiry, and activism while considering the historical, social, and ideological context. Findings suggest art may be employed as a method, an indigenous paradigm countering the threat of being scripted into history and disrupting unequal research hierarchies and social relations. vii TABLE OF CONTENTS ABSTRACT ........................................................................................................................... vii LIST OF FIGURES ................................................................................................................. xii CHAPTER I. INTRODUCTION ....................................................................................................... 1 Framework of the Study ................................................................................... 6 Limitations....................................................................................................... 10 Delimitations ................................................................................................... 10 Rationale for Research .................................................................................... 11 Definition of Terminology ............................................................................... 12 II. LITERATURE REVIEW ............................................................................................. 17 Critical Theory and Crafting a Methodology of Resistance ............................ 18 Fusing Art and Activism .................................................................................. 27 Reclaiming the angle of vision: defining problems from inside the struggle ................................................................................................. 33 Visual Stenography in Contemporary Tales: Analysis of Activist Artwork ..... 34 Troubling or Transformation? Intersection of Critical Theory, Participation, and the Arts .............................................................................. 44 The Creative Process and Stages of Artistic Development ............................. 52 III. METHODOLOGY .................................................................................................... 58 viii Statement of Purpose ..................................................................................... 61 Context ............................................................................................................ 62 Participants ..................................................................................................... 65 Researcher’s Perspective ................................................................................ 69 Ethical and Methodological Challenges and Dilemmas .................................. 70 Framing This Research .................................................................................... 76 Data Collection Procedures ............................................................................ 79 Analysis of Data ............................................................................................... 86 Limitations....................................................................................................... 89 Delimitations ................................................................................................... 89 IV. FINDINGS ..............................................................................................................
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