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Visual Culture Art Integration: Fostering Student Voice Visual Culture Art Integration: Fostering Student Voice Item Type text; Electronic Dissertation Authors Bradshaw, R. Darden Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 10/10/2021 15:53:34 Link to Item http://hdl.handle.net/10150/301706 VISUAL CULTURE ART INTEGRATION: FOSTERING STUDENT VOICE by R. Darden Bradshaw __________________________ Copyright © R. Darden Bradshaw 2013 A Dissertation Submitted to the Faculty of the SCHOOL OF ART In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN ART HISTORY AND EDUCATION In the Graduate College THE UNIVERSITY OF ARIZONA 2013 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Dissertation Committee, we certify that we have read the dissertation prepared by R. Darden Bradshaw, titled Visual Culture Art Integration: Fostering Student Voice and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy. _______________________________________________________________________ Date: May 7, 2013 Dr. Elizabeth Garber _______________________________________________________________________ Date: May 7, 2013 Dr. Lynn Beudert _______________________________________________________________________ Date: May 7, 2013 Dr. Ryan Shin Final approval and acceptance of this dissertation is contingent upon the candidate’s submission of the final copies of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. ________________________________________________ Date: May 7, 2013 Dissertation Director: Elizabeth Garber 3 STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: R. Darden Bradshaw 4 ACKNOWLEDGEMENTS There are many people I wish to recognize for their support and encouragement during this journey. First and foremost are the students, families, and teachers with whom I have had the pleasure of working. Thank you for teaching me valuable lessons about listening to you and your concerns; for teaching me to create a safe learning space where risks can be taken, questions can be explored, and the joy of learning can be celebrated. I am indebted to you for your willingness to play with me, to be vulnerable with me, and for opening your classrooms, teaching and learning practices to me. To the members of my committee, I extend my sincerest gratitude and appreciation for their support, both professionally and personally. The richness and vitality of my committee’s work is an anchoring thread signaling what research and teaching can and should be. My advisor, Dr. Elizabeth Garber consistently and patiently encouraged me to clarify my voice, follow my heart, and celebrate each step of the process. Her generosity, humor, integrity and warmth were supports on which I came to rely heavily and which, in my own relationships with students, I will strive to emulate. I wish to thank Dr. Lynn Beudert for her gentle, loving guidance and continual belief in me as a teacher and researcher. Her valuable questions about collaboration, art integration and action research significantly influenced me along this journey. The insight and perspective on visual culture that Dr. Ryan Shin brought to the dissertation were supremely important, offering a counter-point and challenging me. I thank each of you. I appreciate deeply the encouragement, support and friendship of Dr. Kathy Short and Dr. Sheilah Nicholas from the Language, Reading and Culture department. I thank my colleagues at the University of Arizona and wish to extend a special thanks to my dear friend, colleague, and writing partner Barbara Bergstrom. Our weekly meetings served as touchstones in the process, keeping me grounded in my writing, forcing me to articulate and clarify my thoughts, and offering a respite from the day-to-day world where I could celebrate and revel in the joy of the research. Thank you for sharing this profoundly life-changing journey, for being a sounding board, for laughing with me, and most of all, for loving what we do. While Dr. Donna Rabuck and the staff of The Graduate Writing Institute at the University of Arizona offered me a valuable resource through the summer institute, it was John Rabuck, my ever diligent and “ruthless” writing tutor who was beyond instrumental in my growth as a writer. Thank you, John, for challenging me to be clear and “say what I mean,” and for continually encouraging and celebrating my progress. I appreciate you. For my parents, Jane and Drexel, your influence and dedication led me to this point. Thank you for teaching me to love learning, to be persistent in the face of challenges, to work hard for what I want and to always have faith. To my brother, Drexel, thank you for teaching me the value of seeing all sides of an issue, for fighting for me, and for celebrating my accomplishments, no matter their size. The greatest thanks of all go to my partner, Gail and my daughter, Markayla. Thank you for making countless sacrifices so that I could pursue what I love. I thank you for keeping me smiling, for reminding me of what is truly important, and for believing in me. 5 DEDICATION For my daughter, Markayla. 6 TABLE OF CONTENTS LIST OF FIGURES ...........................................................................................................10 ABSTRACT .......................................................................................................................14 CHAPTER ONE: ART INTEGRATION: A TRANSFORMATIVE PRACTICE ..........16 Prelude...........................................................................................................................16 Rationale .......................................................................................................................21 Research Questions .......................................................................................................25 Overview of the Study ..................................................................................................25 Methods .........................................................................................................................26 Overview of Setting and Participants ....................................................................28 Study Design ..........................................................................................................29 Data Collection ......................................................................................................30 Data Analysis .........................................................................................................31 Limitations of the Study ................................................................................................32 Significance of the Study ..............................................................................................33 Outline of the Document ...............................................................................................35 CHAPTER TWO: A WORLD OF CHANGE ...................................................................38 Theoretical Foundation .................................................................................................42 Social Justice Education ........................................................................................42 Liberatory Pedagogy ..................................................................................43 Critical Pedagogy .......................................................................................44 Critical literacy...............................................................................45 Critical thinking .............................................................................46 Feminist Pedagogy .....................................................................................46 Constructivism .......................................................................................................49 Social Justice Art Education ..................................................................................50 Youth Empowerment .............................................................................................51 Empathy .....................................................................................................52 Visual Culture ...............................................................................................................55 Visual Culture as an Emerging Field .....................................................................56 Visual Culture as a Frame of Reference ................................................................57 Visual Culture as a Pedagogical
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