“I will let my art speak out”: Visual narrations of Youth Combating Intolerance by Jennifer Nicole Little B.A., University of Victoria, 2001 M.A., University of Victoria, 2006 A Dissertation Submitted in Partial Fulfillment of the Requirements of the Degree of DOCTOR OF PHILOSOPHY in the School of Child and Youth Care © Jennifer Nicole Little, 2010 University of Victoria All rights reserved. This dissertation may not be reproduced in whole or in part, by photocopying or by other means, without the permission of the author. ii Supervisory Committee “I will let my art speak out”: Visual narrations of Youth Combating Intolerance by Jennifer Nicole Little B.A., University of Victoria, 2001 M.A., University of Victoria, 2006 Supervisory Committee Dr. Daniel Scott, (School of Child and Youth Care, University of Victoria) Supervisor Dr. Veronica Pacini-Ketchabaw (School of Child and Youth Care, University of Victoria) Departmental Member Dr. Annalee Lepp (Department of Women’s Studies, University of Victoria) Outside Member Dr. Catherine McGregor (Department of Educational Psychology and Leadership Studies, University of Victoria) Outside Member iii Supervisory Committee Dr. Daniel Scott, (School of Child and Youth Care, University of Victoria) Supervisor Dr. Veronica Pacini-Ketchabaw (School of Child and Youth Care, University of Victoria) Departmental Member Dr. Annalee Lepp (Department of Women’s Studies, University of Victoria) Outside Member Dr. Catherine McGregor (Department of Educational Psychology and Leadership Studies, University of Victoria) Outside Member Abstract This qualitative inquiry focuses on exploring youth subjectivities in relation to a curriculum focused on diversity issues. This curriculum is housed within a community camp called Youth Combating Intolerance. Using a unique methodology called pedagartistry, the youth visually narrated their experiences being young activists and the challenges that run alongside. Drawing on ideas of becoming, multiplicity and reflexivity, the youth described a spectrum of experiences relevant to youth, educators and those invested in practicing from an anti-oppressive praxis. Key words: youth, social justice, arts-based practice, pedagartistry iv TABLE OF CONTENTS Supervisory Committee .................................................................................................................. ii Abstract ........................................................................................................................................... ii Table of Contents ........................................................................................................................... iv List of Figures ................................................................................................................................ vi Acknowledgements ...................................................................................................................... viii CHAPTER I - INTRODUCTION .................................................................................................. 1 CHAPTER II – LITERATURE PARTY OR: A CONVERSATION WITH AUTHORS ........... 16 CHAPTER III - METHODOLOGY ............................................................................................. 51 Arts-based methodology .............................................................................................. 52 Collage ......................................................................................................................... 61 Poetry ........................................................................................................................... 65 Pedagartistry ................................................................................................................. 67 CHAPTER IV – INTRODUCING THE PLAYERS .................................................................... 90 Me, myselves and I ...................................................................................................... 90 Research consultants (aka Team Ranch)...................................................................... 95 From whence they came............................................................................................. 101 Recruitment ................................................................................................................ 104 Research Questions .................................................................................................... 114 CHAPTER V – SOCIAL JUSTICE 101 .................................................................................... 121 CHAPTER VI – WORKING THE METAPHORS .................................................................... 145 Coming to the light/how I beat gravity ...................................................................... 146 Shedding social skins or: This is sort of a good will dandelion ................................. 160 v Authenticity ................................................................................................................ 172 Polite activists need only apply .................................................................................. 181 Horizontal violence .................................................................................................... 203 Fractal emergence ...................................................................................................... 208 CHAPTER VII – CONCEPTUALIZING FUTURE SELVES .................................................. 216 CHAPTER VIII – PUTTIN’ ON THE RITZ ............................................................................. 233 Collaborative public presentation .............................................................................. 234 And to whom does the photograph belong? Issues of ownership .............................. 239 Telling tales ................................................................................................................ 241 CHAPTER IX - CONCLUSION ................................................................................................ 244 Research question....................................................................................................... 244 Pedagartistry ............................................................................................................... 246 Key metaphors ........................................................................................................... 249 Future directions......................................................................................................... 250 Summary .................................................................................................................... 251 EPILOGUE ................................................................................................................................. 252 REFERENCES ........................................................................................................................... 253 APPENDIX A: Invitations .......................................................................................................... 269 APPENDIX B: Lily’s postcards ................................................................................................. 270 vi Table of Figures Figure 1 – Tash’s contribution to the collective collage ................................................... 61 Figure 2 – Lily’s contribution to the collective collage……………………………...…. 62 Figure 3 – Cole’s contribution to the collective collage ................................................... 64 Figure 4 – Sebastian’s contribution to the collective collage ........................................... 65 Figure 5 – Yellowed newspaper clipping ......................................................................... 91 Figure 6 – Kyla’s social justice cards ............................................................................. 119 Figure 7 – Tash’s definitions of social justice ................................................................ 123 Figure 8 – John and Yoko ............................................................................................... 127 Figure 9 – Angelica. Day of silence ................................................................................ 128 Figure 10 – Lily’s definition of social justice ................................................................. 129 Figure 11 – Kyla’s social justice cards ........................................................................... 132 Figure 12 – Kyla’s social justice cards ........................................................................... 132 Figure 13 – Kyla’s social justice cards ........................................................................... 133 Figure 14 – Sebastian. Self-portrait ................................................................................ 137 Figure 15 – Sebastian’s favourite photograph ................................................................ 137 Figure 16 – What are your tools for social justice? ........................................................ 141 Figure 17 – Tash. Untitled .............................................................................................. 148 Figure 18 – Lily. People are getting better ..................................................................... 151 Figure 19 – Angelica. Failure ......................................................................................... 152 Figure 20 – Tash. Myvie