Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Mary C. Kingery-Page / Over time the conventional design process has minimally evolved from Hideo Sasaki’s staged-design process, one of the original models of landscape architectural design process (Murphy 2005, 50; Sasaki 1950, 35). Different types of conventional design process, as it is called in this study, incorporate more stages, devoting more time to each; however, the stages are still completed in an exact order due to the focus on problem solving. The lack of encouragement for personal creative thinking through an individual creative process within the conventional design processes used today is apparent in both the profession and the education of landscape architects today. Because a creative process does not simply solve problems but encourages creative thinking throughout design, the profession would see greater generation of new ideas if landscape architects began to embrace a more creative process, as identified by Graham Wallas in the 1920s (Lawson 2006, 149-150; Herrman 1995; Goswami and Goswami 1999, 43-44). Interviews with highly creative, or avant-garde, landscape architects, such as Thomas Balsley, Claude Cormier, Mikyoung Kim and Peter Walker, and assumedly creative artists helped to provide answers to primary research questions: How does the design process of avant-garde landscape architects compare to the assumedly creative process used by artists? And how can the conventional landscape architectural design process be reframed to incorporate more creative thinking in landscape architectural practice and landscape architectural education? Using a grounded theory approach, in-depth, open-ended interviews were completed with eight subjects. Initial coding themes were based upon broad categories from literature review. Substantial coding and analysis of interviews to find the creative and conventional design processes and characteristics of creativity for each subject resulted in emergent themes and sub-themes from the interviews. Analysis matrices were developed to document commonalities and discrepancies between initial themes from literature review and emergent themes from interviews. Conclusions on findings from initial and emergent themes include:highly creative landscape architects employ non-linear, creative processes throughout design, confidence in personal creativity is imperative to creative thinking, and landscape architectural programs should allow students flexibility and creative license for developing personal design processes.

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Where Outreach Meets Outrage: Racial Equity at the Canada Council for the Arts (1989-1999), examines the early formation of racial equity policies at The Canada Council for the Arts. In this research project, I am primarily interested in understanding the ways in which ‘culture’ is employed by the state, the Canada Council for the Arts and by black artists to articulate and communicate complex issues that pertain to notions of art, citizenship, solidarity, justice, multiculturalism, belonging and nationhood. The research places culture and cultural production centrally within claims and calls by racialized artists for the ethical redistribution of societal resources and participation in societal structures. I look at questions of how community is produced and struggled over in relation to claims for cultural resources. This thesis employs an interdisciplinary approach drawn from the disciplines of sociology, anthropology and critical cultural studies to allow the complex relationships between activities of the Canadian state, racial equity policy making at the Canada Council, and grass roots social activism to emerge. I argue that state practices of management are elastic and that racial equity policies at the Canada Council emerged out of a confluence of transformational activities simultaneously taking place at the state/institutional and grassroots levels. The significance of this research project is that it fuses contemporary cultural production and art within contemporary social justice paradigms that seek to understand the processes and practices within liberalism that produce oppressions and resistance through an exclusionary politics of representation. This dissertation study will have both applied and theoretical implications in the Canadian context both within and outside of the academy in the fields of the arts, cultural policy and education.

Where Outreach Meets Outrage: Racial Equity at the Canada Council for the Arts (1989-1999), examines the early formation of racial equity policies at The Canada Council for the Arts. In this research project, I am primarily interested in understanding the ways in which ‘culture’ is employed by the state, the Canada Council for the Arts and by black artists to articulate and communicate complex issues that pertain to notions of art, citizenship, solidarity, justice, multiculturalism, belonging and nationhood. The research places culture and cultural production centrally within claims and calls by racialized artists for the ethical redistribution of societal resources and participation in societal structures. I look at questions of how community is produced and struggled over in relation to claims for cultural resources. This thesis employs an interdisciplinary approach drawn from the disciplines of sociology, anthropology and critical cultural studies to allow the complex relationships between activities of the Canadian state, racial equity policy making at the Canada Council, and grass roots social activism to emerge. I argue that state practices of management are elastic and that racial equity policies at the Canada Council emerged out of a confluence of transformational activities simultaneously taking place at the state/institutional and grassroots levels. The significance of this research project is that it fuses contemporary cultural production and art within contemporary social justice paradigms that seek to understand the processes and practices within liberalism that produce oppressions and resistance through an exclusionary politics of representation. This dissertation study will have both applied and theoretical implications in the Canadian context both within and outside of the academy in the fields of the arts, cultural policy and education.

Using collage as a methodological and conceptual framework for re-conceptualizing knowledge in HIV/AIDS education, this thesis attends to young women’s understandings of HIV/AIDS and sexuality. Through engaging in the process of making collages, what stories do young women tell about HIV/AIDS? What discourses are produced when collage and narrative are used as methodological tools to address participants’ understandings of HIV/AIDS? By responding to their own collage texts, as well as the collage texts of others, how are issues of representation addressed? Using narrative and post-structural discourse analysis, this study explores how participants’ complex and contradictory understandings of HIV/AIDS diverge from the content and form of current school-based HIV/AIDS curriculum. Whereas the curriculum presupposes a rational and linear subject, participants’ reflexive understandings of HIV/AIDS shift throughout the study, varying as a result of roles performed, the context of the collage or image being discussed, and the dynamic interchange between participants.

Using collage as a methodological and conceptual framework for re-conceptualizing knowledge in HIV/AIDS education, this thesis attends to young women’s understandings of HIV/AIDS and sexuality. Through engaging in the process of making collages, what stories do young women tell about HIV/AIDS? What discourses are produced when collage and narrative are used as methodological tools to address participants’ understandings of HIV/AIDS? By responding to their own collage texts, as well as the collage texts of others, how are issues of representation addressed? Using narrative and post-structural discourse analysis, this study explores how participants’ complex and contradictory understandings of HIV/AIDS diverge from the content and form of current school-based HIV/AIDS curriculum. Whereas the curriculum presupposes a rational and linear subject, participants’ reflexive understandings of HIV/AIDS shift throughout the study, varying as a result of roles performed, the context of the collage or image being discussed, and the dynamic interchange between participants.

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Over the last three decades, many women and men who were political prisoners in the Middle East have come to Canada as immigrants and refugees. In their countries of origin, they resisted oppressive social policies, ideologies, and various forms of state violence. Their journeys of forced migration/exile took them away from their country, families, and friends, but they arrived in Canada with memories of violence, resistance and survival. These former political prisoners did not want the sacrifices that they and their colleagues had made to be forgotten. They needed to find effective ways to communicate these stories. This research was conducted from a critical feminist‒anti-racist perspective, and used life history research to trace the journey of one such group of women and men. This group of former political prisoners has been meeting together, using art as a mode of expression to share their experiences, inviting others to join their resistance against state violence. Interviews were conducted with former political prisoners and their supporters and artist facilitators who were part of the art workshops, performances, and exhibits held in Toronto, Canada from January 2010 through December 2011. This dissertation examines the importance of memory projects and of remembering in acts of public testimony and the significance of providing spaces for others to bear witness to those stories. This research also contributes to the body of knowledge about the role that remembering, consciousness, and praxis play in individual and community recovery, rebuilding community, and continued resistance.

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