Art/Re-search (T)here is a SSHRC-funded project that creates new transdisciplinary understandings of art, research and pedagogy. A review of the literature finds that researchers from a wide range of academic fields employ transformational arts-based methods with their participants, but that they are far less likely to weave art-making in all stages of the research process themselves. While researchers “outside” of the arts experiment with art-making in their un/familiar re-search (Absolon, 2011; Rowe, 2020) contexts, I re-perform how new networks and assemblages emerge. Art/Re-search (T)here includes 6 other re-searchers/co-conspirators from different academic fields who identify a need for, and absence of, arts-based research in their respective spaces, including English, Cultural Studies, Social Work, Indigenous Studies, Game Design, Unions, and Education. The individual and collective work that is created throughout this project performs (post)qualitative (Lather, 2007; St. Pierre, 2011) practices and feminist new materialist posthumanism (Barad, 2007) through the data/dada (Morawski & Palulis, 2009) that arises. In the first article, the individual art/re-search that my co-conspirators (Taylor, 2019) and I create provokes me to think about telling stories differently (King, 2005) through the (in)tensions of art, the limitations of language and the embodied (be)longing that occurs through the virtual-material-discursive (Springgay & Truman, 2017). I work through belonging with each of my co-conspirators in the process. In my second article, I work through the initial research questions with my co-conspirators through a collaborative mail art project. Research questions change and shift. I think about how this relational inquiry unfolds as a new materialist (Barad, 2007) methodological space of getting lost (Lather, 2007) with ethico-onto-epistem-ologies (Barad, 2007) of trans-formation in trans-it -- whereby some-thing lost is getting (t)here. In my third article, I re-perform and re-imagine the data bodies and events (Rousell, 2018) of Art/Re-search (T)here after the project ends through a dadaist (Kuenzli, 2015; Richter, 2010) art installation titled Transpedagogical data/dada assemblages. This leads me to put a call of action for more transdisciplinary transpedagogical (Helguera, 2011) art/re-search within higher education (Loveless, 2019) and beyond as it creates space for data/dada, diffraction and difference (Barad, 2007; Haraway, 1988; Lather, 2007) to emerge in world that, I contend, should embrace emergence.

Focusing on the everyday lives of middle-class English families in a medium size town situated in the Midlands, this doctoral thesis contributes to anthropological debates on the topics of human agency, time, domesticity, mothering, and kinship. Organized upon the idea that cultural models of time are inextricably linked to understandings of agency (Greenhouse 1996), the thesis links Moore s (2011) post-vitalist theoretical framework and the work of Foucault (1990, 2000) on ethical practices, with Gershon s (2011) critique of neoliberal agency . The concept of ordinary agency is proposed for situating everyday actions as significant actions that contribute to social transformation. Three cultural models of time are identified spontaneity, anticipation and family time and the types of ordinary agencies that they engage are described in three dedicated chapters. The first chapter discusses the theoretical framework of the thesis. The second chapter addresses methodological issues, and discusses the methods that the author developed during her ethnographic fieldwork for looking at people s relationships with time. The third chapter addresses the time mode of spontaneity, presenting ethnographic examples of digital media use at home, and introducing theoretical tools for situating the forms of agency engendered by spontaneity. The fourth chapter looks at the time mode of anticipation in relation to mothering, motherhood and care. This chapter is accompanied by a video component, titled Mum s Cup and situated in the appendix of the thesis. Based on material that the participants filmed in solitude, for a self-interviewing with video task, Mum s Cup is a visual point of departure for theorising the Mother-Multiple ontological position that is described in chapter IV. Alongside providing a visual ethnographic lever for endorsing a theoretical concept, the video project also reflects on the relationship between the researcher and the participants, a relationship that, for various reasons (some related to length limitations), is not fully described in the textual corpus of the thesis. Discussing two types of domestic sociality, the fifth chapter looks at family time and at the forms of agency engendered by the idea and by the experience of having a family-style lifestyle (Strathern 1992), and it draws on, and contributes to, bodies of literature on English kinship. The last chapter addresses the context of the research which is an interdisciplinary project looking at domestic energy consumption ; it situates the position of the author in relation to the domestic sustainability agenda and to debates on interdisciplinarity, and it formulates ideas about possible applications that the anthropological knowledge gained by the author through her research could have in relation to the context that originally framed and facilitated the research.

Visual arts-based tasks have been used and continue to be used by educators to help support the learning needs of many students. Research findings pertaining to visual arts-based education have concluded that visual arts-based tasks can help to improve students’ social communication skills, support their learning in academic subject areas, and increase their learning engagement. In recognition of the potential benefits of integrating the arts into the curriculum, the Learning Through the Arts (LTTA) program provides students with opportunities to engage in arts-based activities. In 2003, the results of a national longitudinal study on the LTTA program revealed a strong relationship between students’ involvement in the arts and their learning and engagement. The investigators recommended that further research in this area was required; through my research, I sought to contribute to this area of study. It is within the setting of a visual arts-based LTTA program that this study was conducted. Data were collected to construct two multiple-perspective case studies—each involving a Grade 7 student with learning disabilities. Each multiple-perspective case study involved the student’s mother, classroom teacher, and LTTA artist-educator in order to explore the following research question: In what way did visual arts-based tasks incite the student’s learning attitude, engagement level, and feelings of academic self-efficacy within the subject area(s) being explored? Overall, the findings suggested that visual arts-based tasks incited positively each student’s learning attitude, engagement level, and feelings of academic self-efficacy within the respective subject area that the students identified as being one of their least favourite. Most notably, their engagement in the visual arts-based tasks activated each student’s meaningful processing skills and fostered their emotional engagement in the task and their learning. Limitations of this study and future research directions were considered. / Thesis (Master, Education) -- Queen's University, 2013-10-22 18:15:56.859

This arts-based research study is an examination of the influence of drama education on the development of high school students. Five recent graduates were interviewed (including the researcher) about their high school drama experiences. All participants had been selected for this study because they have been impacted as a result of their time in/with drama. Culminating in a script, the research takes the form of an arts-based playwriting inquiry, shaped by A/r/tography and rhizomatic influences, making use of Barone and Eisner’s five phase creative process. Adhering to an Aristotelean story arc outlined by Martini, metaphor in the four-scene play is used to explore and subsequently communicate concepts. In so doing, the researcher offers an expanded audience a renewed perspective on the impact that drama education has on the development of high school learners and invites viewers to consider drama’s impact on adolescent learners. Four main concepts were examined in the analysis: initiation, transition, habits of mind and, interdependency and it was found that these are central to all participants’ development. It was also found that learning contained within these four concepts, as experienced through drama education, has the potential to impact and equip students for life beyond high school. The process based, holistic learning central to drama education allowed participants to recognize and succinctly denote areas in their lives that were, and continue to be impacted by the dramatic experiences they took part in. / May 2017

Increased metacognition, social-emotional growth, and career viability are all researched benefits of including the arts as part of core content instruction, with even greater impact for struggling students, English Language Learners, and students with special needs. Some turnaround schools that are federally funded School Improvement Grant (SIG) schools are beginning to implement an arts-rich method of school reform by teaching core content both through and in the arts. This approach is most often presented as a choice in the high-stakes testing environment of turnaround schools. Since teachers have the most direct impact on students, yet a relatively low amount of authorship in the way school reform is approached, their voice and experience is highlighted in this phenomenological study. The participants are from three public turnaround schools in the South. The researcher used traditional research methods layered with an arts-based research approach mirroring the techniques used in an arts-rich classroom. The researcher found that participants experienced their work as a vocational calling, used methods of engaged pedagogy, and experienced a number of roadblocks to their work. They swiftly moved through these roadblocks to create pathways leveraging the arts to change their curriculum and classroom contexts, applied the arts as an access point for content areas, and then experienced the use of an art-rich classroom as a contagious practice. Potential implications for this study include a scalable model for turnaround schools, investment in engaged pedagogical practice for turnaround schools, and increased agility for teachers to become curriculum bricoleurs.

Through the creation of a graphic novel based on a Romanian Holocaust survivor’s testimony, this study attempts to clarify the role of artistic creation in meaning-making during Holocaust and genocide education. In facilitating empathy and moral education, the creative process encourages a deeper exploration of these troubling topics than is possible within the confines of a traditional academic approach. In order to understand this process, I worked with the testimony of Zoly Zamir, who escaped Bucharest following the Iron Guard Rebellion of 1941. The creation of the graphic novel took me from Austin to Houston and Romania, where I sought to trace the echoes of history in architecture and environment. Translating Zamir’s story into word and image produced an empathetic bond to the narrative and the region, facilitating a deeper understanding of the hows and whys of the Holocaust. That engagement spurred a desire to continue to ask questions, to look beyond a regimented understanding and view the broader implications of the history. / text

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The nurturance of creative capacity and cultural awareness have been identified as important 21st century concerns, given the ways that globalisation has challenged cultural diversity. This thesis explores the share that the art classroom, as a formative place, has in supporting such concerns. It specifically examines artmaking strategies that visual arts teachers may use to help adolescent students to develop and negotiate their senses of self, place and community. Held within this goal is the assumption that both student and teacher perspectives are important to this endeavor. This thesis, accordingly, draws upon empirical work undertaken with lower secondary school level visual art students in Christchurch, New Zealand and teacher-trainees in Kingston, Jamaica to explore this potential in multi-dimensional ways. The research employs a qualitative, arts-based methodology, centred on the transformative capacity of ‘visual knowing’ to render this potential visible. A/r/tography as a particular strand of arts-based methodology, served to also implicate my artist-researcher-teacher roles in the study to facilitate both reflection and reflexivity and to capture the complexity and dynamics of the study. Multiple case studies provided the contexts to furnish these possibilities, and to theorize the intrinsic qualities of each case, as well as the complementary aspects of the inquiry in depth. The conceptual framework that underpins this study draws widely on scholarship relating to contemporary artmaking practices, visual culture, culturally responsive and place-conscious pedagogical practices. The research findings reveal that when the artmaking experience is framed around the personal and cultural experiences of the participants, both students and teachers participate in the enterprise meaningfully as co-constructors of knowledge. In this process, students develop the confidence to bring their unique feelings, experiences and understandings to the artmaking process, and develop a sense of ‘insideness’ that leads to strong senses of self, place and community. This also creates a space where the authentic interpretation of artmaking activities goes beyond the creation of borders around cultural differences, and instead generates multiple entry points for students to engage with information. The findings also indicate that while the nature of artmaking is improvisatory and emergent, structure is an integral element in the facilitation of habits toward perception and meaning making. Accordingly, emphases on structured, open-ended artmaking experiences, framed aesthetically, as well as exposure to both the products and processes of contemporary art serve this endeavor. Artmaking boundaries and enabling structures also help to supplement this process. Though this research is limited in scope (in terms of the community engagement), there exists evidence that collaboration with community resource persons enlarges students’ conceptions of artmaking. It presents the potential to address broad issues of local and global import, which also have relevance for the ways students understand their relationships with the world. For researchers outside of the school and community culture however, this process requires close working relations with school personnel to ensure its effectiveness and to facilitate those school-community bridges. The undertaking is also best realized when participants have their own senses of its value, and, as such, are more inclined to participate. A/r/tography, as an arts-based methodology presents much potential for examining the complexities of the artmaking experience. As a form of active inquiry it helps those who employ its features to be more attuned toward enquiry, their ways of being in the world, the ways the personal may be negotiated in a community of belonging, and the development of practices that address difference. This contributes to evolving and alternative research possibilities that value visual forms of ‘knowing’. Finally, this thesis addresses the paucity of research on visual arts education at the secondary level, especially in the Jamaican context. A significant feature of this research is the evidence of its effectiveness with both lower secondary school students and teachers across geographical contexts. It therefore presents the potential for similar studies to be undertaken internationally. Given that the results are site specific however, it is recommended that the adaptation of the framework of this study for future purposes also respond to the specific realities of those contexts.

For this study, the researcher sought to implement a visual arts-based Afrivisual to help inspire, motivate and empower African American students in gaining a culturally relevant education in Euro-American-centered schools. Using the Afrivisual in this work as an action-oriented tool the researcher sought to expose African American students to an African historical context. This research project utilized three African-centered theoretical frameworks: (1) Afrocentricity, (2) Africana Philosophy, and (3) Africana Critical Theory. The problem this work addresses is found in four areas, (1) American history is Eurocentric, (2) African history has been distorted, (3) Africa’s contribution to world civilization has been ignored, and (4) African American students have suffered from identity issues. The primary purpose of the study was to show how African American students may react to culturally relevant exposure to African history and to investigate if exposure to African history is culturally relevant for them. The researcher also hoped to present an effective strategy for Black students from an African-centered point of view. The central questions of this study were, “How do native-born African American community college students respond to a culturally relevant visual tool? What experiences have they had with history? How has their exposure to history affected them?” Both quantitative and qualitative phases of this study were based on data and interviews with African American community college students. Descriptive statistics, including frequency percentages shown in tables were used to present the questionnaire data. Qualitative coding techniques were used to present the focus group data. The qualitative phase of the study highlighted the introduction of the Afrivisual, a visual arts-based and culturally relevant educational tool. There were similarities between the survey sample and the interview sample. The quantitative and qualitative data combined to show the strong desire African American students have to study African history, African civilizations, and to learn about their African ancestors. The triangulation of the data revealed that African American students who were found to be proud to be Black, vowed to be vigilant in future history classes about what they’re being taught, and to present questions about African history. The students also expressed a tremendous need to share what they’ve learned about African history with other African Americans. The significance of this study is that the Afrivisual can be a potentially effective teaching strategy. Also additional researchers may be able to build upon the findings of this inquiry by using another media form of the Afrivisual. Lastly, it exposed weaknesses in the self-hatred thesis as it applies to African American adults, and called for the groundbreaking theoretical framework to be revisited.

The focus of this qualitative, arts-based inquiry was to understand how disabling illness might be transformed through art. A/r/tography -- art/research/teaching and writing, was the method used to explore and understand the meaning(s) held within the art: Border Crossings -- a conceptual, figurative, sculptural installation. The installation embodied the experience of disabling illness, symbolically depicting power relationships, identities, subjectivities and the multi-dimensional nature of being, of one coming up against the institution, the illness and the self. Guided by the work of Heidegger (Hermeneutic Circle), Deleuze and Guatarri (Rhizome and The body without Organs) and Foucault (Power Relationships), the A/r/tographer examined the installation through the lens of the poststructural feminist writers Grosz, Davis, Gatens, Weedon, Moss and Dyck with a focus on the body/subjective to explore notions central to understanding being in a body. A further analysis through art theorists Eisner, Allen and A/r/tographers Irwin and Springgay’s aesthetic perspectives, explicated the nuance of how art transformed the ill researcher and larger community. The results of the inquiry revealed a multi-dimensional, generative process of opening multiple thresholds of complexity, understanding and transformation of the experience of disabling illness for inquirer, and the art participant/observers/larger community. The research illuminates the value of A/r/tography as a potent means of inquiry into lived experience and how art enhances the understandings and possibilities for the transformation of the experience of disabling illness/lived experience. / Graduate