<p>Narratives of undocumented students reveal that, commonly, a shared concern of such youth is a sense of powerlessness in the school environment; this lack of control predominantly stems from legal restrictions and anti-immigrant sentiment among peers and staff (Chang, 2017). However, there is a danger in treating undocumented youth as a monolith, as well as in failing to recognize their agency (Abrego & Negrón-Gonzales, 2020). Autoethnography, as a methodology, is by its very nature an act of agency which allows vulnerable populations to deeply explore their own sensitive identities (Philaretou & Allen, 2006). This thesis thus highlights my own voice as an undocumented student by combining the temporality, sociality and place of narrative inquiry (Clandinin & Connelly, 2000) with critical autoethnography’s attention to social inequities (Adams, 2017). Critical reflections on my educational experiences, as they compare and contrast with narratives in existing literature, imagine possible futures in which pre- and in-service teachers may more equitably support undocumented students in the classroom. Additionally, research on undocumented students predominantly focuses on immigrants of Latinx origin, who constitute almost eighty percent of the undocumented population (Migration Policy Institute, 2019); under a queer theoretical framework, my identity as a White immigrant of European origin uniquely problematizes naturalized attitudes towards the racialization of undocumented status. </p>

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The purpose of this autoethnographic study was to critically examine my personal experiences with culture and race to better understand myself, my perceptions of culture and race, and how my perceptions of educators' interactions with culturally and racially diverse students may have been impacted as a result. Autoethnography is the study of self in which researchers draw on their own experiences to understand a culture or phenomenon. The following research questions guided the study: 1) what does an examination of my lived experiences as an African American female educator reveal about me? and 2) what are the potential implications for my role as an administrator? Data sources consisted of journal entries, notes, and narratives based on my lived experiences. The data were analyzed by initial coding to uncover recurring themes in the narratives of: 1) negative perceptions of those offended by issues of race; 2) the need to promote cultural awareness; and 3) personal silence around issues of race. The themes were then examined through the lens of critical race theory with specific attention to the tenets of permanence of race, interest convergence, intersectionality, and storytelling. The insights provided here in response to the first research question were then considered in light of the framework of culturally responsive pedagogy and leadership, thus responding to the second question. The implications discussed provide insights for me personally as a teacher leader, for educators in general, and for future researchers.

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The author contends that narratives, shaped not only by events but also by socioeconomic and geographic factors, are narratives that require exploration and analysis because these narratives build the lives in which individuals exist. By understanding narratives passed down with which they have built their lives, individuals can come to greater understanding of the narratives in which they live. To understand the narratives, he created and continues to craft about his life, the author needed to understand his narrative inheritance. When a proposed thesis study imploded, the focus of the study shifted to exploring the circumstances of a single interview with the author’s father. By examining methodology as originally intended and subsequently executed, setting the narrative in the proper historical context, and exploring relevant literature on oral history and autoethnography, the author crafted an evocative autoethnographical account of a complex father-son relationship.

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This dissertation, submitted in article format, explores how the physical movement theories of Anne Bogart's Viewpoints may lead to a liberatory setting, one which echoes the theories of Paolo Freire, for college theatre students. It examines whether Viewpoints is effective in creating a studio classroom culture and whether the Viewpoints exercises can lead to a heightened clarity in individual performance, with a much more satisfying and involved learning experience for students of the theatrical arts. In addition, this dissertation applies the theory of Mead's symbolic interactionism to the discoveries that students make while using Viewpoints exercises. Research methods include autoethnography, analysis of case studies, and examination of interview data from three college directors and thirteen student actors who have trained and used Viewpoints in rehearsal.

Leaders in K-12 education in Hawai'i are increasingly advocating for and utilizing the culture and knowledge of the kānaka Maoli, the native people of these islands, as a context for learning in a variety of curricular disciplines and approaches (Benham & Heck, 1998; Kani'iaupuni, Ledward & Jensen, 2010; Kana'iaupuni & Malone, 2006; Kahakalau, 2004; Meyer, 2004). To expand upon this trend, this thesis uses a combination of autoethnographic and critical indigenous methodologies to present a personal narrative that looks specifically at approaching art education from a Maoli perspective. Through extensive participant/observer reflections, two place-based and culture-based art education experiences are juxtaposed with an experience working on a culturally-based collaborative mural project. Four significant kuamo'o, a concept which holds multiple meanings, including: "backbone, spine; road, trail path; custom, way," (Puku'i & Elbert, 1986), emerge as significant markers of meaningful Maoli-based art education: 1) mo'oku'auhau, genealogy and acknowledgement of those who have come before us, 2) mo'olelo, stories which belong to our place, 3) an idea that I am labeling pili ka mo'o, which literally means, the lizard is intertwined but can be translated through metaphor to mean someone who is intimate and deeply connected, and 4) aloha, a profound and honest love.

This autoethnographic account details the author's ongoing struggle with combat-related posttraumatic stress disorder (PTSD) and how leisure was integral to his journey toward recovery. By showing the mental and emotional struggles of life with the disorder, this paper offers an alternative viewpoint from the traditional scientific studies of PTSD which bury soldier's voices under layers of analysis. The purpose of this paper is to deepen and expand an understanding of both combat-related PTSD and the power of leisure in an individual's recovery from combat trauma

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