<p> This dissertation explores narratives that emerge from a community-museum collaboration while working with refugees in relation to Trinh T. Minh-ha&rsquo;s (2011) concept of the boundary event. Within this study the boundary event is explored as moments of overlap where identity, experiences, knowledge, and processes are continuously being negotiated; by embracing or leaning into these moments, community-museum programs can develop multivocal narratives&mdash;where no single voice is heard as distinctly clear or separate. These co-created museum narratives stand in contrast to educational and engagement strategies that aim to instill knowledge and elevate community with the museum as the expert. In this dissertation 16 participant voices&ndash; of 15 refugees and one museum educator&ndash; mingle, coalesce, and complicate museum narratives. These narratives are participant-created (data presentation) as well as researcher-constructed (analysis and interpretation). Using the methodological lens of narrative inquiry and decolonization I investigated data collected from over a two-year period (summer 2013-summer 2015) including: content and wall labels collected from two exhibitions, one marks the beginning of the study in 2013 and the second in 2015 concludes the study; gallery activities collected over the course of the two-year study; and educator field notes from the 28 individual sessions. Ultimately, I argue that multivocal narratives, and embracing moments defined as the boundary event, complicate traditional hierarchy and expected stories of refugees and new migrants illustrating how difference can positively disrupt linear, static, and authoritative institutional narratives.</p><p>

This qualitative case study focuses on the development of an interdisciplinary program in a Massachusetts urban elementary school over a fourteen month period as it moved from a teacher-directed approach to a student-directed one. An underlying assumption in this study is that integration of the arts supports learning. The interdisciplinary approach employs collaboration of teachers from different disciplines. The researcher in this study is also the art specialist. This study is a teacher's story viewed through a researcher's lens. One question which intrigued this researcher is: Who should choose the interdisciplinary connections, topics, and related arts projects--teachers or students? The naturalistic methodology of qualitative research utilized in this study included data collected through a researcher's journal, participant observer field notes, formal and informal interviews, researcher-made survey questionnaires, videotapes, and student projects. The study examined three focuses: different approach styles, effect of collaborating teachers' role on the learning environment, and factors affecting students' choices when deciding topics and interdisciplinary connections for projects. One conclusion drawn from data revealed that the development of the program was unique to each collaborating team. Although seven approach styles unfolded, the same style used with some teams developed differently. Factors included prior experiences, comfort level, constant reflection and feedback. Concerns inhibiting development included time to plan and scheduling limitations. The effect of the collaborating teachers' role on the learning environment disclosed both interpersonal and intrapersonal characteristics. Collaborating teachers experienced leader, assistant, co-leader, and facilitator roles. Teachers were flexible and adaptable in each role although, at times, the roles felt uncomfortable. The program's development influenced personal teaching strategies and styles, and fostered companionship among members. One concern to emerge was the learning environment itself. It appeared that the location (classroom or art room) effected the choices and effort students put into their projects. Another conclusion drawn from this study is that students should have a voice in the process of learning. Grade four students favored choices in the decision making process and experiences which involved movement or manipulation of materials. These conclusions support elements of brain-based learning and learning through the arts.

The communications media have directed attention to the fact that the United States have a people with time on their hands and have stated that as a people the nation is recognized for work and workmanship, but that individuals do not know how to use wisely leisure time which the shorter workweek, makes possible through science and technology. Obviously the prevailing leisure problem appears to be one of education, and art education, a part of education, appears to be an area in school where to a degree students can make discoveries and further develop art experiences into self-chosen, enjoyable and meaningful leisure time activities. Educators have studied this problem only in very limited areas of the school curriculum but not in the field of art. By using the learners themselves at the eighth grade level in classroom units this study was done in the Spring of 1960, and brought up-to-date in August, 1971. A random sample was drawn, using the Fisher-Yates Table, aiming at from 20-25% of classroom unites from self-contained, platoon, and junior high school eighth grade classes in the St. Paul Public Schools. Data was gathered in two schedules. In the first schedule was an essay “My Favorite Pastime” based on an outline and an “Activities Time Table” in half hour intervals for a staggered day of the week only. Individuals recorded activities for only one day but randomness produced activities for each of the seven days of the week. In the second schedule were three questionnaires: “A Pupil’s Questionnaire,” a “Teacher’s Questionnaire,” and a paired rand order “Pupil Preference Questionnaire.” On both schedules 100% return was realized. The null hypothesis, there is no relationship between the art curriculum and leisure time activities at the eighth grade level, was used. Using the chi-square technique at the .001 level of significance, the null hypothesis was rejected. Teacher’s offerings and pupil preferences and teach responses were made for correlations, Person Product Moment Correlation Coefficient (r), later transferring the obtained r to z, and then transferring the two z’s back to r by using a table. The probability is .99 that the interval tested contains the true r, again rejecting the null hypothesis. Sex differences by rank was also established. Based on the findings in the random sample, significant positive comparisons resulted with significant implications. Teachers need to survey students’ leisure time interests within each classroom unit and develop curriculums in terms of individual interests. It became apparent that curricular offerings are geared more to girls than to boys. In developing an art curriculum teachers and curriculum committees can consider the inclusion of activities that appeal to boys’ interests. Broader curriculum and co-curricular offerings need to be planned to meet the needs of the wide and diverse range of interest patterns. Greater consideration should be given by curriculum maters to what students enjoy and do in leisure time. Classroom learning ought to be oriented to the development of leisure time activities for life-long enjoyment, individual fulfillment, and participation. Similar and further leisure time studies should be conducted in order to arrive at a theory of leisure for art education.

This qualitative case study investigated elementary teachers' concepts of art, their anxieties associated with art practices, and a principal's decision making concerning art in the curriculum. Two in-depth interviews were conducted with 12 participants to determine their knowledge base, family and educational backgrounds, conceptions of art, and the relationship with the art teacher. Observations of classroom art activities were carried out over a period of six months and recorded in a field log. Visual images in the school building were analyzed for content. Data were analyzed through open and pattern coding. Through axial coding, clusters of data were organized by commonalities and patterns arranged around the axis category of teachers' conception of art. Through the metaphor of "The Medium of Water" representing teachers' understanding of art, six themes were developed explaining the results of this study: (1) Skimming the Surface of the Water---describes classroom teachers' inadequate backgrounds. A lack of exposure, education, and familiarity connected to art knowledge was linked to how art was superficially conceptualized and valued. (2) Wading in the Shallows---describes classroom teachers' shallow conceptions of art. (3) A Choice Not to Dive---describes manifestations of classroom teachers' conceptions of art and implementation of art. Images displayed within classrooms and corridors were found to be predominately commercially adult-generated and/or student-generated from the art curriculum. (4) Fear of the Water---describes anxieties associated with the teaching and making of art. Anxious participants did not consider themselves artistic and used less art in their classrooms. (5) Unable to Take the Plunge---describes a knowledgeable principal's indecision. While being knowledgeable and sympathetic to art, she was unable to make a case for an art-inclusive program, and (6) Drowning in Responsibilities---describes an overwhelmed art teacher. Her isolation contributed to an inability to collaborate with other teachers and responsibility to integrate fell mostly to her. Her teaching objectives and values did not match with classroom teachers'. All participants' concerns were coping with curricular pressures, high-stakes testing, and lack of time in the schedule. Because of these issues, art was not a priority in this school's curriculum.

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