This conversation is an invitation to a research and artistic experience engaging in teaching and learning with sensitivity and consideration, and in the course of doing, revealing insights about the transformative processes of becoming-teacher in art education. Invoking the architecture of the contemporary triptych, this installation involves structural frames of arts research processes, practices and products, and iconographic frames of becoming-teacher as unfolding, unexpectedness and uncertainty. I explore how arts research opens possibilities through the act and art of sharing stories and visuals in a triptych which may be read sequentially, or out of order, as a relational experience, entering at any point across and/or within each panel. In doing arts research, I question: What insights are generated through the arts in a case study concerning the lived and learning experiences of women becoming-teachers? How does arts research inform research processes, practices and products? How do I theorize arts research as customary methodological ecotones? Based on this study, a number of key issues are illuminated concerning teacher education. The reconceptualization of teacher education in terms of health and well-being is critical. Emphasis on geographies of self and the evolution of situated knowledges as a means to negotiate becoming-teacher, along with notions of teacher as researcher and collaborative leadership in teacher education, provide a basis for active reform in teacher education. An emotional journey, complex and complicated, rich in artful expressions, this conversation moves between theoretical and methodological considerations and culminates in a series of realizations about becoming-teacher and arts research, honouring the knowledge creation of research partners, and my discoveries and realizations as an arts researcher, to make this expression of arts research an opportunity to share alternate perspectives within teaching culture.

The artist/teacher identity is often a contentious site in which the two roles are perceived of as in opposition to one another, rendering relationships between the two challenging to negotiate. This thesis explores ways in which identity transformations are navigated. Specifically, I have investigated what it feels like, looks like and means to practice as an artist and a teacher through my art making practice. Culminating in an art exhibition, my work takes the shape of an autoethnographic, arts based inquiry framed by the methodology and renderings of A/r/tography placed within a five phase creative process proposed by Barone and Eisner. This inquiry involved making art work that was provoked by acts of (re) membering and (re) making as I engaged with a lifetime of photographic images while looking for persistent patterns and themes that in turn would illuminate aspects of my fragmented identity.

This conversation is an invitation to a research and artistic experience engaging in teaching and learning with sensitivity and consideration, and in the course of doing, revealing insights about the transformative processes of becoming-teacher in art education. Invoking the architecture of the contemporary triptych, this installation involves structural frames of arts research processes, practices and products, and iconographic frames of becoming-teacher as unfolding, unexpectedness and uncertainty. I explore how arts research opens possibilities through the act and art of sharing stories and visuals in a triptych which may be read sequentially, or out of order, as a relational experience, entering at any point across and/or within each panel. In doing arts research, I question: What insights are generated through the arts in a case study concerning the lived and learning experiences of women becoming-teachers? How does arts research inform research processes, practices and products? How do I theorize arts research as customary methodological ecotones? Based on this study, a number of key issues are illuminated concerning teacher education. The reconceptualization of teacher education in terms of health and well-being is critical. Emphasis on geographies of self and the evolution of situated knowledges as a means to negotiate becoming-teacher, along with notions of teacher as researcher and collaborative leadership in teacher education, provide a basis for active reform in teacher education. An emotional journey, complex and complicated, rich in artful expressions, this conversation moves between theoretical and methodological considerations and culminates in a series of realizations about becoming-teacher and arts research, honouring the knowledge creation of research partners, and my discoveries and realizations as an arts researcher, to make this expression of arts research an opportunity to share alternate perspectives within teaching culture.

This conversation is an invitation to a research and artistic experience engaging in teaching and learning with sensitivity and consideration, and in the course of doing, revealing insights about the transformative processes of becoming-teacher in art education. Invoking the architecture of the contemporary triptych, this installation involves structural frames of arts research processes, practices and products, and iconographic frames of becoming-teacher as unfolding, unexpectedness and uncertainty. I explore how arts research opens possibilities through the act and art of sharing stories and visuals in a triptych which may be read sequentially, or out of order, as a relational experience, entering at any point across and/or within each panel. In doing arts research, I question: What insights are generated through the arts in a case study concerning the lived and learning experiences of women becoming-teachers? How does arts research inform research processes, practices and products? How do I theorize arts research as customary methodological ecotones? Based on this study, a number of key issues are illuminated concerning teacher education. The reconceptualization of teacher education in terms of health and well-being is critical. Emphasis on geographies of self and the evolution of situated knowledges as a means to negotiate becoming-teacher, along with notions of teacher as researcher and collaborative leadership in teacher education, provide a basis for active reform in teacher education. An emotional journey, complex and complicated, rich in artful expressions, this conversation moves between theoretical and methodological considerations and culminates in a series of realizations about becoming-teacher and arts research, honouring the knowledge creation of research partners, and my discoveries and realizations as an arts researcher, to make this expression of arts research an opportunity to share alternate perspectives within teaching culture. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

This research explored the views of home-educators and the young people in home-education around their reasons for opting out of school-based education, their level of satisfaction with their decision, what education looks like to them, aspirations for the future and perceived support from the Local Authority (LA). Phase one took the form of a parent/carer questionnaire. The questionnaire was shared nationally and yielded sixty complete responses. Data has been analysed and is displayed in frequency tables and descriptive statistics. Phase two implemented a case-study methodology. Recruitment for this part of the project was extremely difficult and possible reasons for this are explored. I visited five families, speaking to eight young people and either both or one parent. There were some structured arts-based activities which I used as a vehicle to open the dialogue with the young people. These sessions largely took place in the participants’ home, or in another venue of their choosing. With participants aged ten years and over, I adopted a narrative approach, with much guidance taken from Brown and Gilligan’s (1993) “The Listening Guide.” Phrases starting with “I” are taken from the participants’ transcripts and used to create a poem which represents their story, constructs and feelings. These poems were then taken back to the young people in order to check that they were satisfied with the meaning that had been captured. Braun and Clarke’s (2006) framework for analysing qualitative data was implemented as a tool for analysis across cases. Emergent themes included the value that home-educated families place on child-centred learning, allowing children to develop at their own rates and enabling them to pursue topics of interest. Implications for educational psychologists’ (EPs) practice are discussed.

This study used Arts-based research and Narrative Inquiry to explore the rural-urban transition experiences of three high-achieving millennial gay men. Using Clandinin’s (2013) narrative commonplaces of temporality, sociality, and place as frames for understanding each participant’s individual story, the study utilized The Listening Guide (Gilligan, 2015) to illuminate participants’ experiences related to identity development, sense of community, queer migration, and authentic leadership development. In addition to the individual narratives, story threads or themes present in one, two, or all three narrative portraits were analyzed and discussed. The data also included found poetry and original poems written in the style of George Ella Lyon’s (1999) I Am From poem. The study examined the authentic leadership development of the participants and advanced arts-based research through a discussion of the personal, practical, and social justifications of the methodology broadly, and this study in particular. The significance of this study is directly related to the social justifications of theoretical contributions and a social justice orientation. By engaging in the research, the participants told their stories in this way for the first time and gave voice to their past experiences and illuminated the implications of these experiences on their current roles as junior faculty members and administrators in higher education. The narrative portraits and poetry serve as counter-narratives to those of white, straight men which are most often privileged in the academy and beyond. This study demonstrates the usefulness and rigor of using narrative methods to gather and share stories about 1) transitioning between rural and urban places, 2) the experiences of a subset of the millennial cohort and life-course development, 3) and the development of authentic leadership. Each participant expressed a passion and purpose for more socially just classrooms, campus environments, and community spaces, and each participant incorporated this purpose in his teaching, research, and practice in his own way. As more millennial gay men assume leadership positions in universities, board rooms, and city halls, ABR creates the potential capacity for a new generation of public leaderships to usher in societal shifts reflecting a changing America.

The Delphi method was used to investigate the use of dance and movement in knowledge dissemination by systematically accessing and synthesizing the knowledge of researchers and dancers who have used this particular artistic method. The expert panel included three researchers (two also identifying as dancers) who had used dance as a tool to disseminate research findings in formal research. Two rounds of online Delphi questionnaires were used to generate data. The study’s findings included several categories of consensus reached amongst participants: (a) using dance for the purposes of knowledge dissemination is complex, time-consuming, and requires expertise, (b) dance is a useful and valid means for disseminating research findings both in qualitative and quantitative projects, (c) movement and dance are common to all humans, provide a common base or means for interaction, and provide a legitimate way of knowing, expressing knowledge and concepts either differently or sometimes better than language, (d) dance is not appropriate to use in all research projects and there is no singular procedure, (e) dance evokes emotional, visceral, and embodied responses that cannot be predicted, and (f) researchers ethical care and responsibility exceeds typical considerations and extends to others members such as the dancers and audience members. Differences of opinion arose about researchers’ ethical responsibilities associated with level of care for audience members when using dance as a knowledge dissemination strategy. The current study’s findings extend knowledge and understanding about the use of dance in research dissemination, and have implications for future research and research practice.

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As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.

Reflecting on my musical past, my annual participation in competition music festivals in solo and ensemble categories at the local and provincial levels shaped my music education as well as my development as a music educator. I inquire into how re/visiting moments of tension in my lived experiences as a participant in competition music festivals can facilitate my current praxis as artist, researcher and teacher. My inquiry is informed by understandings of a/r/tography as an arts-based educational research methodology. I inquire into these sites of music-making drawing on a theoretical framework of a soundscape, a concept originally proposed by Canadian composer R. Murray Schafer, to generate rhizomatic pathways with/in my research. Through this framework I consider how musical form informs the processes and structures of my thesis. Emphasizing a/r/tography as process-oriented inquiry, understandings emerge through music-making, arts-based journaling and autoethnographic renderings. Rhizomatic soundscapes evoke new understandings and questions contributing to literature on student perspectives participating in competition music festivals and teaching and learning in one-to-one music instruction.