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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.

The purpose of this auto-ethnographic and art-based study is to examine how the experiences throughout my life have influenced my practice as an artist. It is within the context of a socially constructed past and present place that I will explore my own process in terms of collaboration and the implications for an artist-teacher, or teaching artist. I reflect upon how my values and philosophy as an art educator have been formed from the synthesis of my experiences. My relationships with a gallery, its clients, and a fellow artist provide the context for reflecting about my process and gaining insights into my potential role as a model and influence on my future students.

The challenges of teaching include classroom management issues, lack of time, stress, and the constraints of core standards. In response to these challenges, I determined to change my attitude about being a teacher, become more reflective about my teaching practice and curriculum, and try to connect my artistic self to my teaching self. This thesis is an autoethnographic research of my own teaching practice designed to counter the challenges I was facing as a teacher. I wanted to become less reactive and more reflective about the challenges and rewards of being an artist teacher. This thesis is a reflection on my journey to find my own path toward professional growth and satisfaction through a careful study of my experiences teaching in a junior high school art room. In the end, this self-study has helped me become more flexible, understanding, and forgiving of myself as an artist and a teacher. I learned to allow myself to be flexible enough to let the research lead me in unforeseen directions and not fall into the trap of best practices. My attempt to apply some of my own artistic practices, such as in the use of materials, artists, and time constraints, to student projects was successful. I began by attempting to turn my teaching into my art practice; what I ended up doing was becoming a more reflective teacher.

This paper explores possible applications of the experiential knowledge of motherhood in the field of art education through self-portraiture, a methodology which blends a/r/tography with elements of portraiture. A review of relevant literature situates the study within the scope of mothering pedagogy and arts-based research. Employing artistic practice and anecdotal journaling as the primary methods of inquiry, the researcher examines her experiences as a mother in a preservice art education program and the intersections of her roles as mother/artist/teacher. The researcher identifies resonant metaphors, including labor, separation, the umbilical cord, circles, the ovum, and pretending; offers parallels between mothering and art education in play, scaffolding, relationality, matrescence, changing plans, and paradigms; presents challenges such as time constraints, breastfeeding/pumping breast milk, and sleep deprivation; and provides an artist statement. The study attempts to address issues of misrepresentation and underrepresentation of mothers in art education by promoting understanding through empathetic participation.

Around water coolers, faculty rooms, and classroom corners, art teachers discuss their concerns about maintaining a balance between making, teaching, and studying art. Research indicates there are advantages and disadvantages to commingling these activities, and about how these activities inform each other. The purpose of this study is to not only research what has been written, but also discover through interviews, using a narrative inquiry/case study approach, what living, breathing artist teachers are doing to that allows them to take advantage of the symbiotic nature of making, teaching, and studying art.

Submitted by Leda Lopes (ledacplopes@hotmail.com) on 2017-08-09T12:34:42Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Lislaine_Sirsi_Cansi_Dissertacao_Artes_Poeticanadocencia.pdf: 10463365 bytes, checksum: b206f555140c767134877cd48dbd2921 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-08-09T18:58:06Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Lislaine_Sirsi_Cansi_Dissertacao_Artes_Poeticanadocencia.pdf: 10463365 bytes, checksum: b206f555140c767134877cd48dbd2921 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2017-08-09T18:58:51Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Lislaine_Sirsi_Cansi_Dissertacao_Artes_Poeticanadocencia.pdf: 10463365 bytes, checksum: b206f555140c767134877cd48dbd2921 (MD5) / Made available in DSpace on 2017-08-09T18:59:03Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Lislaine_Sirsi_Cansi_Dissertacao_Artes_Poeticanadocencia.pdf: 10463365 bytes, checksum: b206f555140c767134877cd48dbd2921 (MD5) Previous issue date: 2017-03-31 / A presente pesquisa é resultado do reconhecimento e da posterior reflexão sobre experiências vivenciadas em dois territórios pertencentes ao Campo da Arte, o individual e privado, habitado pelo artista, e o coletivo e socializado, habitado pelo professor. Mais que de cada um é da aproximação de dois sujeitos, que constituem e se emergem nessas duas experiências territoriais, isto é, do processo de “reterritorialização”, quando pode emergir o artista-professor, sujeito composto que se instaura, em seu fazer e em seu pensar, para a presença cotidiana do que aqui se nomeia como poética na docência (e não a poética da docência, que encaminharia a discussão para outra abordagem). Para dar lugar a tal emersão, cumpri a difícil volta ao trabalho imersivo no ateliê, objetivando reaver a artista que sou, o reencontro com minha poética, e na compreensão de certo "pensamento poético particular", pressuposto pelo Campo da Arte. Sendo feito o percurso poético necessariamente de pesquisa, esse percurso carreado por certo contexto teórico, foram selecionadas duas categorias relevantes, o "corpo" e o "território", com as quais abordei a prática pedagógica envolvendo a Arte. Questões mais amplas, decorrentes da insistência pressuposta a esse processo de pesquisa, sobre o império do capital, sobre a exploração comercial do corpo, sobre a linguagem da fotografia (sua poética e seu uso nas redes sociais), bem como a possibilidade de considerar o território como um “espaço de apropriação”, o caminhar como uma forma de fazer arte, aliados, a categorias como território, deslocamento, memória e experiência, são discutidas sempre em torno daquelas duas categorias eleitas desde meu fazer poético visual ("corpo" e "território"). No que concerne especificamente ao Ensino da Arte, propostas de microintervenção, voltadas ao espaço escolar, em forma de oficinas, serviram de planejamento para confirmar algumas convicções. O método da cartografia e da A/R/Tografia foram incorporadas como procedimentos metodológicos. Esta pesquisa é apresentada em texto ensaístico, valorizando a reflexão em primeira pessoa; e segue um pensamento reflexivo, rizomático, construído a partir de teorizações de autores dos Campos da Arte, da Educação, da Literatura, da Filosofia e da Sociologia. Autores de diferentes épocas, de diferentes nacionalidades, e mesmo de diferentes status teórico. São interpolados na medida em que apoiam o pensamento reflexivo que, aqui, em linguagem, se faz. São eles: Katia Canton, Philippe Dubois, Luciano Vinhosa, Paula Sibilia, Henry Rousso, Denise Sant’anna, Michel Foucault, Pierre Nora, Roland Barthes, Guy Debord, Gilles Deleuze, Félix Guattari, Suely Rolnik, Virgínia Kastrup, Jorge Larrosa, Henri Bergson, Zygmunt Bauman, Belidson Dias e Rita Irwin. / This research is the result of the recognition and subsequent reflection on experiences lived in two territories belonging to the field of art, individual and private, inhabited by the artist, and the collective and socialized, inhabited by the teacher. More than each is the approach of two subjects, which are and emerge in these two territorial experiences, that is, the process of "repossession" when can emerge the artist-teacher, subject compound that is established in its making and in their thinking, to everyday presence here is named as poetic in teaching (and not the poetics of teaching, which forwards the discussion to another approach). To make way for such emersion, performed the difficult return to work in the studio immersive, aiming repossess the artist that I am, the reunion with my poetic, and understanding of certain "particular poetic thought," presupposed by the art field. Being made the poetic route necessarily research, this route fraught certainly theoretical context, we selected two relevant categories, the "body" and "territory", with whom I discussed the pedagogical practice involving the art. Wider issues arising from the presupposed insistence at this process of research on the empire of the capital, on the commercial exploitation of the body, on the language of photography (his poetics and its use in social networks) as well as the possibility of considering the territory as an appropriation of space, walking as a way of making art, allies, categories such as territory, displacement, memory and experience, are always discussed around those two categories elected since my visual poetry do ("body" and "territory"). With specific regard to the Art Education, micro intervention proposals, aimed at school space, in workshops form, worked as planning to confirm some convictions. The method of mapping and A/R/Thrography were incorporated as methodological procedures. This research is presented in essayistic text, enhancing the reflection in the first person; and follows a reflective thought, rhizome, built from theorizing authors of Art, Education, Literature, Philosophy and Sociology fields. Authors from different times, from different nationalities, and even different theoretical status. Are interpolated as supporting the reflective thinking here in language as made. They are: Katia Canton, Philippe Dubois, Luciano Vinhosa, Paula Sibilia, Henry Rousso, Denise Sant’anna, Michel Foucault, Pierre Nora, Roland Barthes, Guy Debord, Gilles Deleuze, Félix Guattari, Suely Rolnik, Virgínia Kastrup, Jorge Larrosa, Henri Bergson, Zygmunt Bauman, Belidson Dias and Rita Irwin.

Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

Many artist-teachers struggle to nurture and pursue their ambitions in their dual roles. The purpose of this research is to explore the nature of the professional practices of artist-teachers. While there is a substantial amount of research that provides models of artist-teachers, who teach at the post secondary levels, there are not many models for artist-teachers who teach primary and secondary age groups. Four artist-teachers, whose practices are currently contributing to the art world, as well as the educational world, were interviewed for a multiple case study. The roles represented in the study include painters, sculptors, a ceramist, a musician, a performance artist, art teachers, a music teacher, and a performance-art educator. This multiple case study provides four models of artist-teachers whose professional practices contribute to their identity and fulfillment in their dual roles. The study reveals the artist-teacher’s practice as an artist, practice as a teacher and relationship between the dual roles.

abstract: ABSTRACT Stress and burnout in the educational field primarily in teaching is not a new phenomenon. A great deal of research and analysis to the contributing factors of causation to teacher burnout has been executed and analyzed. The struggle of the artist/teacher, hybrid professionals that maintain two concurrent roles, offers a perspective to burn out that has gone unnoticed. The conflict of roles for the artist/teacher does not infer that the teacher role is incapable of reconciling with the artist role but because of this unique scenario the stories of art teachers and burnout often go unheard. Today's public educator is contending with established stress factors as well as emerging and evolving stress factors. How does this phenomenon impact the artist/teacher's ability or inability to be creative? What are the implications of burnout and its impact on artist/teachers personal and professional work? This qualitative study was conducted using Narrative/Autoethnograpy, Narrative/Ethnography and A/r/tography. The stories of four artist/teachers provides in-depth accounts of their experiences as teachers and how that profession has affected their art making process and well being. / Dissertation/Thesis / Ph.D. Curriculum and Instruction 2012