Narratives of successful navigation are the personal stories of 13 Latin@ undergraduate students who navigated the public school system and completed high school in the United States. Their words recount their individual journeys resulting in their enrollment at a 4-year research university in the Pacific Northwest as opposed to a 2-year community college. More than half of the study respondents begun their postsecondary studies at a community college. The navigation of these particular individuals were experienced differently than those respondents whose trajectory led them straight into the university. Three categories corresponding to the study’s three research questions were analyzed. First, common challenges produced two themes, low social economics status (SES) and ethnic identity. Second, the category on persistence characteristics formulated only one construct, academic self-efficacy. Third, three interlocking themes of supportive factors fostering academic success were identified, the support of parents/ family members/peers, non-familial agents in the form of teachers, and lastly college readiness including AP or honors coursework. The thematic analysis of the respondents’ stories was influenced by the literature that documents challenges historically impeding Latin@ academic achievement and by the research on both persistence and supportive factors. The analyses of the individual navigational experience of the study participants found similarities within their experiences, but it also revealed the complexity of their own singular stories. The study centered more on the aspirations of Latin@ students rather than the damaging effects of their schooling experiences. While some of the respondents’ stories contain examples of challenges, the premise was in representing examples of successful navigation of the Chican@/Latin@ education pipeline (Solórzano, 1998).

Like many American Indian tribes, the Coquille Indian Tribe of Oregon has endured long struggles to preserve its cultural traditions despite the impacts of colonization. Now, advancing climate change poses additional threats to indigenous ways of life. In recent decades, the Coquille have archived historical documents and photographs as a means to protect and assert their tribal sovereignty. There has also been a surge in photography within the Tribe to document contemporary tribal activities. Community photography may be a useful tool for the purpose of asserting tribal culture and self-determination in the face of a changing climate. Photovoice, a type of community photography in which photographs are combined with oral descriptions, may be particularly well suited for tribal purposes. This collaboration explores the value of community photography in general, and photovoice in particular, when used by the Coquille Indian Tribe in the context of climate change.

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Museums as colonial institutions and agents in nation building have constructed, circulated and reinforced colonialist, patriarchal, heteronormative and cisnormative national narratives. Yet, these institutions can be subverted, resisted and transformed into sites of critical public pedagogy especially when they invite Indigenous artists and curators to intervene critically. They are thus becoming important spaces for Indigenous counter-narratives, self-representation and resistance—and for settler education. My study inquired into Cree artist Kent Monkman’s commissioned touring exhibition Shame and Prejudice: A Story of Resilience which offers a critical response to Canada’s celebration of its sesquicentennial. Narrated by Monkman’s alter ego, Miss Chief Eagle Testickle, the exhibition tells the story of the past 150 years from an Indigenous perspective. Seeking to work on unsettling my “settler within” (Regan, 2010, p. 13) and contribute to understandings of the education needed for transforming Indigenous-settler relations, I visited and studied the exhibition at the Glenbow Museum in Calgary, Alberta and the Confederation Centre Art Gallery in Charlottetown, Prince Edward Island. My study brings together exhibition analysis, to examine how the exhibition’s elements work together to produce meaning and experience, with autoethnography as a means to distance myself from the stance of expert analyst and allow for settler reflexivity and vulnerability. I developed a three-lens framework (narrative, representational and relational/embodied) for exhibition analysis which itself became unsettled. What I experienced is an exhibition that has at its core a holism that brings together head, heart, body and spirit pulled together by the thread of the exhibition’s powerful storytelling. I therefore contend that Monkman and Miss Chief create a decolonizing, truth-telling space which not only invites a questioning of hegemonic narratives but also operates as a potentially unsettling site of experiential learning. As my self-discovery approach illustrates, exhibitions such as Monkman’s can profoundly disrupt the Euro-Western epistemological space of the museum with more holistic, relational, storied public pedagogies. For me, this led to deeply unsettling experiences and new ways of knowing and learning. As for if, to what extent, or how the exhibition will unsettle other visitors, I can only speak of its pedagogical possibilities. My own learning as a settler and adult educator suggests that when museums invite Indigenous intervention, they create important possibilities for unsettling settler histories, identities, relationships, epistemologies and pedagogies. This can inform public pedagogy and adult education discourses in ways that encourage interrogating, unsettling and reorienting Eurocentric theories, methodologies and practices, even those we characterize as critical and transformative. Using the lens of my own unsettling, and engaging in a close reading of Monkman’s exhibition, I expand my understandings of pedagogy and thus my capacities to contribute to understandings of public pedagogical mechanisms, specifically in relation to unsettling exhibition pedagogies and as part of a growing conversation between critical adult education and museum studies. / Graduate