2022 Publications

List of publications related to a/r/tography from the year 2021: Journal articles, book chapters, dissertations, and theses:

Please note that these works mention or use a/r/tography and not all of them focus on a/r/tography explicitly.  

LU: 22/APR/2024

Alonso-Sanz, A., & Ramon, R. (2022). Valores femeninos: Experiencias del cuerpo desde el artivismo en magisterio. Artseduca, (32), 161–176. https://www.e-revistes.uji.es/index.php/artseduca/article/view/6205/7000

“This article presents an artivist experience in which 180 teaching students participate. From a feminist perspective, a university more humanized, naturalized, egalitarian, respectful of diversity and inclusive is claimed. For this purpose, anthropomorphic clay pots are modeled as a way of facing the experi-ences of our body. Micro stories are written to accompany these objects. And they are given to faculty and other university staff as a transfer of their learning. The methodology used is Arts Based Research from the perspective of A/R/tography. The analysis of reflections during the creative process of ceram-ics collects problems that especially affect the woman’s body: body asymmetry, censorship of nipples in social networks, aesthetics imposed by the mass media, scars, skin pigmentation, body hair, child hypersexualization, transsexuality and deterioration of the body. The analysis of the stories offers three thematic categories: testimonials of appreciation; recognition of teachers who exercised in a singular way a sensitive teaching; vindication of  safer  spaces, more inclusive architectures and environments that favor diversity. It is concluded that these types of actions are effective in promoting positive active attitudes for social and structural change against sexism.”
Keywords: Artistic education, education for human rights, equal opportunities, feminism, social justic

Brunker, N., & Gibson, R. (2022). Self-care in the time of crisis: An a/r/tographic conversation to explore self-care as academics that took an unexpected turn. In N. Lemon (Ed.), Creative Expression and Wellbeing in Higher Education. Routledge.

Cook, P. (2022). Generalist elementary male teachers advocating for dance and male Dancers. In D. Risner & B. Watson, Masculinity, intersectionality and identity: Why boys (don’t) dance (pp. 53–74). Palgrave. https://doi.org/10.1007/978-3-030-90000-7_3

“This chapter presents an innovative approach to developing advocates for dance and young male dancers in teacher education programs. The approach exposes preservice generalist elementary teachers to dance from a creative perspective by focusing on choreographic practice. This features students’ choreographed video dance projects and related appreciation tasks. Drawing on a pilot study with six males, either teacher education students or graduates, the chapter assesses the impact of their engagement. Significantly, the research showcases the potential of this creative approach for generalist male elementary teachers, highlighting how it enhances their capacity to become advocates for dance and contribute to young male dancers’ de-stigmatization.”

Crowley, S. (2022). Making visible the invisible. Art/Research International: A Transdisciplinary Journal, 7(1), 156–185. https://doi.org/10.18432/ARI29618

“This article documents how I came to combine autoethnographic accounting with visual arts practice. I developed this mixed methods approach for my PhD study which explores the interdisciplinary possibilities offered by combining visual arts practice with STEM (science, technology, engineering, and mathematics). Visual arts practices as narrative forms tend toward the non-linear (Anae, 2014), whilst autoethnography offers self-reflection. Writing an autoethnographic account for an artwork has the potential to generate a wealth of data, some of which are visible, some of which are not. The invisible data become available only when the artist speaks to/writes about the artwork. If some content/context of a visual artwork is only visible through background information provided by the art maker, this discovery troubles another issue concerning our notions of what a good visual artwork is. Finally, I test this article’s autoethnographic authenticity against Adam’s four characteristics of autoethnography.”

Garcia-Lazo, V. (2022). The many becoming the unresolved one: Reconciling the fields of art, research and education through a/r/tography and collage. International Journal of Education Through Art, 18(1), 105–121. https://doi.org/10.1386/ETA_00085_1

“A study in three secondary schools in Aotearoa New Zealand explored students’ critical thinking and how that was articulated in visual arts education. The research was motivated by the influence of everyday visual experiences on young people’s lives and the national curriculum’s call for encouraging critical thinking in the context of the students’ cultural milieu. This inquiry entailed multiple methods that included policy analysis, focus group interviews with teachers, interviews with students, classroom observations, photographic documentation and researcher engagement with the art of collage. A/r/tography allowed for the reconciliation of art, research and education and the exploration of liminal spaces through a relational inquiry. The collage process provided insights into how art making can be used as a relational device between researcher and participants that evoked findings in innovative ways. The findings are presented as entanglements of meanings aimed to provoke the imagination and open conversations.”

Gordon, R. R. (2022). Laboring for the motherland: A mother-artist-researcher-teacher’s reconfiguration of the state-sponsored transnational teacher [Doctoral dissertation, Michigan State University]. https://www.proquest.com/docview/2673547857?pq-origsite=summon&accountid=14656

“This arts-based inquiry explores historical and contemporary configurations of state-sponsored transnational teachers, or those who teach overseas in programs that are financially and/or programmatically supported by their home government. In the U.S., some examples of state-sponsored transnational teaching programs include the Peace Corps, the Fulbright Specialist Program, and the English Language Fellow Program. Standing on feminist grounding, I draw upon maternal concepts from the field of mother(hood) studies to frame my exploration and to interrogate and disrupt the patriarchal systems in which state-sponsored transnational teaching is situated. More specifically, I extend a/r/tographic methodology to include my identifications and embodied perspectives as a mother-artistresearcher-teacher. My proposed methodology of m/a/r/tography affords me the opportunity to think intergenerationally about the ways that orientations, collective body memory, family histories, and national legacies relevant to state-sponsored transnational teaching are passed down. By using epistolary narrative and creative non-fiction, I reflect on my own experiences as a mother, as a daughter, and as a former state-sponsored transnational teacher who labored for her motherland. To analyze these personal experiences, I adopt a diffractive approach in which these experiences are viewed through one another as well as through additional sources of data, including interviews with other state-sponsored transnational teachers, letters from my mother, photographs and images, poetry, film, children’s literature, and other forms of scholarship. The use of a diverse and wide-ranging set of scholarship is an attempt to not only spark creative connections between seemingly disparate sources of data but also inspire more accessible and humanizing ways of doing research and re-imagining (teacher) education that welcomes processes of re/dis/orientation.”

Jones, S., Woglom, J. F., Alkowni, D., Cobby, E., Davis, H., Flores, B., Pasillas, H., & Mason, T. (2022). Socially engaged art with preservice teachers: The aesthetics of making sense of community-embedded experiences. International Journal of Education Through Art, 18(2), 227–242. https://doi.org/10.1386/ETA_00096_3

“In this graphica article, Stephanie Jones and James Woglom have a critical discussion and analysis of the community-based art-making pedagogical project that Woglom undertook with their undergraduate art education students, expanding on Authors’ past work in comics arts-based research. They build upon the idea of ‘ethnographica’ – or ethnographically informed graphica creation – as the primary method of meaning-making Woglom and their students engaged in. Students’ (positioned as co-researchers, and named as authors in the piece) visual-verbal meaning-making of their community-based work with youth is included along with some of their interpretations of their experiences as well as the two authors’ analyses. The article connects this one semester of socially engaged art teacher education to relational aesthetics, A/R/Tography and culturally responsive work with youth.”
Keywords: service learning arts-based educational research (ABER) culturally responsive

Lápidus Radlow, L. (2022). MÅKEN vår – en teateroppsettning med videregående skoleelever [Master’s thesis, University of Agder]. https://uia.brage.unit.no/uia-xmlui/handle/11250/3000352

“This master’s thesis is a practice-led artistic development and mediation work based on the Anton Chekhov’s theater play The Seagull, in a pedagogical context, more specifically in an upper secondary school class with drama as a program subject. The fact that this is a practice-based project with emphasis on performative research means that the theater performance is the result of the research (Haseman, 2006) and that this text serves as a written foundation. In addition, after the performance, a 20-minute oral presentation will be given. I anchor myself in a/r/tography as a methodology and method in my performative research. This form of art-based research gives me the opportunity to study in more detail how the three-part perspective artist / educator / researcher operates in a process towards a theater production with these students, as well as it serves as an invitation to explore the play together.”

Martin, K. R. (2022). Rainbow Beard and the Unicorn Knight: Queer and Trans Thrival and Queering Professionalism in Teacher Education [Master’s thesis, Queen’s University]. https://www.proquest.com/docview/2665126488?accountid=14656&pq-origsite=summon

“This study seeks to explore how queer and trans (QT) teacher candidates (TC) navigate their identities as QT professionals and thrive during their initial teacher education. This thesis contains an introduction that presents the context of this study and information on me, the researcher, through an autobiographical signature. An autobiographical signature shares some aspects of my life as they are relevant to this study, such as my academic qualifications, identity, and history. Chapter 1 explains the purpose of the study and shares my research questions as well as a literature review of relevant studies that guide this work. My literature review focuses on the spaces in which QT TCs are working and learning, such as kindergarten to grade 12 (K-12) settings (on practicum), and in their teacher education programs (higher education). Literature in these contexts mainly focuses on queerness and gender norms in these spaces. With my thesis, I am interested in literature showing how QT people navigate and are impacted by these spaces. Some major concepts identified through the literature include identity conflict and development, outness, and visibility. My methodology provides a rationale for a/r/tography as a researcher autoethnographic method, using art creation and journaling to reflect, deconstruct, and learn about experiences spanning three years in one teacher education program. My use of a/r/tography is paired with a focus group, where I connect with other QT people involved in the teacher education program around QT identity and thrival. Findings from these two data sources come together in four main themes, which answer my research questions. This study has implications that are personal, professional, and theoretical: (a) personal implications include participant wellbeing/solidarity through artmaking and community engagement, (b) professional implications include positive impact on current TCs/in-service QT educators, providing insight for this and other faculties of education to improve their programs, and (c) theoretical implications include contributions to emerging work in a/r/tography and trans thrival.”

Moore, F. E. (2022). Becoming enìlikogical: The autoethnography of an early childhood educator during the COVID-19 pandemic [Master Thesis, The University of British Columbia]. https://doi.org/10.14288/1.0412978

“Drawing from the notion of autoethnography as pedagogy (Banks & Banks, 2000), the purpose of this thesis is to ignite a process of reflexivity through writing and re-writing the self (Gouzouasis, 2020) as I recollect and write my own lived experiences as an Early Childhood Educator (ECE) and artist teaching and creating during the initial year of the COVID-19 pandemic. By adopting autoethnographic and a/r/tographic practices, I aim to examine the concept of ‘becoming enìlikogical’, noting the distinction of enìlikogy as the study of adult-oriented learning (Gouzouasis, 2019). Thus, the act of storying my own processes of teaching and learning serves to invite a reflexive inquiry in an enìlikogical sense. I aim to not only inform transformative growth on a personal level but also to initiate dialogue around the complex experiences of Early Childhood Educators, illustrate the relationality of ECE praxis, and to promote a culture of reflexivity in the field of ECE. My intention is to redefine my practice and identity as an educator through this process, as I reflexively examine (1) how my identity and pedagogical practice have shifted in the context of a global pandemic, (2) how my practices as an artist, educator, and researcher intersect with each other, and (3) how a ‘living curriculum’ may be invited or suppressed within the milieu of a pandemic. Over the course of a year, I engaged in various creative practices to capture my own lived experiences of teaching in the age of a global pandemic. This inquiry is predominantly centred around a series of short ‘factional’ stories (Gouzouasis & Ryu, 2015) written in the genre of creative nonfiction, a feature of contemporary autoethnography. Additionally, I integrate elements of poetic inquiry, photography, and aligned textile arts to deepen my reflexive inquiry and position my work as a/r/tography. Storying my experiences, whether through creative nonfiction, poetry, or visual text, reveals an avenue for embracing my practice as a form of ‘living inquiry’ (Aoki, 2005).”

Mosavarzadeh, M., Mahlouji, Sh., Moussavi, Y., & Sarreshtehdari, E. (2022). Walking with water: (Re)making pedagogical relations through walking and artmaking. The Canadian Journal of Action Research, 22(2), 91-108.  https://journals.nipissingu.ca/index.php/cjar/article/view/578

“This paper unfolds the artful and pedagogical potentials of engaging in a simultaneous practice of walking and artmaking in different locations, along bodies of water, and together-apart. Through introducing the term co-living inquiry as a thread between action research and a/r/tography, we suggest how the notion of walking with as both action and metaphor has provided conditions for us to explore ways of (re)making relations among our walking bodies, the places we walk in, and our works of art as a collective effort to create a learning community of artists and art educators together apart.”

Schmidt, A. (2022). Anti-oppression self-expression: An A/R/Tographic understanding of black and brown youth’s conceptualization(s) of “nature.” Western Carolina University. https://www.proquest.com/docview/2662868275?pq-origsite=summon&accountid=14656

“As the world’s population becomes increasingly urban (United Nations, 2019), there is an urgent need to design cities that facilitate nature connection for youth residents (Cox et al., 2017; Zuniga-Teran et al., 2019), particularly youth of color who experience disproportionate impacts of poor environmental quality and inequitable access to nature due to a history of racist policies in urban design (Jennings et al., 2017; Rigolon, 2016, 2017). Despite historic and current racist policies and experiences in the outdoors, Black and Brown1 people do access and enjoy nature on their own terms in ways that may not necessarily assimilate into white cultural norms and preferences (Davis, 2018). In an effort to make whiteness, white ideas, and white preferences— which are usually translucent and “normal” in white supremacy culture—opaque, I use nature (with strikethrough) to indicate placing the concept of “nature” under erasure (Derrida, 2016). The ways people conceptualize, understand, and make relationship with/in/about nature drip with emotions and spirituality; our very humanity. These meanings are often hard to explain in words alone, our language falls short of representation. Making and experiencing art can promote nontraditional methods of expression, communication, and meaning-making reverberating into our souls in much the same way as nature can. For these reasons, I used art as a methodology and a method to uncover the meanings and relationships people have with nature at the intersection of racial identity. I sought to understand what nature means for Black and Brown youth in Asheville to ensure that efforts to improve equitable access to nature are the most authentic, relevant, and useful to the people impacted by this work. I used the arts-entangled methodology of a/r/tography (Schultz & Legg, 2019; Springgay et al., 2005) to conduct research in partnership with youth (rather than on) and to decolonize and interrupt extractive and reductive approaches to research.”

Ugena Candel, T. (2022). Aprendizaje basado en el Proyecto Performativo de Aula Expandida Universidad-Museos. Artseduca, (32), 179–190.

“The Expanded Classroom: University-Museums performative action project was undertaken by fourth year Bachelor of Arts, Performing Arts Degree students of Nebrija University during the first quarter of the 2019 academic year. Students participated in the Diversity, Sexuality, and Art project directed by the Madrid City Council in conjunction with the education departments at the Thyssen-Bornemisza and the El Prado National Museums, as well as with the collaboration of Nebrija University. The project aims to develop a strategy to raise awareness of sexual education through arts and culture. In response to sexuality-themed artwork selected by the Thyssen and Prado Museums, students were directed to design, develop, and evaluate performative actions. The concept for these performative actions has been informed by A/r/tography, as well as by Project-Based Learning and Arts-Based Educational Research. Students ultimately performed their actions for an audience of baccalaureate students of Fine and Performing Arts at Lope de Vega and San Isidro high schools in Madrid. Student participation in this project far exceeded initial expectations, enhancing and increasing their personal, academic, professional skills.”
Keywords: Performative actions, University, Museums, Sexual Education, Project-Based Learning

VerCetty, Q. (2022). Parable of museum learning: Activating afrofuturistic A-R-Tography approaches. Https://Doi.Org/10.1080/10598650.2021.1998880, 47(1), 32–43. https://doi.org/10.1080/10598650.2021.1998880

“In the twenty-first century, museum learning has shifted with the world’s social climate, exploring new approaches to engage the public with collections. This text reframes the museum art educator as an activator and how they can utilize concepts within Afrofuturism to decolonize hegemonic white cultural institutions and Eurocentric epistemes. Taking inspiration from the #MuseumAreNotNeutral movement that started in 2017, the article probes three examples of activities conducted by museum activators through an Afrofuturistic a-r-tography approach. The activities discussed draw from author Octavia Butler’s Parable Series and the popular Pan-African philosophical concepts ubuntu (human kindness) and sankofa (relation of time) as learning prompts on exhibition tours at the Art Gallery of Ontario. The analysis and application of an Afrofuturistic a-r-tographic framework will provide insights into the parable of museum learning and the potential future for a museum activator’s role.”

Yu, H., & Ai, B. (2022). Experiencing “Paragliding”: A student-teacher perspective on doing qualitative research in a Chinese University. International Journal of Qualitative Methods, 21, 160940692110704. https://doi.org/10.1177/16094069211070443

“In this article, I (the first author) explore my qualitative research teaching for a cohort of Chinese students and their interactions in the classroom. These students reported experiencing feelings of paragliding from unsafe distrust to enjoyment through writings, drawings, questionings, feelings, reflections, and struggles. By graphic elicitation, I unfold a cartography of becoming a qualitative researcher and describe lines of becoming-events that entangle with rhizomatic relationships of self and language, self and other, and self and knowledge. The process of learning and teaching qualitative research involved multiple interactions, connections, reflections on the contingencies along the way, and searching for the meanings of life and research under the governance of audit culture. This paper contributes to qualitative research teaching and unpacks its impacts on learners, and it also calls for scholars, particularly those from China, to reassess the value of qualitative research in the academic field.”

  • List of publications and images are composed by Marzieh Mosavarzadeh