List of publications related to a/r/tography from the year 2015: 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: JAN 25, 2023
Atkins, S. (2012). Where are the five chapters?: Challenges and opportunities in mentoring students with art-based dissertations. Journal of Applied Arts & Health, 3(1), 59–66. https://doi.org/10.1386/JAAH.3.1.59_1
Abstract
This article explores the author’s experiences of serving on dissertation committees in which a primary methodology is art-based. Experiences at two different universities, one a state university in the United States and one an international graduate school in Europe, reveal both challenges and opportunities discovered in working with these new methodologies. The author reflects on her experiences with the student researchers, with faculty colleagues, with the institutional cultures of the universities, and with the author’s own struggles to learn new ways of thinking about the world of researchers conducting narrative, ritual, movement, musical, performative, poetic and visual forms of enquiry.
Baer, S. A. (2012). Re-envisioning fear: the role of conversation in an arts classroom for prospective teachers [Doctoral dissertation, The University of Nebraska].
Abstract
In this study, I am led as the artist, teacher, and researcher within the context of a course for prospective teachers, Arts in the Elementary Curriculum, to ask: How, when, where, and why does fear manifest itself in a pre-service arts classroom and how does that fear affect students’ willingness to learn within the arts? In what ways can fear be interpreted to include a greater understanding of fear’s roles and capacities within a learning/teaching context? This study works to envelop both author and reader in complicated curricular conversations (Pinar, 1995) reflecting on conversations from within an arts classroom. Through arts-based research practices, fear is examined and illustrated as holding potential for prospective teachers reclaiming creative capabilities. Through an approach utilizing interpretive traditions of aesthetic inquiry, hermeneutics, and a/r/tography, three main groups of fears emerged from 8 semesters of student and instructor documentation: Fears about time, fears of performing and being judged, and fears of a lack of creative abilities. Interpretive inquiry assumes that within the process of interpretation, each element, be it reader, text, meaning etc., cannot exist on its own. They all play an interdependent role in understanding lived experience. Rather than searching out “best practices” or “generalizability”, interpretive work maintains the value of exploring specific contexts with careful description and interpretation of how its participants experience that context. Utilizing an arts-based approach to inquiry, I draw on Barone & Eisner’s (1988) seven features of arts-based educational inquiry. The aesthetic forms that emerge become part of an ongoing conversation, building upon one another, creating a story that might illuminate for the reader the potential and value in fear.
Biggs, M., & Büchler, D. (2012). Research into practice and a/r/tography: A study of kinship. Visual Arts Research, 38(2), 28–38. https://doi.org/10.5406/VISUARTSRESE.38.2.0028
Abstract
Using a model of kinship from Cohen, we describe our interaction with other arts research communities and examine our lived experiences with them over more than a decade. We refer to objective “evidence” in the form of documentation and production, encounters and conversations, told through our own perception of our community and of the other communities. The inquiry reveals both national differences and a variety of distinct intellectual frameworks, structures, institutional variations, and limitations among arts-based research communities in the UK, Canada, Australia, and Scandinavia. In particular, we find in the UK-based research of Biggs and Büchler, and the Canadian-based work of Springgay, Irwin, and Kind, fundamental genealogical roots that allow us to conclude that, despite their differences, they are kindred.
Carter, M. R. (2012). The teacher monologues: Exploring the experiences and identities of artist-teachers. https://doi.org/10.14288/1.0055366
Abstract
In this research I examine the experiences of four Conservatory style trained actors, who go onto complete teacher education programs. In keeping with a/r/tography this research uses social science methods and creative methods of data collection. Interviews and reflective writing about the participant’s educational and experiential backgrounds were complimented by the writing of monologues. Themes from the data collected during interviews, reflective writing and monologues led me to understand that: there is a connection between developing consciousness and having a noetic experience; actor-teachers want to talk about their noetic experiences; residue is an a/r/tographic rendering used to describe the way that having an illuminating experience in theatre school affected the participants; and an immanent curriculum can be understood by theatrical engagement. In addition to exploring the interview data and monologues, time is spent understanding the works of Antonin Artaud, a prolific theatre artist and a/r/tography, a method of arts-based research. This theoretical and a/r/tographical investigation leads to the creation of Interludes. These Interludes, theorized as rhizomatic curricular offshoots, allow for multiple entry points into the new understandings.
de Eça, T. T., Pardiñas, M. J. A., & Trigo, C. (2012). Transforming practices and inquiry in-between arts, arts education and research. International Journal of Education Through Art, 8(2), 183–190. https://doi.org/10.1386/ETA.8.2.183_7
Abstract
This Vissual essay intends to discuss possibilities of reframing conceptions of arts and arts education from an art activism perspective and describe the Web-based research platform INTER-Action. The platform is a virtual space for researchers interested in arts-based research, a/r/tography, collaborative research and community arts. Following Paulo Freire’s ideals, INTER-Action members claim that educational methods need to change in order to reach a sustainable future. They believe that contemporary community art practices in educational settings can be explored as rituals of transformation in a period of disenchantment and loss of hope, a consequence of centuries of rationalism, materialism and individualism.
Francis, B. A. (2012). Mapping creativity: An a/r/tographic look at the artistic process of high school students [MA thesis, Brigham Young University]. https://scholarsarchive.byu.edu/etd
Abstract
A high school visual art educator, along with 20 students enrolled in this teacher/researcher’s Advanced Placement (AP) studio course, investigated the processes involved in creating artwork. Understanding artistic processes beyond skills and techniques is significant for curriculum development, but it is also key in conceptualizing art as a way of knowing. The arts based research strategy utilized in this study was a/r/tography, which focuses on the interconnectedness between artist, researcher, and teacher/learner. This highly reflective form of action research allowed the researcher and students to uncover new understandings of what it means to be an artist-researcher through a combination of knowing, doing, and making. Student-researchers learned several arts based forms of inquiry by analyzing the processes of contemporary artists. They were invited to record and reflect upon their own processes in a research journal as they generated artworks. The teacher-researcher also kept an intensive reflective journal concerning artmaking, but also included pedagogical concerns, questions, observations, and insights. At the conclusion of the semester, students were taught to analyze their own artistic process via their sketchbook entries by creating two visualizations: a mind map and an artwork as a data visualization of their process. Several important understandings are drawn from this study that transform this educator’s practice as an artist-educator. These include the following concepts: not knowing as an artist, researcher, student and teacher; anxiety may be a necessary factor in artistic creation and pedagogy; and pretending is a strategy that allows one to productively move through uncertainty, ambiguity, and anxiety.
Keywords: art education, A/r/tography, creative process, artistic process, creativity, Advanced Placement, arts based research
Hannigan, S. (2012). A/r/tography and place ontology. Visual Arts Research, 38(2), 85–96. https://doi.org/10.5406/VISUARTSRESE.38.2.0085
Abstract
Through lived experience, I learn how my education, life habits, changing abodes, and different career trajectories are intertwined with my identity and place. A/r/tography is a way of exploring these interconnections through reflexive practice as a visual artist, creative arts therapist, art educator, and researcher. Knowledge emerges from contemplating my artistic practice, my art education, the drawings of clients who participate in my creative art therapy sessions, and the work of students who attend my art classes, from which I contemplate early art images as shapes or figurative forms floating on the page. This paper asserts that creative art therapists are able to use the creative-artistic processes of living inquiry found in a/r/tography to make connections between identity and place.
Irwin, R. L., & O’Donoghue, D. (2012). Encountering pedagogy through relational art ractices. International Journal of Art & Design Education, 31(3), 221–236. https://doi.org/10.1111/J.1476-8070.2012.01760.X
Abstract
Two artists involved in ‘socially engaged art’ practice were invited to work with art education teacher candidates and instructors in an effort to rethink notions of teaching, learning and art. We initiated this residency, which we called ‘The Summerhill Residency’, to examine how learning encounters might create environments for meaningful exchanges between the ways in which artists and secondary art education teacher candidates learn to think about pedagogy and the nature of artistic learning. Drawing upon Bourriaud’s theory of relational aesthetics, we consider, yet trouble, the relational aspects of the processes and products of the artist residency, and examine the crisis of imagination that permeated teacher candidates’ experiences. Throughout the project, a/r/tography offered a rich form of living enquiry that opened up possibilities for learning within a community of enquirers.
Kauffman, N. B. (2012). Cracks and openings, murkiness and unknowns: Dis/rupting knowledge through the atelier/atelierista model of timeless and embodied learning [ Doctoral dissertation, University of Toronto].
Abstract
This thesis interweaves the Reggio Emilia preschool model of atelier (art studio) and atelierista (artist educator), autobiography, timeless and embodied learning. I am interested in exploring approaches in which visual arts education in elementary schools disrupts traditional ways of knowing and learning about art. When an atelierista is embraced in the school environment, a rupture emerges in the landscape of education; one that recognizes the interconnectivity of things, and values difference and unknown. For this reason, I align my research with a form of inquiry – a/r/tography, which acknowledges intertwining roles of artist/researcher/teacher as integral parts of the research process. As such, my own art making is used as a form of inquiry and language in the text of this thesis.
Leavy, P. (2012). Introduction to visual arts research special issue on a/r/tography. Visual Arts Research, 38(2), 6–10. https://doi.org/10.5406/VISUARTSRESE.38.2.0006
Leggo, C. (2012). 29 Ways of looking at the oblique in a/r/tography. Visual Arts Research, 38(2), 1–5. https://doi.org/10.5406/VISUARTSRESE.38.2.0001
Leggo, C. (2012). Sailing in a concrete boat: A teacher’s journey. Brill. https://doi.org/10.1007/978-94-6091-955-8
Abstract
Sailing in a Concrete Boat: A Teacher’s Journey is a novel-length narrative composed in a sequence of short fictions and poetry linked by recurring characters, themes, events, and setting. The narrative explores the experiences and emotions of a school teacher named Caleb Robinson. He teaches in a conservative church-administered school in a rural Newfoundland town called Morrow’s Cove. Caleb struggles to understand what it means to be a teacher, husband, lover, friend, father, Christian, and human being.
Sailing in a Concrete Boat raises many questions about pedagogy as questioning, freedom of expression, conservative religious beliefs, breaking silences, and curriculum as cultural reproduction instead of cultural transformation. Above all, Sailing in a Concrete Boat seeks to narrate the complex lived experiences of a school teacher as he questions love, family, community, vocation, well-being, romance, spirituality, authority, silence, truth, and identity. In order to make sense of his tangled living experiences, Caleb is always remembering and researching his past in order to write and rewrite his future.
Sailing in a Concrete Boat will be a valuable resource in both undergraduate and graduate courses in teacher education, curriculum and pedagogy, life writing, poetic inquiry, arts-based research, and narrative inquiry.
Mack, P. (2012). Inside Artist/Teacher Burnout [doctoral dissertation, Arizona State University].
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 burnout 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/teacher’s personal and professional work? This qualitative study was conducted using Narrative/Autoethnograpy, Narrative/Ethnography and A/r/tography. The stories of four artist/teachers provide in-depth accounts of their experiences as teachers and how that profession has affected their art making process and well being
Mackenzie, S. K., & Wolf, M. M. (2012). Layering sel(f)ves: Finding acceptance, community and praxis through collage. The Qualitative Report, 17, 1–21. http://www.nova.edu/ssss/QR/QR17/mackenzie.pdf
Abstract
There are multiple aspects that shape one’s experience as a student teacher; however often as teacher educators, we focus on the intellectual rather than the emotional nature of the experience. Within this a/r/tographical inquiry, we render a story of what can happen when teacher educators intentionally engage the multidimensional nature of the student teaching experience through the integration of arts-informed epistemologies within the context of the student teaching seminar. Student teachers entered into a dialogic space of reflexivity and praxis where they discovered that their experiences mattered and did not occur in isolation. This project has implications for considering ways to help student teachers and teacher educators bridge the gaps between the personal, social, artistic, and academic that is teaching.
Keywords: Student Teaching, A/r/tography, Collage, Arts-Integration, Qualitative Research.
Madrid, M. (2012). Paradox in a/r/tography: Collective short animated film-making for social inclusion. Visual Arts Research, 38(2), 58–68. https://doi.org/10.5406/VISUARTSRESE.38.2.0058
Abstract
This article reflects on a/r/tography as a practice-based research methodology and as a strategy for inclusivity applied to a collective creative process with a group of diverse children and teenagers creating audiovisual animated narratives. The aim of the educative experience is to create an opportunity for young people with interpersonal difficulties (family, health, or social issues) to interact with young people without such difficulties in a common creative activity. In this article I narrate how it was necessary to move away from the pre-determined syllabus in order to attend to the young peoples’ interests of studying their biographies and collective narrative inquiries. I also address my experience of facing the impossible research goal of “full equal participation” and the necessity to come to terms with contradictory intentions, actions, and results. As a result, I propose “paradox” as a key concept in a/r/tography.
Marín-Viadel, R., & Roldán, J. (2012). Quality criteria in visual a/r/tography photo essays: European Perspectives After Daumier’s Graphic Ideas. Visual Arts Research, 38(2), 13–25. https://doi.org/10.5406/VISUARTSRESE.38.2.0013
A research photo essay in visual a/r/tography is a coherent, systematic, and original group of visual images about education (or any other social science). This relatively recent research methodology essentially produces new visual images about educational questions. Like any other research methodology, visual a/r/tography assumes (a) certain basic epistemological positions, (b) distinctive methodological strategies, and (c) specific quality criteria. We suggest five different paths to identify assessment criteria, the most important of these residing in the development of a framework of correspondences between quality criteria usually applied to research reports based on words (sentences, paragraphs, verbal thinking) and those based on visual images (photos, photo essays, visual thinking).
Poirier, T. (2012). The teaching coats project: Exploring the threads of our teacher identities through arts-based research. https://doi.org/10.14288/1.0075717
Abstract
In a discussion of teacher identity in The Courage to Teach, Parker Palmer (2007) shares this metaphorical Hasidic tale: “We need a coat with two pockets. In one pocket there is dust, and in the other pocket there is gold. We need a coat with two pockets to remind us of who we are” (p. 113). Inspired by the powerful imagery and meaning of these words, the author of this study created “The Teaching Coats Project”, an arts-based professional development activity for teachers, which she used as the basis for this research. The Teaching Coats Project involved study participants in making their own “Teaching Coats”; these were blank white lab coats that teachers transformed with personally chosen elements such as imagery, text, memorabilia, and symbolic objects. Participants creatively expressed aspects of their professional journeys and teaching philosophies on their Teaching Coats, analyzing their choices and deepening their self-awareness through the process. Each Teaching Coat evolved and was examined as a wearable mixed media collage representing a teacher’s identity. The central questions of this study included: What are the ways teachers interpret the task to create their own Teaching Coats? And what stories do teachers share in making and discussing the meaning of their Teaching Coats? Using an arts-based narrative inquiry methodology, this research emphasized a/r/tography practices and the author’s autoethnographical account of her experiences both creating her own Teaching Coat and facilitating the project with three other teachers. The author introduced the concept of a Teaching Coat to participants during one-on-one interviews and invited them to continue creating their Teaching Coats in their own time over several months. During follow-up interviews, participants discussed the features and meanings of their Teaching Coats and shared reflections on their creative processes. The data collected included participants’ stories, written statements, interview transcripts, and photographs of Teaching Coats. The data was analyzed around a central theme of teacher identity and explored through five interrelated themes: teacher identity as a contextually embedded and co-constructed social phenomenon, teachers’ need for self-awareness, the complexity of clarifying boundaries between one’s personal and professional identity, teacher authenticity, and transformation. This study offers a rationale for how The Teaching Coats Project, as an example of an arts-based professional development opportunity, may foster teacher identity by providing a framework for independent exploration and/or participation in a practice-based community of inquiry.
Pourchier, N. M. (2012). Guided wanderings: An A/r/tographic Inquiry into Postmodern Picturebooks, Bourdieusian Theory, and Writing [Doctoral dissertation, Georgia State University].
Abstract
This dissertation is an a/r/tographic inquiry (Irwin & Springgay, 2008) that explores postmodern picturebooks and writing theory. Postmodern picturebooks have been described as texts that blur traditional literary boundaries and text-image relationships, while employing devices like metafiction and playfulness (Goldstone, 2002; Sipe, 2008). As meaning becomes more ambiguous, readers are positioned as coconstructors of meaning (Serafini, 2005). Research has shown students enjoy reading postmodern picturebooks and constructing meaningful transactions despite the complex nature of these texts (McGuire, Belfatti, & Ghiso, 2008; Pantaleo, 2004, 2007, 2008), but few have begun to explore how these texts are written. Therefore, I used a/r/tography (Irwin & Springgay, 2008) to theorize about the relationship between these texts and what it means to write. As a method of inquiry, a/r/tography is an arts-based approach to research that is interested in how artistic practices produce meaning and a/r/tographers use art to “construct the very ‘thing’ [they] are attempting to make sense of” (Springgay, 2008, p. 159). In this study, I wrote and illustrated a postmodern picturebook and interpreted how this experience generated understandings about what it means to write. In response to the process model of writing (Flower & Hayes, 1981), the data led to representations that offer new perspectives on contemporary writing theory, in particular, the interpretive, public, and situated nature of writing (Kent, 1999). As a result, I use theories of metaphor (Lakoff & Johnson, 1980/2003; Lakoff & Turner, 1989) to critique writing process theory (Elbow, 1973, 1981; Flower & Hayes, 1981) and propose that a/r/tographic inquiry creates openings for new possibilities within the post-process movement (Kent, 1999) by demonstrating how a writer’s evolving questions (Irwin & Springgay, 2008) relate to writing pedagogy.
Keywords: A/r/tography, Postmodern Picturebooks, Pierre Bourdieu, Writing Process Theory, Writing Pedagogy, Arts-Based Educational Research
Rodriguez Naranjo, E. G. (2012). Personal a/r/tographic narratives of cultural displacement : in Latino American immigrants living in Canada [MA thesis, The University of British Columbia]. https://doi.org/10.14288/1.0073184
Abstract
Immigration is the act of moving to and settling into a new country. It means starting again while leaving many people and things behind. This phenomenon has been embraced, embodied, lived, celebrated and suffered by many people for various reasons throughout history. Factors such as war and political oppression, poor living conditions, economic opportunity and stability are explanations for why people decide to leave their native countries. Therefore, immigration embodies loss of one’s culture but at the same time embodies celebration for enhanced opportunities, when arriving and adjusting to the codes of a new system. Understanding cultural displacement as the sensation of being in a third space, of having to re-invent yourself again, adjusting day-by-day to a new culture, this study examines how Latin American immigrants to Canada confront cultural displacement. Applying a/r/tography and photo-elicitation as research methodologies the study sets up conditions for participants to engage and construct meaning together about being away from home. This research analyzes the extent to which Latin American immigrants to Canada negotiate being in-between these two spaces (their country of origin and Canada). It does this primarily through the creation of a series of photographs and conversations. Some of the findings reveal that indeed Latin American immigrants acknowledge that the process of settlement in a foreign land is complicated and it takes time to adjust and understand the culture. At the same time Latin American immigrants admit the importance of comprehending, cultivating and embracing Canadian culture, in order to merge easily in its communities. Similarly, the findings unfold the way participants created their own version of what it means to be Canadians rather than learning simply from others about its significance. As immigrants, the group I studied kept some features of Latin cultures alive in Canada, in this way, the study presents a new understanding of what is possible while dwelling in the in-between.
Rosunee, N. D. (2012). Unlocking and negotiating meanings through narratives and visual representations. International Journal of Learning, 18(8), 33–50. https://doi.org/10.18848/1447-9494/CGP/V18I08/47697
Abstract
This paper will discuss how narratives and visual representations address notions of identit(ies) and culture(s) as enacted through artistic expression. A/r/tography as a framework merges my personal perspectives, experiences and reflection within a/r/t identities as an artist, researcher, and teacher. My role as an “animator” (Bresler, 2008) of my study interrogates my aspirations, perception and experiences through my engagement in art making as a generative process, and how it highlights my self-reflexive standpoint in interpreting, and analysing messages and meanings within my narratives and visual representations. ‘The medium is the message’(McLuhan, 2006) is used metaphorically to define how narratives and visualrepresentations underscore semiotics and visualsigns(Fulton, 2005), which generate meaning and relate to notions of culture(s) and identit(ies). The ‘interplay between text and image’, art as representation, and ‘the interface between interpretation and analysis’ (Leavy, 2009), foreground ‘metaphorical dialogues’ (Fitzgerald, 1993), and self-reflexive stances. A phenomenological approach towardsinterpretation and analysis decipherthemes,symbolic and semiotic messages and meanings and metaphors within my narratives and artistic expression. These depart onto rhetoric of intersubjectivity situated in and through a dialogue. Such reflexive iteration (Srivastava & Hopwood, 2009), and ‘semiosis’ and an ‘interpretivist approach’ towards analysisreflect negotiation of meanings as through a “rhizomatic thinking” (Deleuze & Guattari, 1987, p. 21), that underscore ambivalence and hybridity in defining my culture(s) and identit(ies).
Keywords: A/r/tography, A/r/t Identities, Animator, Phenomenological, Interpretivist Approach
Siegesmund, R. (2012). Dewey through a/r/tography. Visual Arts Research, 38(2), 99–109. https://doi.org/10.5406/VISUARTSRESE.38.2.0099
Abstract
A/r/tography’s conceptual framework is overwhelming postmodern, and within the scholarship referenced, John Dewey’s Art as Experience is seldom cited. This essay argues for the relevancy of Art as Experience to a/r/tography. The structure of this essay follows the lines of argument within Dewey’s first three chapters: “The Live Creature,” “Ethereal Things,” and “Having an Experience.” These chapters offer significant insight into the close links Dewey saw between science, aesthetics, and inquiry, and help to show how a/r/tography not only resonates with Dewey’s aesthetics, but to other significant traditions within Western thought as well.
Smitka, J. A. M. (2012). Rhizomatic Explorations in Curriculum: EBSCOhost. Alberta Journal of Educational Research, 58(2), 185–197. https://web.s.ebscohost.com/ehost/pdfviewer/pdfviewer?vid=0&sid=7a1d328d-27d4-4837-945f-dbbc8e1b42b5%40redis
Abstract
A visual and theatrical exercise anchored in the Grades 11 and 12 Ontario Curriculum for Media Arts and Interdisciplinary Studies was enacted and recorded as individual experiences of each participant. The event was re-mastered in a graphic representation that depicts the forces, pushes and pulls of curriculum and students’ needs which educators experience on a daily basis. Students participating in a co-educational public high school course were photographed alongside their yearbook advisor to examine the methodology of a/r/tography, embodiment and time/space/place during a staged photo shoot session. Participants, including the author, documented their experiences of this research creation event through written and photographic feedback. The basic findings resulted in the creation of the Dimension of the Mind Embodied (DOME), a new theory I coined that builds on Deleuze and Guattari’s (1987) concept of the rhizome. Chaque participant à un programme d’études en arts des médias et études interdisciplinaires de l’Ontario pour les 11e et 12e années a interprété un exercice visuel et théâtral. L’évènement a été remasterisé en une représentation graphique illustrant tant les forces et les mouvements en opposition du programme d’études que les besoins des élèves auxquels font face les enseignants à chaque jour. On a photographié des élèves qui suivaient un cours dans une école secondaire publique mixte à côté d’un conseiller de sorte à étudier l’a/r/tographie, la concrétisation et le temps/l’espace/le lieu pendant une session de photos publique. Les participants, y compris l’auteur, ont documenté leurs expériences relatives à cet évènement de création en produisant de la rétroaction écrite et photographique. De ces résultats a découlé la création de Dimension of the Mind Embodied (DOME), une nouvelle théorie que j’ai inventée à partir du concept de rhizome de Deleuze et Guattari (1987).
White, A. M. (2012). Artistic Frames: An Arts-Based Study of Teachers’ Experiences with Arts-Integrated English Language Arts for Students with Dis/abilities [Doctoral dissertation, Georgia State University].
Abstract
This arts-based, qualitative investigation focused on high school English teachers of students with learning dis/abilities (Baglieri & Knopf, 2004) who used visual arts integration (Eisner, 2002) to find out how teachers experience using visual arts in English and what their experiences mean (Zoss & White, 2011) in order to understand why certain experiences stood out for the teachers as being important. I framed the study theoretically with complexity theories of teaching and learning (Davis, Sumara, & LuceKapler, 2008), while combining aspects of sociocultural theory (Smagorinsky, 2001; Vygotsky, 1978; Wertsch, 1991), cognitive pluralism (John-Steiner, 1997) and Dewey‘s notion of experience (1934/1980). The teacher participants were three high school English teachers employed at an independent school for students with learning dis/abilities. A/r/tography (Irwin & Springgay, 2008; Springgay, Irwin, & Kind, 2005, 2008) influenced my methodology in that I created visual art to theorize the data and my experiences conducting the study. I collected data during spring and summer 2011. Data sources included participant observation and field notes (Dewalt & Dewalt, 2002), photography (Coover, 2004; Harper 2000, 2002), teachers‘ visual texts (La Jevic & Springgay, 2008), artifacts (Prior, 2003), and interviews (Smagorinsky, 2008; Smagorinsky & Coppock, 1994). I used qualitative methods of coding analysis (Charmaz, 2006; Ezzy, 2002; Saldaña, 2009) and visual analysis (Riessman, 2008; Rose, 2001), as well as arts-based methods for educational research (Cahnmann-Taylor & Siegesmund, 2008). This study fills a gap in empirical research in both English education and special education by examining English teachers integrating art in classes for students with dis/abilities. Furthermore, understanding how teachers experience visual arts integration can inform methods courses for teaching secondary English educators.
Keywords: Visual arts integration, arts-based learning strategies, secondary English language arts, teaching students with dis/abilities, teacher experience, meaning construction, a/r/tography, visual research methods, arts-based educational research, qualitative research
歐用生. (2012). 邁向詩性智慧的行動研究. 教育學術彙刊, 4(1), 1-24+26-28. https://doi.org/10.6434/BER.201206.0001
Abstract
The development of teacher action research in Taiwan is apparently flourishing, but actually questionable. In this paper, a new approach of action research, based on the concepts of A/r/t and poetic wisdom, is proposed to improve the problem of action research. These approachs investigate the problems of curriculum and instruction from the views of hermeneutics, esthetics and art, emphasize the art literacy of teachers, and highlight the art-based research on teacher. In short, it opens a new door for action research in future. The concepts of A/r/t and poetic wisdom are interpreted and their implications on action research are also discussed in this paper.