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: JUN 25, 2023
Burke, G., & Cutter-Mackenzie, A. (2010). What’s there, what if, what then, and what can we do? An immersive and embodied experience of environment and place through children’s literature. Https://Doi.Org/10.1080/13504621003715361, 16(3–4), 311–330. https://doi.org/10.1080/13504621003715361
We describe an immersive investigation of children’s contemporary picture books, which examines concepts of environment and place. The authors’ experience occurred through and alongside a community of learners, of preservice teachers and young children, in an urban coastal community, as part of an undergraduate, pre‐service teacher education unit. Participants were led through the experience utilizing techniques informed by immersive art pedagogy, to foreground the in‐between dispositions of their roles as artists, researchers, and teachers (A/r/tography), and their emerging roles as environmentalists (A/r/t‐e‐ography). Our investigation of the relationship between picture books and inquiry into their embodied experiences with the books awakened an awareness of environment and place, taking us from what’s there? to what if? to what then? to what can we do? This reflexive process provides an entry point into the second part of the article, a focused autoethnographic account of how environment and place might be treated pedagogically using Jeannie Baker’s 1991 book, Window.
Codack, R. (2010). Portrait of the artist/researcher/teacher: A reflection on the nature of learning. Journal of Unschooling and Alternative Learning, 4(7), 89–145. https://doaj.org/article/62a7402b5a31400d91eebc00757bd66a
This research paints a portraitboth literally and figurativelyof the practice of an artist/researcher/teacher. Arts-based inquiry is used as a methodology for self-examination into the art, research, and teaching practice of the author, using the critical theories of unschooling and a/r/tography as a contextual platform.
Cullen-Reavill, M. F. (2010). Exploring the first year of teaching through focus group discussions, ethno -mimesis, a/r/tography, and performance ethnography [Doctoral dissertation, University of Denver]. https://www.proquest.com/docview/304876424?accountid=14656&pq-origsite=summon
The United States is focusing on the important and worthy goal of no child being left behind and in order to accomplish this goal, we must ensure that no teacher, including the first-year teacher, is left behind. This study explores, on a monthly basis, the experiences of three first-year teachers and uncover the successes, challenges, supports, and needs that they encounter.
Five research questions guided this study: (1) What are the experiences of a group of first-year teachers and in what ways were these experiences challenging, supportive, or detrimental? (2) What are the benefits for the first-year teachers in meeting monthly with other first-year teachers in a non-evaluative seminar setting to reflect upon and describe their experiences? (3) What is the value in using a descriptive feedback process (Rodger’s 2006) in focus group discussions with first-year teachers and what effect does the process have on the reflective practices of the first-year teachers? (4) What effect does the process of creating visual have on the first year teacher’s ability to reflect upon and express their experiences in meaningful ways? (5) What are the implications of this study for teacher education programs, schools, districts, and induction and mentoring programs? Focus group discussions, ethno-mimesis, a/r/tography, and performance ethnography are used to explore the first-year teachers’ experiences. Findings from the study demonstrated that the first-year teachers endured a significant transition from student teaching to teaching and encountered unexpected situations over which they had minimal control. They faced challenges with student behaviors and stressful events such as classroom parties. They encountered varying levels of support from teammates, colleagues, principals, and parents. This study’s monthly seminar meetings in a non-evaluative setting were beneficial to the first-year teachers and provided them with the opportunity to focus on the development of reflective practice. This study also demonstrated that a descriptive feedback process (Rodger’s 2006) was detrimental rather than beneficial in conducting focus groups, but proved useful during data analysis. This study’s use of art as a process of discovery led the first-year teachers to take more risks and teach more creatively than they would have otherwise.
Ghecevici, A. C. (2010). Learning from and about artists : identity, place, practice [MA thesis, The University of British Columbia]. https://doi.org/10.14288/1.0069967
Learning From and About Artists: Identity, Place, Practice is an inter-personal exploration of thought-processes and activities involved in teaching and artistic practices. As an a/r/tographical living inquiry, the work investigates, disrupts, interprets, and re-creates understandings about how these practices relate to each other and how the three artists participating in the research negotiate their identities within/in-between teaching and making art. The general understanding of who artists are, how/why they produce art, and what/how/why they teach, is problematic if not vague. This investigation helps understand the relation among these questions and the conceptual connections brought forward by and manifested within theory as practice. Starting with the artistic process as shaped by the artists’ educational background, by the artist-teacher identity, and by the studio environment, the inciting question of the research is the following: how do artists understand their artistic practice in relation to their teaching practice? The participants in this study are three practicing artists who are or have been involved with teaching art. Conversations with artists Scott Plear and Thomas Anfield and visits to their studios offered the opportunity to interrogate and explore reflectively and reflexively through conversation, art making and writing. Thinking, values, and ideas transgress and transform with the visuals and texts and the dissolved researcher – researched binary opposition is carried through by a circulation in-between conventional positionings as well as by an autobiographical dimension of the research. This work is significant in its acquired understandings. Art and teaching practices are interconnected and informing each other. Identity, place, practice reflect a processual being-knowing-doing strongly related to a context of perpetual change. A cyclical re-affirmation, with the emphasis on the co-relational slash, draws on a multifaceted artist/teacher identity, thus meeting the conditions of a/r/tography. Vulnerability and Repetition emerge as active concepts and constitute a meaningful commitment to a learning-to-learn performance. The possibilities and experiences of this a/r/t inquiry should inspire teachers, regardless of their practice, to undertake such relational process.
Moriarty, C. S. (2010). Music as a “language” of expression for understanding multiplication in grade three [MA thesis, The University of British Columbia]. https://doi.org/10.14288/1.0069983
This study explored how music could be used as a language of expression for understanding multiplication for grade three children. Using a/r/tography as a research methodology, a class of grade three students, their teacher, and I worked together on a coemergent inquiry project to create musical compositions that conveyed meanings about multiplication to the listener. The design of this a/r/tographic inquiry involves the components of the cyclical Inquiry Process used by the International Baccalaureate program, as well as the Reggio Emilia’s approach, known as Progettazione, which involves emergent, child centered project work. Through my research I offer credence to the area of interdisciplinary studies at the early childhood level. Such studies support the development of new notions and forms of music instruction—created by and for children—that advance both music and related learning. As is evident in my account, I demonstrated how music (1) can be taught in and of itself, (2) can be thought of as a medium (i.e., a “language,” as in the Reggio definition) for the expression of concepts in multiplication, (3) is instrumental in fostering knowledge of both musical and mathematical concepts, and (4) when linked with mathematics, can show learning transfer and access related learning between the two disciplines. This study contributes to on-going scholarly conversations concerning the present structure and role of the music teacher (and other “specialists”) in our schools.
Rees, J. (2010). Art education in Canada: reflections from scholars impacting the field. International Journal of Education Through Art, 6(1), 25–40. https://doi.org/10.1386/ETA.6.1.25_1
This study discerned trends in contemporary Canadian art educational research through interviews with key scholars at leading Canadian universities. The art educators interviewed included Fiona Blaikie, Roger Clark, Kit Grauer, Rita Irwin, Jan Jagodzinski, Anna Kindler, Cathy Mullen, Harold Pearse and David Pariser. Canadian art education is noteworthy for alternative research practices that include arts-based research, arts-informed research and a/r/tography. In the interviews, Canadian scholars discussed their contributions towards the field and its evolution from the trajectories of social theory to descriptive research. In addition, they brought to light current debates about the validity of arts-based research and visual culture studies.
Pourchier, N. M. (2010). Art as Inquiry: A book Review of being with a/r/tography. The Qualitative Report; Fort Lauderdale, 15(3), 740–745. https://www.proquest.com/docview/578451782?accountid=14656&pq-origsite=summon
In this essay, the edited anthology, Being with A/r/tography (Springgay, Irwin, Leggo, & Gouzouasis, 2008) is reviewed in regard to its relevance to visual arts research. Art is presented as a method of inquiry as theory, dialogue, and a/r/tographic works are shared within a community of practicing arts-based researchers. This text offers insight into the possibilities of the arts as active and perceptive modes of inquiry.
Lea, G. W. (2010). Research in three acts: Approaches to developing research-based theatre [Master’s thesis, The University of British Columbia]. https://doi.org/10.14288/1.0071129
This thesis explores the artistic development of three research-based theatre productions at The University of British Columbia faculty in 2009. Each was developed using one of the three approaches to research-based theatre identified in the literature: collective, combined: collective/playwright, and playwright-centered. The experience of working in each of the three approaches is closely examined in this descriptive/exploratory case study (Winston, 2006, p. 49) based primarily on my critical reflections. The discussions of the projects are stylistically independent; however, each is guided by two central questions (1) how meanings are constructed in each approach and (2) how each approach may create and inhibit meaning-making. In the first chapter, I propose research-based theatre as an umbrella term for the use of theatre in research. I also identify three approaches to developing research-based theatre and situate them in using examples from both scholars and theatre artists. The discussion of Drama as an Additional Language in chapter two attempts to weave research-based theatre with a/r/tography. Chapter three focuses on Naming the Shadows, exploring the complexities of adding additional artists in the playwright-centered approach. The development of Centering the Human Subject is used in chapter four to develop a scribe–artist continuum upon which the development of productions using the combined: collective/playwright may be better understood. The final chapter weaves script and prose to theatrically explore issues which cut across the three discussions and offer suggestions for further research and inquiry.
Wiebe, S. (2010). A poet’s journey as a/r/tographer: Poetic inquiry with junior high school students. LEARNing Landscapes, 4(1), 239–253.
In this paper I explore the connection between a/r/tography and poetic inquiry, and how together they cultivate multiple ways of understanding. I further claim that classroom situations are most provocative of thoughtfulness and critical consciousness when each student participates in the classroom conversation from his or her lived situations. While difficult, teachers who can facilitate rich interchanges of dialogue within a plurality of voices are genuinely creating communities of difference and thus imagining real possibilities for social change.