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Artistic Mentoring as a Decolonizing Methodology

An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez

Medium: Buch
ISBN: 978-90-04-39282-3
Verlag: Brill
Erscheinungstermin: 23.07.2020
Lieferfrist: bis zu 10 Tage

To expand the possibilities of “doing arts thinking” from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez is grounded in Indigenous perspectives on arts practice, arts research, and art education. Mentored in painting for eighteen years by two Guatemalan Maya artists, Kryssi Staikidis, a North American painter and art education professor, uses both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamines her positions as student, artist, and ethnographer searching to redefine and transform the roles of the artist as mentor, historian/activist, ethnographer, and teacher.

The primary purpose of the book is to illuminate the Maya artists as mentors, the collaborative and holistic processes underlying their painting, and the teaching and insights from their studios. These include Imagined Realism, a process excluding rendering from observation, and the fusion of pedagogy and curriculum into a holistic paradigm of decentralized teaching, negotiated curriculum, personal and cultural narrative as thematic content, and the surrounding visual culture and community as text.

The Maya artist as cultural historian creates paintings as platforms of protest and vehicles of cultural transmission, for example, genocide witnessed in paintings as historical evidence. The mentored artist as ethnographer cedes the traditional ethnographic authority of the colonizing stance to the Indigenous expert as partner and mentor, and under this mentorship analyzes its possibilities as decolonizing arts-based qualitative inquiry. For the teacher, Maya world views broaden and integrate arts practice and arts research, inaugurating possibilities to transform arts education.


Produkteigenschaften


  • Artikelnummer: 9789004392823
  • Medium: Buch
  • ISBN: 978-90-04-39282-3
  • Verlag: Brill
  • Erscheinungstermin: 23.07.2020
  • Sprache(n): Englisch
  • Auflage: Erscheinungsjahr 2020
  • Serie: Doing Arts Thinking: Arts Practice, Research and Education
  • Produktform: Kartoniert
  • Gewicht: 558 g
  • Seiten: 378
  • Format (B x H x T): 153 x 232 x 23 mm
  • Ausgabetyp: Kein, Unbekannt
Autoren/Hrsg.

Autoren

Osiyo: Welcome in Cherokee

Christine Ballengee Morris

Foreword

Luke Eric Lassiter

Acknowledgements

List of Figures

Introduction

Mentor Biographies

Pedro Rafael González Chavajay

Joseph Johnston

Paula Nicho Cúmez

Joseph Johnston

Salvador Cúmez Curruchich

Joseph Johnston

PART 1: The Artist as Mentor: The Mentoring Relationship as a Teaching Method and Paintings as Didactic Tools

Introduction to Part 1: The Artist as mentor Pastor Maya (Maya Pastor)

1 Personal and Cultural Narrative as Inspiration: A Painting and Pedagogical Collaboration with Two Maya Artists

A Problem of Perspective

A Problem of Practice

Perspective and Practice in Context

Decolonizing Methodologies

Results

Life as Text

Discussion

Applications

Conclusion

2 Where Lived Experience Resides in Art Education: A Painting and Pedagogical Collaboration with Paula Nicho Cúmez

Introduction

Reflections on Feminist Pedagogy

Female Kaqchikel Maya Painting and Teaching Processes

Owning One’s Narrative in Collaboratively Produced Paintings

Weaving Women’s Iconography in Paintings

Fusion: One Imagines the Painting into Being

Kaqchikel Women Painters’ Iconography: Personal in Cultural

Maya Women Painters as Role Models

Asserting Female Ways of Connected Knowing and Teacher/Student Role Reversals

A Feminist Teacher’s Strategy: To Elicit

Conclusion

PART 2: The Artist as Historian: Paintings as Historical Documents, Sites for Cultural Transmission, and Platforms of Protest and Resistance

Introduction to Part 2: The Artist as Historian, Massacre en Atitlán (Massacre in Atitlán)

Painting as a Site for Claiming Maya History

3 Maya Paintings as Teachers of Justice: Art Making the Impossible Possible

The Maya Painting Movement in Context

Our Values Must Be Salvaged and Presented to Our Children

4 Crossing Borders

5 Advocating for Justice: A Maya Painter’s Journey

A Story of Courage

The Anthropology of Genocide: Annihilating Difference (Hinton, 2002)

A Brief Overview of Guatemalan History

A Tragic Moment in History: Massacre in Santiago Atitlán December 3, 1990

Pedro Rafael González Chavajay’s Story

PART 3: The Artist as Ethnographer: Collaborative Ethnography, Decolonizing Research Practice, and the Ethics of Representation

Introduction to Part 3: The Artist as Ethnographer, Nuestra Amistad (Our Friendship)

6 “Coming of Age in Methodology”: Two Collaborative Inquiries with Shinnecock and Maya Peoples

Diane’s Research Story

Shinnecock Museum

Kryssi’s Research Story

Conclusion: Closing the Distance

Section 1: Ethical Changes in Representation Phase One – Participants and Research Process

7 Visual Privileging: Subjectivity in Collaborative Ethnography

8 Decolonizing Development through Indigenous Artist-Led Inquiry

Speaking with, Not for or about Others

The Recounting of Tales, Myths and Readings

Approaching Arts-Based Inquiry with Eyes Wide-Open

Researching in Ways that Might (Dis)Serve Multiple Populations

Conclusions

Section 2: Ethical Changes in Representation Phase Two – Relational Presentation

9 Indigenous Methodologies: A Collaborative Painting with Maya Painter Paula Nicho Cúmez

Introduction

A Collaborative Painting with Maya Painter Paula Nicho Cúmez

Conclusion

10 The Inseparability of Indigenous Research and Pedagogy: A Collaborative Painting of a Maya Tz’utuhil Grieving Ritual

Sharing Pain and Happiness

We Shared This

La Consolación

Oh What a Wonderful Theme

You Were the Author of This Painting

You Were There

Reality of a Community

This Painting Carries Something Important

We Have Gotten to Know Each Other

Part of a Larger Story

PART 4: The Artist as Teacher: Transformations of the Academy and the Artist/Teacher

Introduction to Part 4: The Artist as Teacher, La Consolacion (Condolence)

Section 1: Transformations: Curricular Applications to Teaching

11 Learning OUTSIDE the Box: How Mayan Pedagogy Informs a Community/University Partnership

Inroads: Art Education

Connections: Transferring Knowledge across Cultures

The Specifics

How It Unfolded: Step by Step

Negotiating Learning

Leadership: Novices Become Experts

Cultural Narratives: Paths to Learning

Co-Mentoring, Friendship, and the Co-Construction of Knowledge

Conclusions and Implications Situated Learning: The Local Context

12 Maya Teaching Methods: Transformers of Content and Pedagogy in Higher Education

Part One: Working out of Maya Studios

Part Two: Walk the Talk

Conclusion

Section 2: Transformations: Self-Reflections of the Artist/Teacher

13 Interior Paths: Transformations of a Painter

El Rapto del Gallo (Abduction of the Rooster): The Absence of Presence in Art Education

Vendedora De Gallos (Seller of Roosters): Paths in as Lived Experience

Conclusion: Who Rules the Roost?

14 Decolonizing Methodologies and the Ethics of Representation: A Collaborative Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez

Introduction: Ethnography in Art Education

Description of the Study: A Collaborative Ethnographic Study

Language

Dismantling Concepts: Research, Benefits, Researcher Subjectivity

Confidentiality and Representation: How Will the Results Be Disseminated?

Discussion: A Growing Discomfort

Conclusion

15 Conclusion

Discoveries

Through the Lens of Life and Death

Reciprocity and Relationship

Doing Arts Thinking

Expanding the Possibilities: Arts Thinking Grounded in Indigenous Perspectives

Artistic Mentoring as a Decolonizing Methodology

Index