The Routledge Companion To Decolonizing Art Craft And Visual Culture Education

This companion demonstrates how art, craft, and visual culture education activate social imagination and action that is equity- and justice-driven. Specifically, this book provides arts-engaged, intersectional understandings of decolonization in the contemporary art world that cross disciplinary lines. Visual and traditional essays in this book combine current scholarship with pragmatic strategies and insights grounded in the reality of socio-cultural, political, and economic communities across the globe. Across three sections (creative shorts, enacted encounters, and ruminative research), a diverse group of authors address themes of histories, space and land, mind and body, and the digital realm. Chapters highlight and illustrate how artists, educators, and researchers grapple with decolonial methods, theories, and strategies—in research, artmaking, and pedagogical practice. Each chapter includes discursive questions and resources for further engagement with the topics at hand. The book is targeted towards scholars and practitioners of art education, studio art, and art history, K-12 art teachers, as well as artist educators and teaching artists in museums and communities.

"This collection of essays explores posthuman approaches to social studies education, challenging the field to think differently about the precarious status of the world. Authors examine how educators and scholars can foster more ethical ways of teaching, learning, and researching by cultivating a greater sense of attunement to the more-than-human"--

This volume brings together work developing storytelling and narrative as an educational methodological framework. Chapters foreground scholarship that helps promote creating change, both educational and societal, through the use of critical storytelling regarding diversity, equity, inclusion, and justice (DEIJ). These include both narratives of challenges and possibilities that educators sometimes encounter in research spaces when intentionally centering DEIJ in their educational practice. Chapters also pay close attention to research ethics and explore epistemological alternatives and attempt to find ways toward generative dialogue regarding the reception and implementation of culturally-relevant pedagogy. This collection offers much sustained reflection on shared and sharable ways of knowing that interrogate the very philosophical foundations of education, pointing us to ever-more equitable futures.

BIPOC Alliances: Building Communities and Curricula is a collection of reflective experiences that confront, challenge, and resist hegemonic academic canons. BIPOC perspectives are often scarce in scholarly academic venues and curriculum. This edited book is a curated collection of interdisciplinary, underrepresented voices, and lived experiences through critical methodologies for empowerment (Reilly & Lippard, 2018). Gloria Anzaldu a’s (2015) autohistoria-teorí a is a lens for decolonizing and theorizing of one’s own experiences, historical contexts, knowledge, and performances through creative acts, curriculum, and writing. Gloria Anzaldu a coined, autohistoria-teorí a, a feminist writing practice of testimonio as a way to create self-knowledge, belonging, and to bridge collaborative spaces through self-empowerment. Anzaldu a encouraged us to focus towards social change through our testimonios and art, “[t]he healing images and narratives we imagine will eventually materialize” (Anzaldu a & Keating, 2009, p. 247). For this collection, we use lived experience or testimonios as an approach, a method, to conduct research and to bear witness to learners and one’s own experiences (Reyes & Rodrí guez, 2012). Maxine Greene’s (1995) concept of an emancipated pedagogy merges art, culture, and history as one education that empowers students with Gloria Anzaldu a’s (2015) autohistoria-teorí a to re-imagine individual and collective inclusion by allowing students “... to read and to name, to write and to rewrite their own lived worlds” (Greene, 1995, pp. 147). Greene and Anzaldu a reach beyond theorizing and creating curriculum for awareness and expand the crossings into active and critical self- reflective work to rewrite one’s own empowered stories and engage in a healing process.

Step-by-step advice for constructing a qualitative project from beginning to end, covering both foundational theory and real-world application Qualitative Research Methods: Collecting Evidence, Crafting Analysis, Communicating Impact guides you through sequential stages of a qualitative research project, from project design and data collection to analysis, interpretation, and presentation. Drawing on her background in qualitative research methods and human communication, Sarah J. Tracy shares personal and backstage stories while showing you how to code data, craft meaningful claims, develop theoretical explanations, and communicate research that impacts key stakeholders. Employing a practical, problem-based contextual approach, the third edition of Qualitative Research Methods incorporates developments in textual, media, visual, arts-based, and digital analysis. New coverage includes social media data-scraping techniques, AI and ChatGPT, fieldwork and interviewing, digital ethnography, working with neurodivergent populations, adopting digital and traditional archival approaches, and much more. This edition includes a wealth of new examples, case studies, discussion questions, full-color visuals, and hands-on “Project Building Blocks” activities you can use at any stage of your qualitative research project. Supported by a companion website containing extensive teaching and learning tools, Qualitative Research Methods: Collecting Evidence, Crafting Analysis, Communicating Impact is an indispensable resource for undergraduates, graduate students, and faculty across multiple disciplines, as well as researchers, ethnographers, and user experience professionals looking to hone their methodological practice.

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.

International in scope, this volume brings together leading and emerging voices working at the intersection of contemporary art, visual culture, activism, and climate change, and addresses key questions, such as: why and how do art and visual culture, and their ethics and values, matter with regard to a world increasingly shaped by climate breakdown? Foregrounding a decolonial and climate-justice-based approach, this book joins efforts within the environmental humanities in seeking to widen considerations of climate change as it intersects with social, political, and cultural realms. It simultaneously expands the nascent branches of ecocritical art history and visual culture, and builds toward the advancement of a robust and critical interdisciplinarity appropriate to the complex entanglements of climate change. This book will be of special interest to scholars and practitioners of contemporary art and visual culture, environmental studies, cultural geography, and political ecology.

Projects that bring the ‘hard’ sciences into art are increasingly being exhibited in galleries and museums across the world. In a surge of publications on the subject, few focus on regions beyond Europe and the Anglophone world. Decolonizing Science in Latin American Art assembles a new corpus of art-science projects by Latin American artists, ranging from big-budget collaborations with NASA and MIT to homegrown experiments in artists’ kitchens. While they draw on recent scientific research, these art projects also ‘decolonize’ science. If increasing knowledge of the natural world has often gone hand-in-hand with our objectification and exploitation of it, the artists studied here emphasize the subjectivity and intelligence of other species, staging new forms of collaboration and co-creativity beyond the human. They design technologies that work with organic processes to promote the health of ecosystems, and seek alternatives to the logics of extractivism and monoculture farming that have caused extensive ecological damage in Latin America. They develop do-it-yourself, open-source, commons-based practices for sharing creative and intellectual property. They establish critical dialogues between Western science and indigenous thought, reconnecting a disembedded, abstracted form of knowledge with the cultural, social, spiritual, and ethical spheres of experience from which it has often been excluded. Decolonizing Science in Latin American Art interrogates how artistic practices may communicate, extend, supplement, and challenge scientific ideas. At the same time, it explores broader questions in the field of art, including the relationship between knowledge, care, and curation; nonhuman agency; art and utility; and changing approaches to participation. It also highlights important contributions by Latin American thinkers to themes of global significance, including the Anthropocene, climate change and environmental justice.