scholarly journals Rendering Beyond_words in Transitioning to Motherhood Through Visual and Dramatic Arts

2017 ◽  
Vol 17 (3) ◽  
Author(s):  
Victoria Scotti ◽  
Nancy Gerber
Keyword(s):  
Research Methods ◽  
Philosophical Tradition ◽  
Cultural Stereotypes ◽  
Arts Based Research ◽  
Sensory Experiences ◽  
Research Perspectives ◽  
The Arts ◽  
Dramatic Arts ◽  
The Aesthetic ◽  
Final Synthesis

The purpose of this doctoral dissertation research study was to use arts-based research methods to explore the beyond_words  phenomena of first-time mothers who were in the process of transitioning to motherhood. The multidimensional embodied, emotional, and sensory experiences that accompany new motherhood can be overwhelming, be difficult to articulate verbally, and impact the perceptions of the new mother’s relationship to herself and her child (Crossley, 2009; Lintott & Sander-Staudt, 2011; Prinds et al., 2014).In order to honor and capture the emergent, vital, and multi-dimensional nature of beyond_words in transitioning to motherhood, in this study, arts-based research methods were used to explore and represent these phenomena, otherwise inexpressible in words. The arts-based results are presented as five portrait syntheses and a final synthesis play in four acts that bring to life and invite the viewer to live the mothers’ beyond_words experiences, while simultaneously positioning them within the wider context of current medical and health sciences research perspectives. The final synthesis, which is the featured dramatic play, aspires to give voice and aesthetic power to these mothers’ beyond_words transitioning to motherhood experiences. In the philosophical tradition of ABR (Leavy, 2009, 2015), this study marries the rigor of research with the aesthetic power of the visual and dramatic arts challenging existing assumptions, beliefs, and cultural stereotypes about motherhood and disseminating the results to relevant stakeholders.

scholarly journals Madhubani Art: A Journey of an Education Researcher Seeking Self-Development Answers through Art and Self-Study

2014 ◽  
Author(s):  
Kavita Mittapalli ◽  
Anastasia Samaras
Keyword(s):  
Doctoral Students ◽  
Research Methods ◽  
Research Method ◽  
Research Study ◽  
Methods Course ◽  
Cultural Significance ◽  
Arts Based Research ◽  
The Arts ◽  
Self Study ◽  
Self Development

This study is situated within a self-study research methods course to scaffold doctoral students’ explorations of the intersections of their culture, and research interests using arts as a tool. Embracing the arts as a research method, the first author painted a self-portrait using the vibrant colors of Madhubani art which holds cultural significance to her. She utilized Blumer’s (1986) and Mead’s (1934) theory of symbolic interactionism to explain the process of her self-development as a researcher. Combining her self-portrait with an earlier research study proved valuable as a conduit for understanding and interpreting her work as a research methodologist. This study is valuable to others interested in studying their practice and research identity through an arts-based research method.

scholarly journals Neuroqueer(ing) Noise: Beyond ‘Mere Inclusion’ in a Neurodiverse Early Childhood Classroom

2020 ◽  
Vol 9 (5) ◽  
pp. 489-514
Author(s):  
David Ben Shannon
Keyword(s):  
Early Childhood ◽  
Research Methods ◽  
Autistic Children ◽  
Early Childhood Classroom ◽  
Arts Based Research ◽  
The Arts ◽  
Music Research ◽  
Mainstream School ◽  
British Education ◽  
Music And The Arts

Inclusion, as it is understood in a British education context, usually refers to the integration of children with dis/abilities into a mainstream school. However, rather than transform the school, inclusion often seeks to rehabilitate—to tune-up—the ‘divergent’ child’s noisy tendencies, making them more easily included. Music and the arts more broadly have long been instrumentalized as one way of achieving this transformation, relying on the assumption that there is something already inherently opposed to music—out-of-tune, or noisy—about that child. In this article, I think and compose with Neuroqueer(ing) Noise, a music research-creation project conducted in an early childhood classroom. I draw from affect and neuroqueer theories to consider how the instrumentalization of music as a way to include autistic children relies on the assumption that ‘they’ are already inherently unmusical. I consider how a deliberate attention to noise might help in unsettling ‘mere inclusion’: in effect, changing the mode we think-with in education, and opening us—researchers and educators—to momentarily say “No!” to ‘mere inclusion’. This article is of relevance to teachers working in early childhood classrooms, as well as to educational researchers interested in affect theories, crip-queer and neuroqueer theories, and neurodiversity, as well as sound- or arts-based research methods.

Festival as methodology: the African cultural youth arts festival

2015 ◽  
Vol 15 (2) ◽  
pp. 213-227
Author(s):  
Peter R. Wright ◽  
Peter M. Wakholi
Keyword(s):  
Research Approach ◽  
Participatory Action ◽  
Identity Exploration ◽  
Arts Based Research ◽  
Content Type ◽  
African Heritage ◽  
The Arts ◽  
And Performance ◽  
The Aesthetic ◽  
Performance As Research

Purpose – The purpose this paper is to consider festivals as sites for inquiry and learning. Design/methodology/approach – The research employed a pluralistic approach to the inquiry drawing on critical African-centred pedagogy, participatory action research, and performance as research inquiry. These arts-based research methods allowed insights to be gained in ways that were congruent to the arts and participants who enacted them. In total, 12 young people and six elders of diverse African heritage as well as two artists were participants in the research. Findings – The research revealed that the festival as a research methodology was both dialogic and performative and a rich site for the exploration of identity negotiation. Through these arts-based approaches the aesthetic elements often missed by traditional social science methods were highlighted as key in exploring acculturation socialistaion experiences and deconstructing exclusionist discourses emanating from the dominant culture. Research limitations/implications – The research affirmed the power of multi-modal approaches to research and the importance of evocative discourses in identity exploration and development. Originality/value – This research is the first known attempt to theorise an arts-based festival as a research approach in reference to enculturation and cultural memory.

Zygmunt Krasiński wobec sztuk pięknych / Zygmunt Krasiński and the Fine Arts

2013 ◽  
Vol 54 (2) ◽  
pp. 145-160 ◽  
Author(s):  
Olga Płaszczewska
Keyword(s):  
Fine Arts ◽  
Literary Tradition ◽  
Individual Sensitivity ◽  
What Works ◽  
The Arts ◽  
The Aesthetic ◽  
A Current ◽  
Aesthetic Preferences

Summary This is an attempt at examining Zygmunt Krasiński’s opinions and preferences with regard to the fine arts, a theme many critics believed to be missing from his writings. While putting things right, this article looks at the issues involved in his artistic choices, for example, what works or artists attracted his attention, in general, and to the point of him actually drawing on them in his own work or provoking him to some response (critical, approving, emotional, etc.). Furthermore, the article tries to explore the reasons and circumstances which may account for Krasiński’s interest in a given painting, print, or sculpture. It may have been the work’s theme as in the case of his ekphrasis of Ary Scheffer’s Dante and Virgil Encountering the Shades of Francesca and Paolo Di Rimini, where literary tradition provided the impulse, or the mode of its execution, or the personal ties with its author, or, finally, some other factors, like a current vogue or simply Krasiński’s individual sensitivity. The ultimate aim of all these inquiries is to outline Krasiński’s relationship with the arts (beaux arts) in the context of the aesthetic preferences of the epoch.

scholarly journals Aesthesis decolonial y los tiempos relacionales Entrevista a Rolando Vázquez

2016 ◽  
Vol 11 (18) ◽  
pp. 76
Author(s):  
Rolando Vazquez ◽  
Miriam Barrera Contreras
Keyword(s):  
Contemporary Art ◽  
The Arts ◽  
Palabras Clave ◽  
The Creation ◽  
The Senses ◽  
The Difference ◽  
The Aesthetic ◽  
Arte Contemporáneo ◽  
The Way

RESUMEN Hay que pensar la decolonialidad en relación a las artes. En esta entrevista exploramos cómo las artes decoloniales se diferencian de la estética moderna/colonial. La decolonización de la estética conlleva la liberación de a la aiesthesis, es decir de las formas de relacionarnos con el mundo y de hacer mundo a través de los sentidos. La aiesthesis decolonial se distingue de los principios del arte contemporáneo y en particular de su sujeción a la temporalidad moderna, abriéndonos hacia las temporalidades relacionales. Los artistas decoloniales ejercen una temporalidad distinta que conlleva no sólo una crítica radical al orden de la representación y de la visualidad modernas sino que también nos dan la posibilidad de entender a la decolonialidad cómo un movimiento cargado de esperanza, cargado de la posibilidad de nombrar y vivenciar los mundos interculturales que han sido negados. PALABRAS CLAVE Decolonialidad, tiempo relacional, esperanza, cuerpo, interculturalidad KAI SUTI AESTHESIS ÑAGPAMANDA KAUSAKUNA TUKUIKUNAWA TAPUCHI SUG RUNATA ROLANDO VÁSQUEZ SUTITA SUGLLAPI Kaipi kawachinakumi iska ruraikuna ñugpamanda chasallata kunaurramanda. Kai suti aiesthesis, kawachiku imasami pai kawa kawachimanda ukusinama paipa iuaikunawa. Aiesthesis kame tukuikunamanda sugrigcha.Lsx artistxs kawachinakumi ñugpamanda kausikuna munankuna kawachingapa charrami kausanakunchi parlanakumi ñugpata imasami mana lisinsiaskakuna allí ruraikuna tukuikunamanda. IMA SUTI RIMAI SIMI: Ñugpamanda, parlaikuna sullai, nukanchi kikin, tukuikuna. DECOLONIAL AESTHESIS AND THE RELATIONAL TIMES. INTERVIEW WITH ROLANDO VÁSQUEZ ABSTRACT We have to hink the decoloniality in relation with the arts. This interview explores the difference between the modern/colonial aesthetic and the decolonial arts. The aesthetic decolonization leads to the release of the aesthesis, ergo it relates in every way to the connection and creation of a world through the senses. The decolonial aesthesis is particularly different from the contemporary art principles in the way it grasps the modern temporality consenting the creation of a path toward relational temporalities. The decolonial artists exercise a different temporality that results in not only a radical criticism to the modern representation and visuality but it makes possible to understand the decolonialization as a hopeful movement, full of possibilities for naming and experiencing neglected intercultural worlds. KEYWORDS Decolonialization, relational time, hope, body, interculturality ESTEHÉSIE DÉCOLONIALE ET LE TEMPS RELATIONNELS. ENTRETIEN À ROLANDO VASQUEZ RÉSUMÉ Il faut penser la décolonisation en relation aux arts. Dans cet entretien on explore comment les arts décoloniaux sont différents de l’esthétique moderne-coloniale. La décolonisation de l’esthétique entraîne la libération de l’estehésie, c’est-à-dire, la libération des façons de nous mettre en relation avec le monde et d’en créer un nouveau à travers les sens. L’estehésie décoloniale se différence des principes de l’art contemporain, principalement pour son fixation à la modernité en nous emmenant vers les temporalités relationnelles. Les artistes décoloniaux exercent avec une temporalité qui n’implique pas juste une critique radicale à l’ordre de la représentation et de la vision moderne, mais aussi de la possibilité de comprendre la décolonisation comme un mouvement plein d’espoir, chargé d’une possibilité de nommer et de mettre en relief les interculturalités qu’ont été niées. MOTS-CLEFS Décolonisation, temps relationnels, espoir, corps, interculturalité ESTESIA DESCOLONIAL E O TEMPO RELACIONAL ENTREVISTA A ROLANDO VAZQUEZ RESUMO Temos que pensar a descolonização em relação as artes. Nesta entrevista é explorado como as artes descoloniais são diferentes da estética moderna-colonial. A descolonização da estética conduz a emancipação da estesia, isto é, das formas de relacionamento com o mundo e da fôrma de fazer mundo a partir dos sentidos. A estesia descolonial distinguese dos princípios da arte contemporânea particularmente pela fixação o tempo moderno, abrindo-nos para a temporalidades relacionales. Os artistas descoloniais exercem uma temporalidade diferente que implica não só uma crítica radical à ordem da representação e à visão moderna, mas também à possibilidade de entender a descolonização como um movimento cheio de esperança, carregado da possibilidade de designar e viver os mundos interculturais que foram negados. PALAVRAS CHAVES Descolonização, esperança, tempo relacional, fôrma, intercultural.   Recibido el 20 de enero de 2015 Aceptado el 26 de febrero de 2015

scholarly journals Research as Improvisation: Dancing among Perspectives

2015 ◽  
Author(s):  
Glenda-mae Greene ◽  
Shirley Freed
Keyword(s):  
Research Methods ◽  
Research Process ◽  
Research Perspectives ◽  
The Way ◽  
Dissertation Chair

This article captures the way research methods were intertwined with core identities to understand the success development of Caribbean-Canadian women. It highlights the importance of researchers experimenting with a blend of perspectives to fit their problem as well as their identity. Viewing the research process through the eyes of the researcher and her dissertation chair, issues of validity and collaboration emerge. Ultimately both authors listen to family voices as they dance among research perspectives.

scholarly journals Migration and art: exploring experiential and theoretical connections

2021 ◽  
Author(s):  
Eva Hellreich
Keyword(s):  
Arts Based Research ◽  
Social Construction Theory ◽  
The Arts ◽  
Canadian Art ◽  
Exploratory Investigation ◽  
Canadian Immigration ◽  
Immigration And Settlement ◽  
The Subject ◽  
Migratory Experience ◽  
The Impact

How can arts-based methodologies offer unique insights into contemporary migration and settlement experiences? Informed by qualitative research and a literature review which analyzes identity theory, social construction theory, and Canadian art organizations which support newcomer artists, this paper explores the potential for the intersection of the arts in immigration and settlement assessment. An exploratory investigation of the theory of art as linked to migration is illuminated by the experiences of a group of artists who have gone through a significant migratory experience and share their reflections on being artists in Canada. This paper argues that analyzing art created by immigrant artists offers insight into the contemporary Canadian immigration experience which quantitative data is unable to capture. Learning about the barriers which immigrant artists face through using arts-based research includes the subject in the research, thereby empowering and validating their lived experiences as valuable epistemologies and ontologies. Findings reveal the impact of acculturation on the identities of and opportunities available to immigrant artists in Canada. Key Words: Immigrant Art; Immigration and Toronto; Place-making; Acculturation; Hybridity; Identity

scholarly journals Una mirada a la parodia desde el formalismo ruso: "Tristram Shandy" de Laurence Sterne

2011 ◽  
pp. 299
Author(s):  
María Djurdjevic
Keyword(s):  
Cultural Theory ◽  
Laurence Sterne ◽  
Philosophical Tradition ◽  
Cultural Tradition ◽  
The Novel ◽  
Russian Formalism ◽  
Tristram Shandy ◽  
Postmodern Novel ◽  
The Times ◽  
The Aesthetic

El artículo aborda la revolucionaria lectura de la novela Tristram Shandy (1767) de L. Sterne por los formalistas rusos (Shklovski), que subrayó la importancia de los aspectos formal y paródico de esa obra, calificada también como la primera novela postmoderna. No obstante, la parodia como herramienta de reflexión metaliteraria está en uso desde la antigüedad griega. Se aborda paralelamente el hito principal de la teoría literaria y cultural rusa –la reconexión con la tradición filosófica premoderna– que ilustra que toda labor hermenéutica depende de las normas estéticas de la tradición cultural desde la cual se estudia.The article tackles a revolutionary reading of the Laurence Sterne’s novel Tristram Shandy (1767) by Russian Formalism (V. Shklovsky, 1921), focused on the importance of its formal and parodic aspects. The novel has also been assessed as the first postmodern novel in history. But the parody is being used as a tool for metaliterary thinking from the times of the Ancient Greece. Thus, this text also tackles the principal milestone of the Russian Literature and Cultural Theory –its reconnecting with the pre- Modern philosophical tradition– illustrating how our hermeneutic work depends on the aesthetic norms of the cultural tradition we belong to.

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