Artistic Mentoring as a Decolonizing Methodology
An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez
Gebonden Engels 2020 9789004392830Samenvatting
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.
Specificaties
Lezersrecensies
Inhoudsopgave
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
Rubrieken
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- economie
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