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In western societies, the persona of the artist has largely been associated with prevailing myths of the creative individual including the artist as genius and outsider. In my inquiry I endeavored to understand what it means to be an artist from the perspective of budding “creatives”. In this study I explored the process of becoming an artist that is how college students construct and navigate an artistic self (selves), and the factors that influenced this process. My purpose in this multiple text narrative inquiry was to discover how undergraduate art majors construct and navigate their artistic identity/identities, particularly while engaged in an artistic undergraduate research (UR) experience. I selected to explore students engaged in an undergraduate research project as a way to understand the process of artistic becoming within a unique educational practice, and to determine the role of creativity within this process.
This dissertation discusses how engaging in arts-based identity exploration activities can help traditional-age undergraduates (ages 18-24) develop increased self-awareness and cultural sensitivity. The dissertation first explores the participatory inquiry paradigm and the roles of artistic/creative expression in holistic knowledge creation and transformative learning. It then provides an overview of the field of arts-based inquiry and its wide variety of approaches. The following chapters discuss traditional-age undergraduate identity development and how arts-based identity exploration activities can be used in undergraduate multicultural social justice courses to foster self-awareness and cultural sensitivity. Chapter 8 discusses the author's Spring 2016 in-class research at The Ohio State University, in which 50 students from a wide variety of majors engaged in various arts-based identity exploration activities. It was conducted within two sections of the general education course "Visual Culture: Investigating Diversity and Social Justice."
This project uses co-learning strategies to guide students in using media art to explore their identities. My goal is to help art educators and other readers understand how student centered learning can enrich the experience of both students and teachers investigating identity. My research questions are: What happens when students are invited to explore the complexity of their identities through media art? How can I, from an "outsider" perspective, guide my students to explore culture and identity? Coming from a traditional educational background, how can I employ student-centered learning to structure my student-teaching? I conducted this seven-week action research project in a public high school on Chicago's west side. Mexican immigrants comprise the majority of the school's student body. The surrounding neighborhood struggles with gangs and gun violence, poverty, and the criminalization of brown and black youth by police. Traveling between home and school often poses safety concerns for students. Because many students also work part-time jobs before or after school, they are frequently tired in class, which affects their participation and productivity. In conducting my research, I focused more on students' planning and concepts than on their completed art. I documented and reflected on my teaching and my conversations with individual students as well as their conversations among themselves. I also collected and analyzed students' artwork and writings. As participants in the IB Middle Years Programme, they strive to be creative, critical and reflective artists and thinkers. Practicing art, however, is not like practicing science; there are many ways to solve a problem. When students were invited to explore their identity, they expressed resistance against the project because they were unfamiliar with the subject matter and fearful of presenting their thoughts. I listened patiently to their concerns and explained that it takes courage to learn new things about ourselves and that struggle is part of any successful endeavor. With this support, many students overcame their shyness and discomfort, and started to find their voices as artists and self-advocates. This research provides a resource for further exploration in individual and community advocacy through art-making.
In the new world of work and organizations, creating and maintaining a positive identity is consequential and challenging for individuals, for groups and for organizations. New challenges for positive identity construction and maintenance require new theory. This edited volume uncovers new topics and new theoretical approaches to identity through the specific focus on positive identities of individuals, groups, organizations and communities. This volume aims to forge new ground in identity research and organizations through a compilation of new frame-breaking chapters on positive identity written by leading identity scholars. In chapters that build theoretical and empirical bridges between identity and growth, authenticity, relationships, hope, sustainability, leadership, resilience, cooperation, and community reputation and other important variables, the authors jumpstart an exciting domain of research on new ways that work organizations are sites of and contributors to identities that are beneficial or valuable to individuals or collectives. This volume invites readers to consider, "When and how does applying a positive lens to the construct of identity generate new insights for organizational researchers?" A unique feature of this volume is that it brings together explorations of identity from multiple levels of analysis: individual, dyadic, group, organization and community. Commentary chapters integrate the chapters within each level of analysis, illuminate core themes and unearth new questions. The volume is designed to accomplish three objectives: To establish Positive Identities and Organizations as an interdisciplinary, multi-level domain of inquiry To integrate a focus on Positive Identity with existing theory and research on identity and organizations To map out a vibrant new research territory in organizational studies . This volume will appeal to an international community of scholars in Management, Psychology, and Sociology, as well as practitioners who seek to generate positive identity-related dynamics, states and outcomes in work organizations.
This book explores the relationship of three professional identities that often intersect in the lives of art practitioners, educators, and students. Challenging conventional wisdom about specialization and professional identity, Alan Thornton shows that many individuals have complex, varied, and evolving relationships with visual art.
"Identities undergo a series of influences, shifts, and dialogic constructions; this is especially true throughout adolescence and in relation to political and social situations within communities. A review of identity development literature coupled with research on multimodal creative expression reveals the ways in which identity is constructed and influenced by competent actors in our lives. As such, Hull and Katz (2006) suggest that "we enact the selves we want to become in relation to others - sometimes in concert with them, sometimes in opposition to them, but always in relation to them" (p. 47). Our sense of self and identity is informed and tempered by social, cultural, and historical contexts that we engage with and contribute to with others. This research incorporates the perspectives of both teachers and students as they are engaging in a dialogic exchange of identity expression in the visual arts, as well as engaging in teacher-to-student and student-to-teacher relationships that can foster trust and confidence during a time of adolescent identity exploration and establishment. Grounded in the theoretical foundations and approaches of the Dialogic Self Theory, Aesthetic Education Theory, and Critical Aesthetic Pedagogy, the arts-informed qualitative, phenomenological study seeks to understand the dialogic construction of identity through the visual arts at EHS"--Page xiii
A student's personal identity constantly changes as part of the lifelong human process to become someone who matters. Art educators in grades K-16 have a singular opportunity to guide important phases of this development. How can educators create a supportive space for young people to work through the personal and cultural factors influencing their journey? Laura Hetrick draws on articles from the archives of Visual Arts Research to approach the question. Juxtaposing the scholarship in new ways, she illuminates methods that allow educators to help students explore identity through artmaking; to reinforce identity in positive ways; and to enhance marginalized identities. A final section offers suggestions on how educators can use each essay to engage with students who are imagining, and reimagining, their identities in the classroom and beyond. Contributors: D. Ambush, M. S. Bae, J. C. Castro, K. Cosier, C. Faucher, K. Freedman, F. Hernandez, L. Hetrick, K. Jenkins, E. Katter, M. Lalonde, L. Lampela, D. Pariser, A. Pérez Miles, M., and K. Schuler. Laura Hetrick is an assistant professor of art education at the University of Illinois, Urbana-Champaign, and the coeditor of the journal Visual Arts Research.
This timely book explores the transitional experiences of undergraduates in minority groups studying at university and how arts methods and practices can play an important role in facilitating these transitions. Based on research from UK universities, this volume is the first to draw together the experiences of educators in the humanities and social sciences who integrate sensory methodologies in taught curriculum, in relation to arts educators who add extra-curricular arts practice. It offers an original, contextualised analysis of how to enable university structures to adapt to complexity, difference, and diversity, taking the view that arts practice forms meeting points for confident interconnection and spaces of self-representation. It outlines the novel concept of sensory transition in how arts practices can be used to address issues of inclusion, diversity, and self-representation for minority groups. Each chapter offers an in-depth analysis of significant issues, such as dimensions of race, gender, and class and the specificities of social and cultural group experiences as they occur in arts practice. The book reflects on the decolonisation of university structures and curriculum and demonstrates how universities can support students and build spaces for self-representation in academic courses. Accessible and investigative, this book is essential reading for academics, researchers, and postgraduate students in the field of higher education, inclusion, and arts methods. It will also be of great interest to higher education staff interested in decolonisation, diversity, and university futures.
This thesis presents the epistemological context, plan and implementation of a study employing a variety of art projects aimed at facilitating arts-oriented inquiries into identity for classes of multicultural and multilingual pre-teenagers. Furthermore, this thesis presents a parallel process of identity exploration on the part of the author of this work, a teacher-researcher engaging in similar forms of arts-oriented inquiry through the fashioning of "creative interludes." Grounding the work in theories of identity development, and theories of the stages of development of visual arts skills and capacities in elementary school age students, the author aimed to explore the possibilities of discovery and affirmation of identity in these students through the lenses of a/r/tography, creative dynamic, and self-portraiture. After first framing the work in terms of important ethical considerations related to the setting of the research, the author presents the creative projects that were made by these pre-teenagers. The artworks become mirrors of their makers and provide numerous opportunities for educators to see traces of the childrens' identity explorations in their art. Finally, the author explores her own identity development as an artist, a teacher, a researcher, and a woman, along with how these different identities symbiotically influence each other.