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Citation |
- Permanent Link:
- http://ufdc.ufl.edu/AA00030971/00001
Material Information
- Title:
- The Search for Me, Them, and Us: A Journey into Self and Culture
- Creator:
- Mayabb, Ashley Sterling
- Publisher:
- University of Florida
- Publication Date:
- 2014
- Language:
- English
- Physical Description:
- 1 online resource
Thesis/Dissertation Information
- Degree:
- Master's
- Degree Grantor:
- University of Florida
- Committee Chair:
- Delacruz, Elizabeth Manley
- Committee Co-Chair:
- Roland, Craig
Subjects
- Subjects / Keywords:
- Art education ( jstor )
Arts ( jstor ) Classrooms ( jstor ) Collage ( jstor ) Cultural identity ( jstor ) Cultural studies ( jstor ) High school students ( jstor ) Identity ( jstor ) Students ( jstor ) Teachers ( jstor )
Notes
- Abstract:
- The purpose of this capstone project was to examine how students' sense of self is constructed through facets of culture that could include social, global, and personal dimensions and how students utilize artistic practices to explore their individual identity and narrate their personal story. The study took the form of a six-week cultural identity unit at a small middle school in the suburbs of north Georgia. Over 30 eighth grade students of varying ethnic, racial, and economic backgrounds involved in this project engaged in a variety of informal conversations, writing options, art-making opportunities directed around concepts of culture and identity that
culminated in the creation of Artist Trading Cards and Culture Collages. Over the course of this project, I found that participants were eager to engage in critical dialogue when given the opportunity to engage subject matter that was personally relevant and art making opportunities
that allowed for exploration and experimentation. I’ve included within this capstone paper a summary of my research, findings, and recommendations for future study. The end product of my capstone study is a website containing my resources, lesson plans, and examples of student
work that other educators in and out of the field might find useful in their curriculum planning. The website can be accessed at www.selfandculture.weebly.com.
- General Note:
- Art Education terminal project
Record Information
- Source Institution:
- University of Florida Institutional Repository
- Holding Location:
- University of Florida
- Rights Management:
- Copyright Ashley Sterling Mayaab. Permission granted to the University of Florida to digitize, archive and distribute this item for non-profit research and educational purposes. Any reuse of this item in excess of fair use or other copyright exemptions requires permission of the copyright holder.
- Resource Identifier:
- 1039729408 ( OCLC )
Aggregation Information
- UFIR:
- Institutional Repository at the University of Florida (IR@UF)
- UFETD:
- University of Florida Theses & Dissertations
- IUF:
- University of Florida
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 0 ! ! THE SEARCH FOR ME, THEM, AND US: A JOURNEY INTO SELF AND CULTURE By ASHLEY STERLING MAYABB A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULLFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA August 2014
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 1 ! ! ! 2014 Ashley Sterling May abb
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 2 ! ! Acknowledgments I would like to take a moment to thank my wonderful father, for always encouraging me to do my best and for showing me the importance of both my education and my talents . Without your love and support, I would not be the successful woman I am today. I would als o like to thank my husband who has been by side through every late night crying sessio n for two years. Your continued support and encouragement kept me going, even in the darkest of times when I felt I would not be able to continue. And finally, I would like to thank Elizabeth Delacruz and Craig Roland for being a compassionate team in assisting me both in and out of the classroom, through my capstone experience, and for being incredible leaders in the field of art education. I thank you all from the bottom of my heart.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 3 ! ! ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE UNIVERSITY OF FLORIDA IN PART IAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS. THE SEARCH FOR ME, THEM, AND US: A JOURNEY INTO SELF AND CULTURE By Ashley Sterling Mayabb August 2014 Chair: Elizabeth Delacruz Committee Member: Craig Roland Major: Art Education Abstract The purpose of this capstone project was to examine how students' sense of self is constructed through facets of culture that could include social, global, and personal dimensions and how students utilize artistic practices to explore their individual identity and narrate their personal story. The study took the form of a six week cultural identity unit at a small middle school in the suburbs of north Georgia. Over 30 eighth grade students of varying ethnic, racial, and economic backgrounds involved in this project engaged in a variety of informal conversations , writing options, art making opportunities directed around c oncepts of culture and identity that culminate d in the creation of Artist Trading Cards and Culture Collages . Over the cours e of this project, I found that participants were eager to engage in critical dialogue when given the opportunity to engage subject matter that was personally relevant and art making opportunities that allowed for exploration and experimentation. I've included within this capstone paper a summary of my research, findin gs, and recommendations for future study. The end product of
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 4 ! ! my capstone study is a website containing my resources, lesson plans, and examples of student work that other educators in and out of the field might find useful in their curriculum planning. The website can be accessed at www. selfandculture.weebly .com.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 5 ! ! Table of Contents Title Page ................................ ................................ ................................ ................................ ......... 1 UF Copyright Page ................................ ................................ ................................ .......................... 2 Acknowledgements ................................ ................................ ................................ ......................... 3 UF Formatted Abstract ................................ ................................ ................................ .................... 4 Table of Contents ................................ ................................ ................................ ............................ 6 Introduction ................................ ................................ ................................ ................................ ..... 8 Statement of the Problem ................................ ................................ ................................ .... 9 Purpose of the Study ................................ ................................ ................................ ............ 9 Research Questions ................................ ................................ ................................ ........... 10 Significance of the Study ................................ ................................ ................................ ... 10 Assumptions ................................ ................................ ................................ ...................... 11 Study Limitations ................................ ................................ ................................ .............. 11 Literature Review ................................ ................................ ................................ .......................... 12 Definition of Terms ................................ ................................ ................................ ........... 12 Methodology ................................ ................................ ................................ ................................ .. 20 Subject Selection, Site, and Description ................................ ................................ ............ 21 Data Collection Procedures ................................ ................................ ............................... 22 Data Analysis ................................ ................................ ................................ ..................... 23 Findings ................................ ................................ ................................ ................................ ......... 23 Open Dialogue Is the Window To the Soul ................................ ................................ ....... 24 It's All About Me, Them, and Us ................................ ................................ ...................... 26
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 6 ! ! Experimentation and Exploration Lead to Ah Ha! Moments ................................ ............ 29 Discussion and Conclusion ................................ ................................ ................................ ............ 32 Interpretation of Findings ................................ ................................ ................................ .. 35 Recommendations ................................ ................................ ................................ ............. 39 Conclusion ................................ ................................ ................................ ......................... 41 References ................................ ................................ ................................ ................................ ..... 43 Appendix A ................................ ................................ ................................ ................................ ... 46 Appendix B ................................ ................................ ................................ ................................ .... 48 List of Figures and Figure Captions ................................ ................................ .............................. 53 Author Biography ................................ ................................ ................................ .......................... 54
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 7 ! ! Forming Self As an adolescent, I found myself preoccupied with notions of what made me unique and what made me important not only to my self, but to others around me. I knew I was white, female, heavy set, and enjoyed Anime and playing softball . I had a grandfather who emigrated from Holland and that made me one quarter Dutch while I knew nothing of my father's line age , only that my granddad was in World War II, which immediately gave me a sense of pride in the military . I didn't particularly fit in anywhere, but television ads with the latest fashion trends and even the magazines about children from third world countries who were starving impa rted their beliefs of who and what I should be. I turned to art as a means of exploring how all of these small puzzle pieces made up the great picture of my identity an d even my culture. Recalli ng such experiences influenced my decision to pursue research on how adolescents form a sense of self and how culture plays a role in this process . Utilizing art as a means of comprehending and cataloguing the world's impact on m y formation of self was yet another factor in my decision to develop and implement a curricular unit based on such a jo urney. After designing, employing, and reflecting on ho w this unit impacted my student s ' understandin g of their own cultural identities , I also came to the realization that such a unit is a reflection of how my own classroom should run , that is, with the students at the forefront of discovery. With this in mind, I have shared my unit on my website so that other art and core teachers alike may use some of my ideas to discover the complexitie s and talents of their own student body. This website can be found at: http://selfandculture.weebly.com .
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 8 ! ! Statemen t of the Problem With our world increasing in diversity and complexity, we find ourselves attempting to understand the intricacies of what makes us unique or even a part of a particular group or subculture. Sometimes we prod deeply for something that will make us stand out from the crowd while other times we simply wish to be treated as equals to our peers . We wake up in the morning with a sense of who we might be and end it wishing it could be different. We look to our friends, neighbors, billboards, magazines, and even transient groups from across the globe to assist us in understanding who we are. Our jobs, the businesses around us, our neighbors, and even our unborn children are eventually influenced by wh o we intend to be as both cultural and distinct individuals. This myriad of possibilities is what sparked the purpose of my study , which was to understand what my students consider ed valuable to their sense of self and how artistic practices could h elp shape their understanding s of self . Such information is valuable not only to art educators, but to general education teachers interested in providing their students with an educational experience that is personal and relevant to their individual lives , rat her than one shaped by assumptions, prejudices, and ster e otypes. Purpose of the Study The goal s of my study were to investigate the factors that in form my students ' understanding of their identities so that I may in turn develop sound art lessons that encourage the development of a sense of self. I began my investigation into these various factors through historic and contemporary research on identity formation, the connection between art and the formation of self, as well as various practices utilized across the globe that are similar to my own unit. Throughout the unit, I conducted various informal interviews with my students about what they believed was integral to their understanding of self and how art played a role in this
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 09 ! ! perception. Throughout the unit, students participated in various art making activities that resulted in the production of Artist Trading Cards and Culture Collages . These art products contained various pictures, symbols, and media that illustrated w hat informed each student's understanding of their cultural identity and how dynamic and ever changing it truly is . The end result of my study was not only a curricular unit that encouraged students to investigate, recognize , and appreciate the variety of differences and similariti es found within the classroom , but a lso a website full of examples of student work, responses, and resources for other educators in the field to utilize. Research Questions In order to ensure that my research was as authentic as possible and directed towards the goal of understanding how students develop their sense of self and how artistic practices can assist them in doing so, I utilized the following questions to guide my study: 1. What curricular strategies and resources are best suited to engage middle school students in developing a sense of cultural identity? 2. In what ways do students display insights about how their identity is shaped through personal, social, and global cu lture? Rationale and Significance of the Study I find this study to be of great importance because of its significance to our goal as educators, which is to provide the most relevant and meaningful instruction to our students as possible. By utilizing les sons and projects that focus on the student s and their individual characteristics and interests, we create learning experiences that the students can become personally invested in and thus carry with them in to the future. These lessons also create an atmosphere of trust and compassion between participants so that each may create and explore
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 00 ! ! without fear of persecution. Overall, this study is of importance because it focuses on the heart of the classroom and it's needs: our students. Assumptions As I developed my study, I made several assumptions. I assume d that students would be eager to take part in an art based unit about their sense of self and their cultural identity. This, in turn, lead me to assume that they would be open and receptive to the written reflections, conversations , and assignments that were presented during the unit and that they would be willing to answer questions regar ding what is personal to them. I also assume d that my students would be truthful and genuine when answering my questions and would put forth the effort to take part in my unit . Finally , I also assume d that every student would be able to participate in my study unless administrative or parental concerns arise. Limitations As well as having had assumptions about my study, I was equally aware of certain limitations I faced. First and foremost was the tim e frame in which I had to deliver the unit . I only had six weeks in which to work with my students because of scheduling and curriculum constraints . This was also assuming that it was six weeks of uninterrupted class time, which is rare in my situation. Another limitation was the student body in which I was working with. I was not only working with a s mall number of students but this was a group of student s that I had only seen for three weeks prior . Lastly, I also had a numbe r of language barriers to overcome that were challenging for transmission of information. Several of my students were English language learners and were still overcoming the hurdle of adapting to a new dialect . On several occas ions, a student who wa s bilingual was translating for these students and it was difficult to insure that the information is being transmitted accu rately.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 0 1 ! ! Literature Review The notions of culture and identity Ñ or what can be considered as sense of self Ñ pose two unique yet comparable conceptual models that can be expanded upon within the art classroom . Each of these concepts can be used to benefit both the student and the greater classroom community. Researchers and educators alike have placed great importance on valuing the formation of self in youth and adolescents and have sought to catalog their explorations and understandings throug h contemporary research studies. By relying on such literature to guide and enhance instruction, teachers can begin to "explore the difficult task of teaching art wisely, sensitively, with great regard for the grand multicultural experiment that is America " (Delacruz, 2012, p. 3). The following literature review explore s the concepts of self, culture, and their interrelatedness by addressing the writings of contemporary researchers including Dr. Elizabeth Delacruz, Dr. Susan Bliss, and Professor Cora Marsha ll. Each author imparts her own distinctive understanding of how each concept is a complex, multi layered, and ever changing social and individual construct. Definition of Terms Identity is thought to be a "complex construction" of individual, social, and global characteristics including gender, ethnicity, "class, age, disability and sexualityÉeducation, urban or rural residency, cultural background, access to transportation or communicat ion" (Gauntlett, 2008, p. 15) as well as many other facets of human life. Culture can be considered as "the way of life of a group of people" and includes, but is not limited to, their "customs, attitudes, beliefs, traditions, and rituals" (Kidd & Teagle, 2012, p. 6).
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 02 ! ! Intercultural Education is "a responsive instructional framework that places students at the center of teaching and learning. Teachers nurture students' intellectual, social, emotional, and political identities" while encouraging and facilita ting "cross cultural integration that help students articulate their cultural assumptions and values" (Vinz, 2009, p. 3) Big Ideas Informing this Study : Self Identity and Culture Identity or More Appropriately Self . To begin the quest into self and identi ty, one must first understand what identity actually signifies. While these terms have saturated the dialogue of students and teachers for decades, Ferron (1999) notes that a true discernible definition has yet to be developed that can encompass all aspect s of the word and its multiple meanings. As humans are complex beings, so too are their actions as well as the explanations for them. What one person appreciates and values within a particular context might seem trite and inconsequential to another. To ent ertain some semblance of a definition, researchers Lavoie (1994) and Ferron (1999) have concluded that signifiers of personal identity and self might consist of "a set of attributes, beliefs, desires, or principles of action that a person thinks distinguis hes him/her in socially relevant ways and that the person takes a special pride in" (Ferror, 1999, p. 11). These include appearances, beliefs, traditions, opinions, attitudes, skills, and lineage . Researchers believe that such characteristics reveal what is valuable, important, and worthy in one's life; what may necessitate a sense of pride, dignity, and accomplishment to the individual (Lavoie, 1994). These are aspects of our being that are essen tial to our individuality, our self esteem, and to organizing and evaluating our interests (Ferron, 1999). Identity, especially in regards to an individual's idea of self and individuality, is also often used as a social category to define a group throu gh ideas of "race, ethnicity, religion,
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 03 ! ! language, and cult ure" (Ferron, 1999, p.4). Often times , these constructs involve understanding the group in relation to others and the interactions that take place. This signifier places great importance on identity as a means to attain social belonging (Stewart & Walker, 2005). Delacruz and Ferron agree that some identifying characteristics are forced upon the group or individual and in some cases these marks are irreversible as in the instance with many stereotypes (Ferron, 1999). These researchers also concur that an understanding of self could be judged as a continuously evolving system where various social conventions play heavily on its development. This type of flexibility allows for continuous growth and reeval uation of one's personal and social identity. Culture . Much like identity, trying to deduce an accurate definition that encompasses all aspects of the term culture is challenging to say the least. Several researchers like Marshall (2007) and Delacruz (201 2) have accepted the challenge and regard culture "as those shared beliefs, behaviors, practices, and values created by ethnic groups to foster a sense of communal identity and cohesiveness through a variety of social interactions, arrangements, communicat ions and artifacts" (Delacruz, 2012, p. 7). Such an understanding has its roots in the very founding of our nation and the travels of indigenous people long before. Historians of the time, such as Gordon S. Wood, held firm in the belief that the American R evolution was the original birthplace of our modern postulations on culture (Hoffman & Howard, 2013). Marshall (2007) concludes that it is because of the fragile interaction of the various peoples and cultures that our nation is the breeding ground for div ersity as well as similarity. Culture can also be addressed in relation to "language, race, ethnic background, country or region of origin, dress, religion and associated practices, social and community responsibilities, sexuality, disability, and famil y and political views" (Bliss, 2010, p.1). The
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 04 ! ! spread of such diversity among characteristics can be attributed to the constant migration of peoples across the globe and the transmission of knowledge that goes along with it. Allemann Ghionda (2012) asserts that culture and communication are specifically linked to each other and that one of the greatest factors in the spread of cultural knowledge is language. Such knowledge includes "not only the arts and letters, but also modes of life, the fundamental righ ts of the human being, value systems, traditions, and beliefs" (Bliss, 2010, p. 1). Contemporarily speaking, language now takes the form of TV, video games, social media, and the Internet so that cultural information is now being transmitted at a faster pa ce. Through these researchers, it becomes clear that culture possesses many different aspects of the human experience and is also shaped by the experience itself. How Culture and Self are Intertwined I t is easy to see how the notions of culture and identity, or self, can become intertwined. Each provides us with a sense of fitting in, of having rights and ownership to a personal brand. People look to these concepts to experience a sense of belonging as well as a source of motivation and direction in their personal lives (Jones, 2005). Race, beliefs, values, class, and interests are all housed within the expressions of both culture and identity. Each of these plays a role in how we define our awareness of self and of others. Those around us inevitably inform our understandings of self and culture , specifically by family members, friends, and community members (Marshall, 2007). Through these influences , especially those revolving around the ethnic and cultu ral aspects of our lives, we begin to develop the realization of our existence as a small piece to a larger puzzle. We adapt our views and our behaviors in response to positive and negative stimuli from "political, economic, educational, and social experie nces" (Jones, 2005, p. 1).
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 05 ! ! A sense of self in relation to one's culture is also synthesized in respect to what Jones (2005) declares as the "12 attributes of culture: ethnicity/nationality, social class, sex/gender, health, age, geographic region, sexua lity, religion, social status, language, ability/disability, and race" (Jones, 2005, p.2). These concepts are central in both the child's understanding of personal and social culture as well as a sense of self. It must also be noted that children and adole scents alike are constantly in the midst of changing identities because "notions of self are frequently negotiated through contact with different locations, circumstances, and people" (Demeo, Smith, & Widmann, 2011, p. 188). V isual culture, media culture, and school culture also play a role in the overlapping between culture and identity through their presentation of symbols, graphic represe ntations, and even stereotypes. Now more than ever, children are battling to discover who they truly are and what cons titutes their individuality. Art for Identity's Sake A large part of understanding the intricacy of self is the act of unearthing the myriad of pieces that make u p the whole of the individual. This can be achieved by looking to the arts as a tool for investigat ion, release, and expression. The fine arts can be utilized as a means to assist "students understanding of self, one's own culture, and being open to the cultures of others" (Bliss, 2010, p.1). For millennia art has provided us with methods to o rganize, enjoy, and capture the world in which we live. These historical and personal experiences have been passed down from generation to generation to create the vast repertoire of traditions that we often taken for granted. Being able to express, articu late, and explore one's identity through various cultural opportunities can be capitalized on through artistic avenues. In this sense, art can be approached as a variety of subjects that can be viewed aesthetically and that can eventually evoke a sense of passion and movement from the student (Wilson, 1984). Creating, understanding, and enjoying
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 06 ! ! art by utilizing art materials and practices gives students a unique avenue in which they can explore both personal and social identity, learn and connect to their own cultural heritage, as well as the heritage of those around them (Bliss, 2010). "The act of emancipating what is inside by giving it a physical form and then putting it out into the world, announces as well as reinforces cultural identities" (Mars hall, 2007, p. 7). The student becomes invested in the process as a means of self discovery and actualization. Creating art allows students to reflect life experiences, values, and ideals that may have otherwise been ignored and may eventually move others to confront larger social issues (Hossman & Howard, 2013). Because of this, t eachers should develop thoughtful and compassionate assignments that acknowledge the varied experiences of children (Delacruz, 2012). Such curriculums should encourage creative f reedom, collaboration between students, and dialogue about artwork from varied cultures, places, and historical time frames. These lessons could revolve around investigations of border crossing identities , how one's identity is multi layered, how particula r values change under varying circumstances, how we treat one another, as well as inviting students to tell their own stories (Delacruz, 2012). Wrapping it Up Developing a sense of self and understanding of one's culture are directly linked through the v arious aspects of what we consider as a part of each notion. While each is a multi layered, often ambiguous and an ever changing part of the greater concept of the human being, we are constantly looking for ways in which to display and comprehend their val ue in our lives. Whether through personal investigation or through developing works of art, identity and culture can be examined and appreciated by individuals who consider themselves unique to the greater global sphere.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 07 ! ! Application s to Contemporary Resea rch in Art Education How Does It Apply? The research of both the past and present encourages the notion that one's culture and sense of self should be both nourished and developed, even at a young age. There are a multitude of different approaches to nurturing a creative and culturally understanding classroom community. Some revolve around the artistic freedom of the creator to express his or her individuality (Bliss, 2010) while others harness the power of critical and cultural dialogue to inform and reform assumptions of the global culture (Alleman Ghionda, 2012) . Each involves an understanding between the teacher and students as well as the students as a whole. The reason for such a focus within the classroom is that the contemporary student body rep resents a range of lifestyles that contribute to the atmosphere of the classroom as a whole. As Delacruz (2012) points out, more children are coming from families of foreign born immigrants, unmarried parents, include refugees, or have a multiracial lineag e. These children face unparalleled challenges involving identity and culture confusion and well as acceptance within and outside of the school sphere (Delacruz, 2012). With this in mind, the goal for teachers is to "empower students to succeed by providin g them with a learning environment that respects culture, embraces their diversity, and celebrates their differences" (Jones, 2005, p. 3). Connecting to the Classroom . One such approach to assisting students in their journey towards cultural understanding and appreciating individual identity is intercultural education. The basis for this particular approach revolves around encouraging rather than neglecting the interaction of cultures within a particular location, the sense of belonging that occurs through this interaction, as well as the resulting sociocultural difference and diversity that is formed (Allemann Ghionda, 2012). An intercultural framework promotes tolerance, acceptance , and appreciation for the diversity of lifestyles that exist within our communities and classrooms.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 08 ! ! Here, democracy is supported and collaboration is vital to academic success. Students engage in critical dialogue about cross cultural experiences and expe ctations with no fear of persecution or stereotyping. This type of program promotes high self esteem, encourages a sense of communal identity, develops tolerance of the views and lives of others, instills empathy within the student, and finally, can assist them in developing their "own sense of identity and belonging which are fundamental to personal well being and the achievements of a flourishing and cohesive society" (Bliss, 2010, p. 3). What is Left? While research in the fields of cultural studies and the development of self continue to mature, examinations into how the arts expand children's understanding of c ultural identity seem to be few and far between. It is vital that researchers and educators alike continue to investigate topics of identity and culture in order to continue providing the most authentic opportunities for their students. By focusing on such issues, teachers can "assist students through culturally relevant teaching, using the cultural knowledge, prior experiences, frames of referenc e, and performance styles of ethnically diverse students to make learning encounters more relevant to and effective for them" (Jones, 2005, p. 2). Without contemporary research on these subjects, teac hers are left to assume , and in some circumstances "dram atize some student's sense of inadequacy and family circumstance over which these children have no control and spotlight their inability to recreate desired cultural narratives" (Delacruz, 2012, p. 5). While this may seem extreme, is does not discount the need for further research in all areas of culture, identity, and construction of the two through the arts. After conducting my initial research, I am left to wonder what the implications are for the future of our global culture, both indigenous and larg e scale. Will globalization take hold of every corner of our sphere? With "about 70 per cent of the world's 7,000 languages being
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 19 ! ! endangered with no children speakers" (Bliss, 2010, p. 39), what does that mean for cultural heritage that is orally shared fr om generation to generation? As technology and the rapid pace of modern society encroach on the very fabric of our being, I am left to wonder what will come of those cultures that have given us so much, but are left behind . Will these cultures be around lo ng enough for their grandchildren to know their ancestry? Do these children even care or want to know ? These are questions that I feel will remain unanswered. However, I am ho ping that with further research I can assist my own students in their personal journey towards self discovery and actualization. I hope that my findings will provide me with the knowledge I need to develop wholesome and authentic experiences for my students to grow and develop as both independents and culturally sound individuals. It is through cultural studies, the pursuit of individual identity, and the creative attributes of the arts that such a step can be made, and that a better future is provided for my students . Methodology In order to obtain authentic answers to how and why students develop a sense of self through a variety of cultural factors, I utilized ac tion research . This help ed me become familiar with and understand the experience my student s undergo in forming a sense of self and help ed me improve my related curriculum. Both Lodico (2006) and Gardner (1994) concur that as a qualitative approach to inquiry, action research provides a chance for the teacher investigator to develop "an adequate knowledge base for improvin g one's curriculum" (Garner, 1994, p. 15). Such efforts can be further employed to better the experiences of the student body involved. Through action research, I examined one unique group of eighth graders from a variety of ethnic, cultural, educational, and economic backgrounds and may or may not have experienced
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 10 ! ! an art class before . They took part in the study for six weeks at 55 minutes a day of the last quarter of the 2013 14 school ye ar. The actual date of the unit's implementation was from April 1 8 th to May 22 nd . The art classroom at my current middle school located in suburban north Georgia was the main area of instruction and location of study. Subjects The subject s of my study were a group of 32 eighth grade students, each of which had been attending my art class for three weeks prior to the study. All participants were between the ages of 13 and 15 with 60 per cent being female and 40 per cent being male. The majority of the group was from middl e to lower income backgrounds with 65 per cent being white, 13 per cent being Hispanic, and each of the African American and Asian Americans being in the 13 per cent range. Most of the student s had been attending their current Title I middle school for the bulk of their experience and were expected to graduate to the local high school. While several students commented on being born to non native parents of the United States, the remaining participa nts were from native families. 1 Research Site The site in which the study took place was my art classroom at a suburban middle schoo l in the heart of north Georgia, one of nine in the surrounding county. The space itself was a large, well lit room capable of housing over eight student tables as well as a plethora of storage and adjoining kiln and stock room. The classroom was equipped with a four machine computer station with printing and scanning capabilities and also contained a Promethean projection screen for use in the delivery of the le sson. The room also housed a large dry erase board as well as several display tables for students to utilize as required. Students were free to maneuver about !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!!!!!!!!! ! 0 ! :;<=>!?@!A>B>CAD;!ECB!DFGHIDJ>H!E C=!BJIH>GJB,!K!E<==!L>!IBIHF O GC?>B!JF!NAFJ>DJ! LFJ;!J;>GJ!DFGPGJ
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 11 ! ! the classroom, as they needed to either work with others or to gather supplies for their various activities. Data Collection Procedures and Instrumentation The purpose of this study was three fold: to assess the ways students display ed insights about how their sense of self is shaped through the various facets of culture that could include social, global, and personal dimensions ; to identify and field test teaching and learning methods that engage students' inquiries about cultural identity; and to ascertain the effects of such curricular intervention. The data itself was in the form of verbal, writ ten, and artistic reflections of personal and group experiences that assist in identity formation. They were collected through a variety of structured and semi structured interviews conducted with students, through observations and keeping field notes, and through surveys, photograph ic documentation of student art, and a culminating questionnaire. The culminating questionnaire contained reflection questions that followed the unit and required studen ts to indicate several points: (1) W hat contemporary artists from the lesson made an impact on their understandi ng of their cultural background? (2) How they depict and celebrate their own cultur al traditions in their artwork? and (3) W hat project they felt best allowed them to tell their personal stories? I n total, the length of time it took for data c ollection to take place was approximately six weeks. The culminating activities for the unit took the form of multi media A rtist T rading C ards, and final larger scale collages t hat were construct ed via materials, images, and symbols tha t represent each aspect of the students' sense of self. Students also engage d in a final critique of the learning an d artistic process that probed how they utilized art istic strategies and motifs (or symbolizations) t o express their cultural understanding of self . The artwork was then cross examined with data from the culminating reflective questions address ing more specific areas of
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 12 ! ! identity formation, such as how visual culture and technology impact ed the student's work. All forms of data collection, both written and photographed, were catalogued into word processing documents and stored on a digital drive on my computer for easy access. Data Analysis The goal in collecting data through a variety o f qualitative measures was to analyze and assess the ways that students construct ed identity through personal, social, and cultural means. I organize d the information I collect ed using a structure similar to that discussed in the writing of LeCom pte (2000) . To begin, I catalog e d my findings into various groups, looking for areas of similarity as well as difference and trying to decipher why such correspondence and discrepancies exist ed . I reflect ed on and interpret ed these findings to seek out some type of pattern or structure that would be useful in understanding how my student s build on concepts of identity. As LeCompte (2000) points out, it was imperative that I sift through this information to look for topics of f requency, omission, and declaration so that I may begin to formulate the necessary organizational structures that gave way to the answers to my research questions (LeCompte, 2000). By working through these organizational stages, my data was cohesively asse mbled into a workable framework that was beneficial in answering my research questions. Findings The main purpose of my research was to unearth the myriad of possibilities in how students' sense of self is impacted by the multilayered notion of culture as well as how students discover their understandings through the use of artistic practices. What I realized was not only that our contemporary student is a complex being full of inherent and unexpected elements, but that creating units based on what is c entral to students as individuals brings out the best in my own classroom practices. Students bec a me engaged in critical dialogue that span ned not just
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 13 ! ! from student to student, but from student to teacher and beyond. I also found that w hen subject matter is addressed that directly relates to the interests of the students, then their productivity, communication, and understanding evolve into mature experiences that the student becomes whole heartedly involved in. Lastly, I discovered that when students are given the opportu nity to explore and experiment as they pursue subject matter that is personally relevant , they make vital connections between themselves and the world around them and harness the power of the visual to tell their persona l stories . Overall, my research revealed that keeping the student central to my classroom instruction and goals is what I should always keep in mind when designing practical and applicable units of study for my art classes . The following discussion further elaborates on these findings. Open Dialogue is the Window to the Soul One of the major findings I came across during the span of my research was that creating units of study that are based upon the concerns and interests of the students inspire much needed, critical dialogue within the classroom. The unit presented to the students revolved around two major concepts: culture and identity. At several different points during the lesson, students were asked to share their insights and beliefs about w hat constitutes each of these complex concepts and how the two might overlap (See Figure 1) . For example , in the middle of one of the preliminary discussions, Brandon eagerly raised his hand to proclaim "It's like our culture is our identity!" Students were also introduced to contemporary artist Peter Lewis and were given the opportunity to illustrate ways in which he, as an artist, utilized symbolism and common themes found in daily life to exemplify his culture and world. Many students found t hemselves getting out of their seats to visit the board to look at the multitude of images within his work . When addressing Lewis' Battle Kittens , several students remarked about how we often associate kittens
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 14 ! ! with innocence and purity because of the way t hey are portrayed in the media and in our personal lives, however in this composition, they take on a new menacing role simply by altering the size and placing them in a battle situation. Because these ideas were very subjective , students found themselves immersed in discussions with their peers and with me as the ir teacher about how such notions are formed and where they might have originated . Figure 1 : Students discussing their interpretations of culture and identity . Students who were not normally active within the art classroom were having passionate discussions with their classmates about their views. For example, when discussing religion and how it affects our views of one another, two students shared their experien ces about being a theist s and how others often judge d them as being na•ve or ignorant. They revealed how hurtful the comments were and how their religious choices should not be a reflection of their intelligence. The other students in the classroom listened intently and agree d . This scenario was also similar to that of some of my Hispanic students . They were very vocal about their be liefs and freely shared their customs and traditions with the class, in some cases , spurring even further and more detailed dialogue than originally intended. It was a remarkable and heart warming
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 15 ! ! experience to witness such cultural responsiveness. Student s were also eager to share their perceptions of delicate subjects such as sex, gender roles, gangs, and drugs and how these often influence their identities and how they are very much a part of their contemporary culture. I found that students were more of ten synced with their beliefs about each subject rather than separated which, in the end, proved fruitful to the final classroom discussion. Overall, the dialogue exchanged between all participants was abundant and critical to each students understanding o f their cultural identi ty. ! It's All About Me, Them, and Us One of the driving questions behind my research involved looking at a variety of curricular and instructional strategies that could be suited to engage middle school students in developing an awareness of their sense of self. What I discovered was that not only do the se teaching strategies themselves matter , but also being able to provide students with learning ex periences that are pertinent to their lives matters greatly . While this may seem obvious, I realized that so much of what I was teaching I had assumed to be relevant to my student s instead of first proving it to be . In my new identity unit, created for this study, w hen my students were presented with questions and prompts to discuss and create art based on their individual pursuits , interests, and personalities , the entire atmosphere of the classroom changed. Students were intrinsically motivated to shar e and explore their individual differences and commonalities . At one point, the classroom was divided into sections of discussions bec ause students had so many ideas to share . O ne group was chatting about Starbucks and how they have capitalized on the mark et not only for their good coffee, but also because of a blend of high culture , high prices , and great marketing strategies. A nother was focused on music and how people are often judged
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 16 ! ! based on their music tastes such a grunge m etal and the Goth style. This conversation eventually morphed into a heated debate about fashion choices and the link between fashion and bullying. Students were also asked to discuss and analyze how contemporary cultures and subcultures, such as pop and political cultu r e, immediately affected their sense of self . In effect, students were asked to think about and talk about themselves, and things in their world that impacted their self identity . Students had m any revelations during this aspect of the unit. Students made connections between their choices and the choices of their family members. For example, several students were very aware of alcohol abuse within their families and were determined not to follow the same path as their relatives. One of my Salvadorian students discussed how he felt like she was a part of a translator culture because he is constantly interpreting for those around him who do not sp eak English. He spoke of the challenges of feeling us ed and exasperate d at having to be a "middle man " when all he wanted to be was himself. Another conversation that took place was based on friendships and having multiple personas to fit the differen t relationships within students' lives. One student commen ted that for every friend and family there is an accompanying identity with that person or group . She said that s he acts one way at school, one way at home, and one way with her friends. The conclusion for this is grounded in an air of trust and comfort. J essica said that she does not have a fear of being left by her parents but there is a constantly threat of being left by friends, and that is why there is a constant need to conform and change the way she acts, dresses, and even talks. With these discussio ns and stories, it became very apparent that so much of one's identity is constructed through social ex periences. The students involved in the study also considered how commonly found sources such as magazines, the Internet, and newspapers and the content within these sources impacted their
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 17 ! ! understanding of themselves and their world. When working on the culture collage, many students used popular brands such as Cover Girl, Nike, Apple, and Beats to reveal not only their interest s , but how many of t hese companies target consumers their age. One student commented that she loved wearing make up because it made her feel beautiful and she conferred that, since all of the women in the make up ads are the standard of beauty, wearing make up must mean she w ill be or is already beautiful. Alongside contemporary media, s tudents also viewed the work of Hispanic artist Frida Kahlo and addressed how she displayed what was occurring during her time in her artwork through imagery and symbolism. They discussed how , even though her life was filled with torment and grief, she still managed to produce incredible work that illustrated so much of her identity . Delilah commented that she felt a connection with Kahlo in that she too , found art to be a means of telling a pe rsonal story in a visual way so that others can in turn, create their own stories from the work . Other s tudents utilized this knowledge to assemble their cultural collages, visually identifying areas of their social and global culture that directly shape their world and impact their understanding of how they fit into it ( See Figure 2 ) . For example, several students cut out images of popular trends that they see on a daily basis including Facebook, Hollywood , Justin Timberlake, Sephora , and Canon. Other students sought to tell a story through their imagery such as Brenda, a native to Russia, who created a collage out of places she has been and places she wants to go that she found in popular magazines such as National Geographic and Better Homes and Gardens. Through exploration of such subject matter, I was able to see that our modern student body is much more aware of how their surroundings , peers, and self identity are intertwined than I previously understood . The fact that they are very willing to discuss and defend their views if as ked was particularly informative . For example, Kennedy created a
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 18 ! ! collage utilizing only black and white imagery including some of her own personal poetry and an image drawn by a friend. She proceeded to share with me t hat the black and white represents her split identity happy on the outside and sad on the inside and how she is currently seeking therapy for depression. Her poetry, she concluded, was a way for her to deal with her struggles and the image she included in her work, was created by a friend who had recently committed suicide. Kennedy's story is just one of many examples of the intricacies of students understanding of their sense of self. Figure 2 : Students looking for imagery of contemporary culture to add to their collages. Exper imentation and Exploration Lead to Ah Ha! Moments Another force behind my resea rch was looking at how students convey their insights about their cultural identit ies in their artworks . S tudents were given the opportunity to explore and experiment with a range of mediums and techniques in a variety of ways . Some of these mediums included scrap book paper, buttons, puzzle pieces, tempera paint, and ink. Students were able to decoupage with g lue, create duck tape transfers with some of their favorite images, and use tempera wash es to create overlays over wall paper. O ne project included the production
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 29 ! ! of A rtist T rading C ard s , which are small, three inch pieces of cardstock that can be treated with a variety of media on the front and back of the card and are then traded with anyone. In creating their own Artists Trading Cards, t he objective for students was to create thre e unique cards that displayed an array of symbols and imagery that related to the individual student's cultural identity. Once completed, students selected a card to trade and were able to keep the other two. The result was a vast collection of exceptional, miniature art pieces adorned with innumerable amounts of two dimensio nal and three dimensional media. What was truly astonishing were the range of symbols used by students to convey their understanding of their self and culture. One student utilized puzzle pieces painted in a variety of colors to represent his autistic brothers , whom of which play a very integral role in his life. Another student created a mask for her ATC out of packing tape and sharpie to represent her struggle with always trying to put on a happy face for her friends when in reality sh e is always stressed and upset. Images of ivy leaves were used in one ATC to represent the creator's love for nature and goal to eventually work for the Department of Natural Resources. Some even developed miniature booklets illustrating aspects of their home life that were integ ral to their identity . ( See Figure 3. )
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 20 ! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! Figure 3: Students collaborate on how different mediums can be layered to create unique effects. With over twenty different options to choose from for their A rtist T rading C ards, students had a plethora of opportunities to experiment with how they could illustrate their individuality and their identity. For example, several students utilized shells to represent memories of family gatherings at the beach while others incorpora ted camouflage wallpaper into their composition to show the military influ ence in their family hierarchy (See Figure 4 ) . On several occasions, students expressed their excitement at having so much to select from and that having such a buffet of choices allowed them to truly explore how they could represent different aspects of their cultural identities . When asked whether they preferred the two dimensional or three dimensional media, most students responded that they enjoyed both and were more surprised that many of the choices could even be considered mediums in the first place. They discovered that having a large range of possibilities also meant making artistic and aesthetic choices that would impact and e ventually influence their overall composition s . It was almost mesmerizing to watch my students as they gathered their choices of media and then picked through the ones that were
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 21 ! ! most significant to their cards ; similar to the way a jeweler selects the most precious of stones in their lot . ! Figure 4: Students utilized a variety of media and symbolism in their ATCs. Discussion After addressing these findings in correlation with the research questions on the best practices to engage middle school studen ts about their cultural identities and how they display this awareness, I discovered several commonalities. First, dialogue, collaboration, and group work are all very powerful tools for students on a social, emotional, and mental level. Students uti lize these practices to share insights, debate differences, and eventually converge on their thoughts, opinions, and stories. By doing so, an atmosphere of trust and support is crafted and
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 22 ! ! fostered through positive reinforcement. Secondly, when addressing issues as ambiguous as culture and identity, having contemporary exemplars such as modern artists helps structure, guide, and reaffirm student's understandings of their own personal and universal world. Students were able to verbally and visually apprecia te how these professionals reveal that art serves multiple purposes; as a career, a staple, as a means to share one's heritage and personal story, and as a way of communally and visually discussing identity and culture. Thirdly, I determined that having a variety of contemporary images and the use of technology played a vital role in student's ability to explore the abundance of issues surrounding their cultural identity. Students explored areas of popular culture and urban culture through magazines and new spapers, pursued the World Wide Web as a source for global issues, and even used their cell phones as a means to capture images of their every day life. Lastly, it came to fruition that students enjoyed being able to utilize collage and assemblage as a mea ns to explore their culture s and identities , especially because of the variety of media and techniqu es that were at their disposal ( See Figure 5 ) . These materials provided an outlet through which students could explore symbolism, new techniques, composition, and the experience of mediums that are not normally utilized in classroom lessons.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 23 ! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! Figure 5: After experimenting with an acrylic wash, this student then wr ote a piece of poetry on her ATC. The original goals of this research were to decipher what educational approaches and resources were best suited to engage middle school students in developing a sense of their cultural identity and how these individuals display such insights through the use of artistic practices. Even though the notions of identi ty and culture are often indefinite and overlapping, contemporary researchers and educators alike place great emphasis on the impact of both in adolescents, especially when considering the modern world is a melting pot of different ethnicities, religions, languages, and traditions. Through artistic avenues, students can discover and then refine their understandings of social and global experiences , giving them a sense of empowerment and red efining their importance within their world. With this in mind, I developed a unit a study focusing on culture, identity, and their impact on a student body of over 30 eighth grade students. The participants were introduced to several contemporary artists and their
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 24 ! ! practices, as well as a variety of media and techniques , which resulted in the production of artist trading cards and culture collages. What I discovered was that students were very attuned to their surroundings, and that through critical dialogu e, collaboration, and experimentation students were able to assess what they already knew about their cultural identity and what they still had to learn. I also realized that students were very open to exploring a variety of media and techniques and enjoye d sharing their personal stories with others in an effort to build an atmosphere of trust and rapport. I n the rema inder of this capstone paper , I will interpret my findings, discuss the significance of what I found, suggest possible implications for my discoveries, and then make further recommendations for the future. Interpretation of Findings After sifting through and analyzing copious amou nts of notes and photographs , I came to realize that this study was more than just a look into educational practices, resources, and methods that students found useful in illustrating their cultural identities . My research was a classroom and career altering experience. At the heart of what I was trying to accomplish was putting the studen t back into the frontline of my curriculum , looking at what matters most to them , and giving them the opportunity to explore through artistic means how their world has shaped who they have become. I fell in love with teaching over seven years ago and manag ed to slowly loose sight of my aims ; however , through my research, through dialogue with my students , through identifying relevant subject matter, and t hrough exploration, my students and I again met at a happy medium over a unit on culture and identity. S tudents are social creatures, easily i nfluenced by their family and peers, by television commercials, ads in magazines, and even by politics. So much of who they are seems to be hidden behind a barricade that teachers are often incapable of breaking through. However, as I
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 25 ! ! discovered, when open lines of comm unication are established in a learning environment that is safe, accessible , and free from persecution, our once impenetrable students become open books, willing to impart their knowledge onto those willing to listen . My research also revealed that my students genuinely crave for someone to listen, to hear them and to appreciate what they have to say, whether it is about their family tragedies, violence they witnessed across their neighborhood, or the self esteem issues they battle on a daily basis. As illustrated in Figure 6, the students enjoy ed collaborating and working with others who value what they have to say, even if it was for a short moment in the class period, they were a ble to be apart of the critical dialogue that could change the way others see them. Dialogue was the super highway through which we learned about one another and in some cases, took precedence over working on artwork in a given day. !!!!!!!!!!!!!!!!!!!!!! !!!!!!!!!!!!! ! Figure 6: A group of students eagerly discuss their thoughts on what constitutes culture and identity. While dialogue was a major factor in the success of my unit, the subject matter in which the students were discussing was the very foundation. Since the student s and their individual
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 26 ! ! characteristics and preferences were at the forefront of the study , everything was immediately relevant and therefor, the possibilities for expansion were endless. Students were exploring al l areas of their multifaceted, cultural experience including examining the dynamics of their social relationships with others, how the media plays a role in their understanding of global issues, and how enjoying a Waffle Taco from Taco Bell makes up a major part of their personal culture. Some students , w ho would not normally be associated with having conversations with one another were engaged in friendly camaraderie . Both males and females were taking an equal stand in discussions aimed at gender roles, self awareness, and confidence, ideas that normall y have divisions but in this instance were notions of resolution . Topics of interest in the most fervent of discussions included family heritage, passions and hobbies, individuality, music, and person as, each of which can be related to by all participants. Overall, the excitement produced by the students being able to focus on themselves was enough to last the length of the school year. One of the highlights of being an art educator is witnessing the transformation of a student's confidence level because o f her/his ability to freely experiment and explore meaningful subject matter with artistic mediums and techniques. For me personally and for many of the students involved in the study, the production aspect of the artist trading cards and culture collages were the most exciting element s of the unit. What I found was that the participants enjoyed being able to select from a plethora of artistic mediums and the opportunity to investigate how th ey could be combined and altered to create unique comp ositions that conveyed ideas that were about them, their lives, their personalities. Many students developed their own language and symbolism with the various mediums and thus were able to tell their own personal stories. For example, Brett created an artist tradin g card depicting how he feels he has an unknown aspect to his identity because he is adopted and has no knowledge of his real father. On
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 27 ! ! his card, he cut out a section of black construction paper and used a white colored pencil to draw a generic smile. Und erneath the face, he wrote the word "unknown." As with the case of Brett's card, s ome mediums were used in a more correspondent manner so that students were able to relate with one another based on their imagery and experiences. For example, many students placed flags in their work to represent their country of origin; some utilized music notes and staffs to show either their ability to play an instrument or their appreciation of music; several participants used puzzle pieces to associate the idea of pieces to the whole, as in their identity; and others chose to simply split their composition to illustrate th e idea of two separate personas ( See Figure 7 ) . While there were some gender differences, such as the male students relying more on sports and automobiles and the female students focusing on fashion and their feline counterparts, the majority of the work and the symbols within it were very individual. In the end, I found that students became very attached to their composition s and were proud and even empowered to reveal their cultural identity to their peers.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 28 ! ! !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! Figure 7: This student illustrates her love for photography with a small camera constructed from scratchboard, a button , and thread. Recommendations So what does this all mean? For art educators, I believe it means f inding the balance in our classrooms between guidance and self discovery, between structure and freedom, and between direct teaching and a student centered approach. It is taking all of the contemporary research and modern practices and looking back to the history of our profession to build a synthetic blend of new and old. What I have here in my study is a method to building the types of authentic relationships with student s that are based on much needed dialogue in the classroom, relevant subject matter, and individual and group exploration of which leads to the communal and cultural responsiveness that this world needs to function towards a more receptive paradigm . I truly believe that if educators and researchers alike continue to focus on the modern social and
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 39 ! ! global cultures and subcultures that immediately impact our up and coming youth, we will be more like ly to produce the type of creative, inventive, and ind ependent citizens our society so desperately needs. With this in mind, I feel that this particular curriculum unit and my accompanying research might be interesting for a variety of people; from the sociology intern to the fifth grade teacher concerned wi th how to reach out to his or her students. While the art projects discussed within this capstone project specifically pertain to the art classroom, I believe the content could be applied to a multitude of subject s from social studies to language arts and even science. The core values are centered in students ' needs and interests which are what we, as educators, researchers, and child enthusiasts, are called to work for. Lastly, if I were to make further recommendations to my fellow teachers in the field of art education, it would be that we must continue to update and evolve our u nderstanding of our student bodies , just as they continue to evolve and mature themselves. We must be realistic with what we expect them to know and what we expect of them in gener al. Our students are living in a world that is hyper saturated with imagery, violence , and broken family structures ( See Figure 8 ) . We must be truthful about what we assume our students to know and we must als o be sympathetic to their often times chaotic world. That is not to say that we abandon all discipline , just that we be more aware. As I stated before, it is finding the balance between st ructure and freedom, but not lo sing sight of the fact that the student is what called us to our profession s in the first place.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 30 ! ! ! Figure 8 : Student culture collage illustrating the magnitude of advertisements and images students are exposed to on a daily basis. Why I Do What I Do The Way I Do It As a concluding note an d reflection , designing and teaching this capstone unit has been more than a project for my students and I; it has revolutionized both my classroom practices and the relationships that I carry with my students. It has broken boundaries and opened hearts; it has shattered assumptions and built respect; and most importantly, it has proven to be the culmination to two years of graduate work that I could have ever imagined. My hope is that other educators and researchers will benefit from m y unit and my research which can be found on my website under Master's Coursework at www.ashleymayabb.com . In the near future, I plan to completely revamp my current cu rriculum based on my experiences with my cap stone unit. My goal is to develop an art program that puts students at the center of every venture so that every child can see the power of dialogue, relevant conten t, and exploration in the arts. While none of
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 31 ! ! this is certain, it is obvious that I am on t he ri ght path and that this capstone and program have been the forbearer s of change in both my per sonal and professional identity (See Figure 9) . !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ! "#$%&'!()! !"#$%"&$'&()$*+$,-$ *%+,#-'.#/0!1234 !
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 32 ! ! References Adams, C. & Manen, M. (2008). Phenomenology. In L. Given (Ed.) The SAGE encyclopedia of qualitative research methods. (pp. 615 620). Thousand Oaks, CA: SAGE Publications, Inc. doi: http://dx.doi.org/10.4135/9781412963909.n 317 Allemann Ghionda, C. (2012). Intercultural education. In J. Banks (Ed.), The Encyclopedia of Diversity in Education (pp. 1213 1218). Thousa nd Oaks, CA: Sage Publications. doi: 10.4135/9781452218533.n382 Bliss, S. (2010, January). Identity and cultural diversity: A global education learning emphases. Retrieved from http://www.ptc.nsw.edu.au/SiteMe dia/w3svc361/Uploads/Documents /7.%20IDENTITY%20AND%20CUTURAL%20DIVERSITY.pdf Bressler, L. (1994). Zooming in on the qualitative paradigm in art education: Educational criticism, ethnography, and action research. Visual Arts Resear ch , 20 , 1 19. Delacruz, E. M. (2012). What Asian American artists teach us about the complicated nature of 21st century Americans' multilayered, transcultural, and hybridized identities and art practices: Implications for an intercultural and social justice oriented approach to teaching art. In S. K. Chung (Ed.), Teaching Asian art (pp. 234 240). Reston, VA: National Art Education Association. DeMeo, D., Smith, L. & Widmann, S. (2011). Identity, migration, and the arts: Three case studies of translocal communities. The Journal of Arts Management, Law, and Society . 41 (3), 186 197, doi: 10.1080/10632921.2011.598418 Ferron, J. D. (1999). What is identity (as we now use the word)? Retrieved from http://www.stanford.edu/~jfearon/papers/iden1v2.pdf
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 33 ! ! Gauntlett, D. (2008). Media, gender, and identity: An introduc tion (2 nd ed.). New York, NY: Routledge. Higa, K. (1996). Some thoughts on national and cultural identity: Art by contemporary Japanese and Japanese A merican artists. Art Journal. 55 (3), 6 13. Hoffman , D. R. & Howard, A. D. (2013). A picture is worth a thousand words: Building A merican national identity through art. Perspectives on Political Science , 42 (3), 142 151. doi: 10.1080/10457097.2013.793517 Jones, L. A. (2005, September 21). The cul tural identity of students: What teachers should know. Retrieved from http://www.redorbit.com/news/education/246708/the_cultural_identity_of_students_ what_teachers_should_know/ Kidd, W. & Teagle, A. (2012). Culture and identity (2 nd ed.). England, UK: Palgrave Macmillan. Lavoie, J. C. (1994, February). Identity in adolescents: issues of theory, structure, and transition. Journal of Adolescence. 17 (1), 17 28. Lawler, S. (2005). Introduction : Class, culture, and identity. Sociology . 39(5), 797 806. doi: 10.1177/0038038505058365 LeCompte, M. D. (2000). Analyzing qualitative data. Theory Into Practice . 39(3), 146 154. Lodico, M. G., Spaulding , D. T., & Voegtle, K. H. (2006). Introduction to educational research. In M. Lodico, D. Spaulding, & K. Voegtle (Eds.), Methods in educational research: From theory to practice (pp. 1 21). San Francisco , C A: Josses Bass. Marshall, C. M. (2007). Cultural identity, c rea tive processes, and imagination: Creating cultural connections through art m aking . Journal of Cultural Research in Art Education. Retrieved from
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 34 ! ! http://www.art.ccsu.edu/marshallc/research/Deconstruct_ArtProcess /cul_id_aritcle/JCRAE%20Marshall.pdf Rovine, V. ( 2004). South Africa from N orth A merica: Exporting identities through art. African Arts . 37 (4), 48 55. ! Stewart, M. & S. Walker (2005). Rethinking curriculum in art . Worcester, MA: Davis Publications. Stuhr, P. (1 992, January). Curriculum guidelines for t he multicultural art classroom. Art Education . 45 (1), 16 24. Vinz, R. (2009). Culturally responsive teaching. In E. F. Provenzo & A. B. Provenzo (Eds.), The Encyclopedia of Social and Cultural Foundations of Education (pp. 211 213 ). Thousand Oaks, CA : Sage Publications. Wilson, J. (1984). Art, culture, and identity. Journal of Aesthetic Education . 18 (2), 89 97.
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 35 ! ! Appendix A
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 36 ! !
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 37 ! ! Appendix B
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 38 ! !
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 49 ! !
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 40 ! !
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 41 ! !
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 42 ! ! List of Figures with Figure Captions Figure 1: %JIH>GJB!HANA>JCJ!CGH!GJ
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! "#$!%$&'(#!)*'!+$,!"#$+,!&-.!/%!!!!!!!!!! ! 43 ! ! Author Biography My name is Ashley Sterling Mayabb and I am an art educator who has been in the field for over seven years, landing myself at a Title I middle school in the suburbs of North Georgia. I began my career straight out of college teaching visual arts I, ceramics , and advanced ceramics at a local high school. It was an amazing adventure that gave me the opportunity to hone my practice as an artist and an educator. I was also able to meet some of the most influential teachers and mentors of my career and it is beca use of them that I have gained strength in my position as an art educator and advocate. One of the concepts about art making that fascinates me the most, and I believe immediately impacts my practice, is that you can create with almost anything. For that reason, I find myself working in as many different mediums as I can get my hands on. I enjoy d oing the same with my students! I also share my love for art history, random knowledge, and play with them through energetic songs in the classroom and lessons th at have them thinking about why color impacts how we spend money. I host an art club once a month and enjoy tutoring students in the mornings and after school, even if it is just how to color in a coloring book. For me, art offers everything and can cure almost anything. It has given me life and it has given me a way to cope with death. As an end note, I hope to graduate the University of Florida's Masters of Art Education program in the Fall of 2014 so that I may continue my pursuit to provide my stude nts with the most authentic and engaging art experience of their young lives.
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