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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 1 COMMUNITY BASED LEARNING AND THE PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY By NATHAN NIXDORF A CAPSTONE PROJECT PRESENTED TO THE COLL EGE OF THE ARTS OF THE UNIVERS I T Y OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS UNIVERSITY OF FLORIDA DECEMBER, 2014
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 2 ©2014 Nathan Nixdorf
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 3 Acknowledgements I would like to thank a number of individuals that hav e played a pivotal role in this capstone p roject coming together. Starting with the most recent, I would like to thank Dr. Michele Tillander and Dr. Jodi Kushins for their guidance, direction , and willingness to support me taking risks to pursue my passion. I would also like to thank Dr. Elizabeth Delacruz for creating the spark for this idea during my first class at the University of Florida . My passion for wood fi red pottery has come from a multitude of sources, but Jim Dugan has shown me how a passionate, caring director of a community kiln can inspire and excite a group of potters each and every week. The work is often thankless, but the artistic and educational outcomes repeat themselves over and over. As a young undergrad at James Madison University, I had the opportunity to put a tiny pot int o a wood fired kiln that I sporadically helped to build, but that pot still sits on my bathroom sink, and reminds me of the power and excitement wood can bring to the firing process. Thank you Masako, Brad and Julie for creating that opportunity. My famil y and friends, who have been unwavering supporters of my passion as an artist and educator deserve an incredible amount of thanks, and I hope to continue to raise the level of my work and influence in the community, and continue to make you proud.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 4 ABS TRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS COMMUNITY BASED LEARNING AND THE PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY By NATHAN NIXDORF December, 2014 Chair: Michelle Tillander Member: Jodi Kushins Major: Art Education Abstract This research paper addresses the idea of wood fired kilns , and their role in providing participatory learning opportunities in the field of ceramics for both artists and surrounding community members . Literature addressing community based learning , as well as published reflections on wood firings have been synthesized along with interviews conducted with participants in wood fired kilns. These n arrative accounts of participants and interviews of artists and community members have helped answer the question of how wood fired kilns promote community within art education. Existing community kilns as well as a community kiln built during the research will serve as the case studies in or der to help develop an action plan in support of the creation of a wood fired kiln within the public school setting. The literature and interviews reveal that wood fired kilns not only produce exciting work for those that participate in the firing, but hel p build relationships betwe en artist and community members. Through the use of this style of kiln, narrative accounts will show that the wood fired community harbors a
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 5 passion for not only the technique that they practice, but the opportunity it presents t o include others. Wood kilns will be presented not only as a tool for producing work, but also as a place for informal learning among peers.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 6 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 ................................ ................................ ............................. 8 Purpose of the Study ................................ ................................ ................................ .... 9 Assumptions of the Study ................................ ................................ .......................... 10 Study Limitations ................................ ................................ ................................ ....... 11 Literature Review ................................ ................................ ................................ ................... 11 Definition of Terms ................................ ................................ ................................ .... 11 Methodology ................................ ................................ ................................ .......................... 19 Research Participants , Research Sites ................................ ................................ ........ 19 Data Collection Procedures ................................ ................................ ........................ 21 Data Analysis ................................ ................................ ................................ ............. 22 Findings ................................ ................................ ................................ ................................ 22 Teaching Fire ................................ ................................ ................................ ..................... 23 Interpreting the Unknown ................................ ................................ ................................ .. 25 Unique Collaboration ................................ ................................ ................................ ......... 26 Summary across all Findings ................................ ................................ ............................ 28 Discussion and Conclusion ................................ ................................ ................................ ... 29
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 7 Discussion and Interpretation of Findings ................................ ................................ ........ 30 Significance, Implications and Recommendations ................................ ............................ 32 Conclusion ................................ ................................ ................................ ......................... 36 References ................................ ................................ ................................ .............................. 38 Appendix A ................................ ................................ ................................ ............................ 40 List of Figures with Figure Captions ................................ ................................ ..................... 45 Author Biography ................................ ................................ ................................ .................. 4 6
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 8 Introduction The act of firing a wood fueled kiln is one that's both laborious and complex. The organization of work, the cutting and preparation of wood, and the gathering of individuals only gets the kiln prepped for the upcoming endeavor. Participants vested in a fi ring carry anxious anticipation for loading, while onlookers revel in the puzzle of loading the kiln. The kiln doors are bricked shut, and all participants are instantly bonded. With the lighting of a fire, the journey begins to balance fuel, oxygen, ash, draft and temperature. Computers can't control these variables , and there is no manual. It is the team's responsibility to manage the atmosphere that makes wood fired work so special. Upon opening the kiln after a completed firing , hope and excitement are palpable, and regardless of age or experience, camaraderie exists among those involved. This camaraderie is the foundation of what makes wood fired communities special. T hose who helped a kiln fire to temperature feel they have contributed to the success of each individual piece. This Capstone project will help validate the importance of wood fired kilns as a place for community development within art education , and will also help understand the components necessary to make this method of gathering communi ty more accessible to art educators in various situations. The Statement of the Problem Wood fired kilns are often considered to be something only associated with large art institutions, art centers, or private studios. Due to the complexity of the process, they are often avoided. While each firing takes significant effort, the results of the firing not only supply the artists with unique and exciting pottery, but also provide an open forum for community engagement . "Wood firing is hard work with tangible rewards for the effort. Its benefit as a greatly cooperative endeavor is one of its great est attractions" (Kusakabe & Lancet, 2005, p.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 9 295). It was my goal to document the positive impact that wood fired kilns can have on communities, and make the idea of implementing a community kiln realistic. The educational components associated with the c ommunity firings are equally as important as the community based learning environment established through having a kiln. Students are given an opportunity to find a new world close to home by working closely with the community through art (Villeneuve & She ppard, 2009), and with the research goals met, the validation of the kilns importance, and the development of an outline for action have brought m e closer to achieving my ultimate goal of building a wood fired kiln on school property. Purpose of the Study The research associated with this study is not only relevant to those interested in ceramics and wood firing, but could be relevant for any educator wanting to embark on a large scale project involving the local or regional community. My hope is that the framework established through my capstone project will be applicable to anyone interested in community based learning projects and programs . The focus of the research may deal with a small slice of the art world, but the applications of its findings will b e applicable to areas that deal with community involvement in the arts. In coordination with this study, I have establish ed an interactive, educational action plan outlining steps needed to implement large scale community based learning projects. Using th e stories and information given from individuals associated with community fired kilns, as well as personal experiences building and firing kilns, I was able to establish data to develop an appropriate plan. To guide my study, the following questions will be considered: 1. How do wood fired kilns promote community within art education?
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 10 2. What are the outcomes of a community firing beyond the work inside the kiln? 3. What forms of learning and instruction take place during a firing? 4. How does community involvement help strengthen the art education programs associated with the wood kiln? Assumptions Using existing wood fired commu nity kilns as case studies for narrative research, I have establish ed the influence a wood fired kiln can have on an art community. The res earch through collecting stories address es how relationships are formed between regional artists, as well as how new relationships are formed between artists and community members. The artist relationships formed due to the limited access artists have to t his type of kiln, but curiosity of the process, participation in the firings and community events surrounding the kiln will bring along community involvement. Associated with the collaboration of artists and community members is the opportunity for differe nt types of learning opportunities. Wood firings offer time for informal instruction to occur, as well as opportunities for specific instruction relating to the work and firing technique. These chances for informal instruction give both the participant art ist as well as community member an opportunity for better appreciation and understanding for the art form. This appreciation closes the divide between community and artist, and allows for a greater support of the arts as a whole. Limitations The limitation s for my research revolve around the exclusivity and rarity of wood fired kilns. Wood kilns themselves are rare, and those who use them for community purposes narrow
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 11 the field even more. The lack of existing data on wood kilns for community use places more importance on the individual narrative accounts, creating a necessity for choosing the right kiln sites. The ceramics community is known for being one that shares, but finding the right time and firings could be a challenge. Summer months are difficult fo r firings due to the heat and possibility for outside fire hazards, so finding firings to join in order to establish relationships and document stories could be a challenge. It will be necessary to plan ahead with many of the connections I make, as firing s are scheduled many months in advance. Resistance towards my pursuit of this process is a possibility, as many artists may believe that a wood fired kiln has no place in a high school setting . Conversations from the past have revealed opinions of peers on how a high school wood kiln would be excessive and unnecessary. While my research addresses community involvement, participants will have the knowledge that it is my goal to bring this type of kiln to my school. While these limitations carry the possibi lity of slowing progress with the research, it's my expectation that they will not hinder my ability to gather rich and meaningful narrative accounts . Literature Review Community as a Common Element When addressing art education programs and practices, co mmonalities are often difficult to establish due to the range of factors that influence an individual art education program. A common element that all art education programs share is community. Every program in every situation has an environment in which i t exists. MarchÂŽ (1998) defines community as any of the individuals involved in the educational process that reside in the school, or the local environment existing outside the classroom walls. Whether a community is positive, negative or indifferent to ar t education, this environment has an impact. Bolin (2000) addresses the importance of that
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 12 outside world, stating, "the visual arts classroom should be treated as a valuable extension to the world, and not perceived as a detached haven that shields student s from it" (p. 4). In this literature review, the bringing together of classroom and community based education will be shown to have a direct impact on student engagement and learning. The review will address how community based art education impacts art education in the classroom, and more specifically how the communities surrounding wood fired kilns carry potential to impact for both the classroom and surrounding community. While the media of clay serves as the focus for this particular review of the lit erature , the concept of community based, participatory learning extends beyond any specific material. Defining Terms Community based learning can be defined in a variety of different ways. Villeneuve and Sheppard (2009) defined four variations of community based art education, separating the categories of place, group, social and ethnography. Although defined separately, their use can be combin ed or intertwined among other variations. While community based art education can take many forms, Ulbricht (2005) states that art educators should not be limited to only one interpretation. C ommunity based learning in a group (Villeneuve & Sheppard, 2009) aligns most closely to the community associated with wood fired kilns. For the purpose of this review, wood fired communities will be defined as the groups of individuals brought together by necessity, culture and curiosity (Kusakabe & Lancet, 2005). Step hens' (2006) classification of participatory art , the engagement and interaction between the artists and community members to create finished art pieces, will be used for the review. The community based learning activities are not participatory without eff orts from both the artist and community. This review will use Smith's (2008) definition of informal learning to describe learning that exists outside the walls
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 13 of the classroom while participating in activities as a group brought together to fire the kiln. Through the efforts of all associated individuals, the community learning experience benefits not only the intended target of the student, but also the collective whole of the group. Community Based Learning The spectrum of possibilities for community b ased learning activities allows for meaningful enrichment to occur in a variety of situations. "Learners can be of any age, ability, race, culture, gender or faith. Community based learning is not discriminatory and extends beyond classroom walls and conte nt areas to include anyone who wish es to participate" (Stephens, 2006, p. 45). As learning opportunities move beyond the brick and mortar of the classroom, art educators have the opportunity to empower students to build connections between the real world a nd the art classroom (Bolin, 2000; Stephens, 2006, Ulbricht, 2005). These community based activities strengthen existing curriculum while authenticating the material introduced inside the school. While a rigorous art education curriculum is executed in ma ny public schools, students must be taught to also look outside the classroom for educational opportunities (Bolin, 2000). Ulbricht (2005) stated, "informal teaching has been and is the dominant method by which individuals learn about art" (p. 7). The comm unity based, informal instruction associated with learning activities helps student connect and associate with the real world. "Connecting classroom learning with community activities instills a sense of social awareness in students of any level, planting the seed for their active involvement within their own communities in the future" (Chung & Ortiz, 2001). By instilling skills associated with community involvement at a young age, educators can help develop the continuity of education for the future.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 14 Com munity based learning adds a component to art education that doesn't exist within textbook or pre packaged curricula. The local connections with community help strengthen and expand content (Villeneuve & Sheppard, 2009) that is the local culture of the sch ool. "Community based art education can be used to celebrate the culture(s) of the students served, make learning more relevant, and build bridges between the local culture and the world beyond" (Davenport, 2000, p. 371). The links made between cultures no t only offer personal connection to the participants involved, but also exist within the context of reality. Activities are authentic, and the purpose for projects and understanding has more meaning (Chung & Ortiz, 2011; Villeneuve & Sheppard, 2009). Invol ving students with community members to achieve common goals of the artists provide the authenticity to elevate the activity. "If art teachers and students can clarify their community based art education definitions and objectives, they then can envision m eaningful projects and programs that are enriching and educational" (Ulbricht, 2005, p. 11). Participatory art projects can provide the community based learning opportunities necessary spark and sustain interest in various parts of art education. Particip atory Art in the Community Participatory art activities in a community based learning model add a dimension not necessarily present in all community art projects. All participatory art projects in the community setting can be classified as community based learning, but not all community based learning activities are participatory. Stephens (2006) wrote that participatory public art projects "invite artists and communities to work together as a cooperative team" (p. 40). Each participant has a role, as comm unity members are encouraged to become active participants in affecting the outcome of the project. "By welcoming community members as active partners in the creative process, participatory public art strives to break away from the conventional roles assig ned to the
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 15 artists and viewers" (Stephens, 2006, p. 44). As these roles begin to blur, ownership of the work extends beyond the originator and moves to the collaborator. To illustrate the idea of a participatory art project, Stephens (2006) wrote about C ommunity Bridge , a community art project in Frederick, Maryland. William Cochrane, the artist, directed the creation of a trompe l'oeil painting project on a cement bridge adjoining two disparate sections of the city. Community members of all ages contribu ted not only to the creative aspect of imagery included on the bridge, but also to the labor associated with painting (Stephens, 2006). For the Community Bridge project , classroom instruction was non existent, and direct instruction was minimal, yet indivi duals from different demographics had a meaningful educational experience. Bolin (2000) addressed this idea of instruction, stating: The vital relationship between formal and informal means of art education cannot be overlooked, and their dynamic associat ion must not be ignored. As partners, the art classroom and the world outside the school should be brought together in a manner that helps learners evaluate and live out their lives in substantive and non lasting ways. (p. 4) Informal instruction throug h participatory programs creates an education system accessible to students of all ages and backgrounds, and allows for ownership and pride to be shared with the community. In concluding her documentation of the Community Bridge project, Stephens (2006) reflected that when Cochran , the artist behind the project, included the community as active participants, he "placed the community in the role of learner, providing a group dynamic that resonated across social, cultural, and econ omic barriers to find a common ground that was later represented in the artwork" (p. 46). As participants reflect on the process, and are reminded of the project through daily interactions with the bridge, it would be difficult to imagine that community pr ide does not surround both the piece of art as well as themselves.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 16 The Wood Fired Kiln Community Ceramic artists and potters have a practice of participatory community based learning that has existed for as long as pottery has been created. Wood fired kil ns are the earliest form of controlled ceramic firings, and have always been associated with large groups or communities of people (Kusakabe & Lancet, 2005). Wood kilns became popular in the United States during the oil crisis of the 1970's, and began attr acting crews of people to help with the long and intensive firings (King, 2009). Firing in a wood fueled kiln is a process that can last anywhere between one and ten days, and one that must be monitored and managed for the entire duration (Greenman, 2006; Kusakabe & Lancet, 2005; Olsen, 2001; Rothsank, 2011). Jacobsen (2012) noted that the firing is a bonding experience where participants get hooked on being part of a team creating the work. While pieces are already made and stacked carefully in the kiln, i t is the job of the firing team to control the kiln, which determines the unique appearance of each finished piece. The physical act of working on a firing crew is not the only way participants can feel as if they belong to the art process. Rothsank (20 11) noted while writing about a crew of individuals he was worked with, "A firing isn't just a way to finish pottery; it's a way to begin building relationships" (p. 43). Camaraderie is established among those who work laboriously on a firing, and that pos itive attitude and behavior carries over to student interactions in the studio (Briggs, 2011). The wood kiln acts as a catalyst. "It transforms individual art students working toward finishing their studies into an artist's community that works hard togeth er as participants" (Kusakabe & Lancet, 2005, p. 295). These positive interactions and positive relationships exist outside of the art classroom, but have everything to do with creating art that is both individual and communal.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 17 While informal instruction can dominate the time spent around a kiln, communal relationships can lead to not only positive behaviors and interactions, but can grow into follow up instruction and growth as personal and group bonds are formed. Bolin (1999) asked the question "What do students take with them as they leave an educational setting?" (p. 4), which Rothsank (2011) addressed , commenting, "my responsibility as an artist is not only to strengthen my skills but also to nurture my relationship with other artists, my community, a nd the world at large" (p.43). As the role of mentor and student turns over with the growth of each individual, the wood firing community nurtures the idea of the passing of knowledge. The community becomes one of continuation. As informal as it may be, i nstruction often continues beyond individual meetings and firings. Greenman (2006) noted of his firing team, that "students working and learning from masters, sharing and enlarging each other's experience" was what makes the wood community so unique. "We a re all in this together; there is no room for egos, only the safe passage of creativity, imagination and learning" (Greenman, 2006, p. 33). The wood kiln community is one of sharing, and whether a member of that community is an artist or a willing voluntee r to take a shift, each participant shares in the successes or failures of the results from a firing. Finding Practicality for the High School Wood fired Kiln It's reasonable to think that those not associated with art education would find the existence o f a wood fired kiln at the high school level to be unusual and even unnecessary. The start up cost and labor associated with firing is immense. Some educators associated with ceramics even believe that it's impractical. The point that many of them miss is that the kiln isn't primarily student centered, but ultimately community centered. The educational component and instruction still exists for students, as the process will provide educational moments not available
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 18 to students inside the classroom. The invo lvement and participation of the community is what elevates the kiln to something more than a tool for finishing ceramic work. Kusakabe & Lancet (2005) wrote, "paying attention to the human interactions while meeting the demands of a wood firing enhances b oth your learning and your enjoyment of a firing" (p. 295). It's that balance of participant's interaction that makes the process unique and meaningful. "Firing with wood lends itself to community effort, creating special relationships not found as much wi th other forms of pottery" (King, 2009, p. 97). The kiln is ultimately just a tool, but the community that surrounds it is an ever producing source of instruction, inspiration and influence. Summary The research presented in this literature review speaks directly to the ceramics community, but can be applicable to any media within an art education curriculum. The evidence presented highlights the strength of participatory art projects, where community based learning occurs through involvement and ownership . According to Ulbricht (2005), art educators need to take a careful look at the rationales, goals, and definitions of community based art education before implementing new programs of their own" (p. 7). For any educator looking to establish a community ba sed learning project within his or her school system, the evidences supports positive outcomes for both students and community participants. Implementation remains a concern for any involved party, and while evidence exists supporting the benefits and succ esses of participatory community based learning, models for how to execute the specific pieces remain missing. Support from administration and the governing educational committees is crucial for large scale projects, and a supplemental curriculum associate d with community based projects may be necessary if students and teachers are to work on the project during the school day.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 19 Obstacles exist for educators looking to implement a community based art project with the community, but none are so large to prohib it such an endeavor. While some of the questions of how do wood fired kilns promote community within art education have been answered with positive results, it only holds its potential for success with the inclusion of all parts. As a result of this litera ture review, my capstone project proposes to implement community based learning in my own community through the building of a wood fired kiln. The kiln would serve as a place for both students and community members to participate in the tradition of wood f iring, benefiting not only those invested in the pots within the kiln, but those that feel the impact of positive community involvement. Methodology In order to develop an action plan that brings together artists and community, the stories of existing kilns must be heard. To answer the research question, how do wood fired kilns promote community within art education, I conducted a narrative research study using existing wood kilns as case studies . It was important to establish multiple points of view, s o I sought participants with different levels of experience, as well as different r oles in the firing. Pepper and Wildy (2009) wrote that "Narratives permit life like accounts that focus on experience, hence their alignment with qualitatively oriented educ ational research" (p. 19). The participation of individuals in wood fired kilns can be considered a form of community based learning. As community based learning is a topic that has been addressed in a variety of publications and studies, a portion of the re search will also be case studies comparing the idea of wood fired kilns and existing community based learning projects . The documentation that currently exists among both education and ceramics journals will be critical in the research. While conducting the research, a participant recommended a documentary highlighting the firing
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 20 of a community wood fired kiln in V irginia. The documentary followed a community firing from the planning stages to the unload ing of the kiln , and was used as a source for narrative accounts within the collected data. Research Participants Before embarking on th is research study, permissions were obtained from the University of Florida Institutional Review Board, and all questions and procedu res for the study were approved. Eight individuals volunteered to be interviewe d, represent ing a balanced view of a community kiln. Volunteers were gathered from existing wood fired communities, and all participants signed consent forms . One organizer who has run wood firings across multiple states offered a seasoned perspective, while five participants who have fired in different kilns across multiple states provided the perspective of the participant. Various ages were included among those participants , a nd all were from different employment backgrounds. A friend of wood firers volunteered to participate in the study, as she is someone n ot interested in wood firing, but offers the unique perspective of "watching the madness" (L. Kennedy, personal communica tion, October 7, 2014). One school superintendent who had never seen a wood firing was also interviewed for the purpose of input and guidance towards implementing the idea in a public school system. The variety of participants offers perspectives that diff er both geographically as well as experientially , and offered narratives rich with both experience and novitiate . Research Sites The data associated with community in regard to wood fired kilns was best collected at the site of the participation. The cer amics community is one that often shares, collaborates, and helps one another, but often these interactions take place among the setting of a studio or kiln. For the purpose of collecting data, I visited and fired in community kilns over the span of 6
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 21 mont hs. Along with the firings and visits to the kilns, I also participated in the building of community kiln in Chester Springs, PA. The two primary locations visited for this study were ceramic studio and gallery located north of Baltimore, Maryland, along w ith a n art studio located west of Philadelphia. While these two sites were the only locations visited for interviews, some participants in the study have fired in community wood fired kilns at other various places across the United States . Data Collection Procedures and Instrumentation I entered each of the interviews seeking insights about experiences around wood fired kilns, as well as perceptions observed about the wood fired community. I developed a set of questions for this purpose, and set forth to f ind answers (see Appendix) . Understanding that the participants already knew my intention s for building a kiln of my own , I wanted to ensure all interviewees understood not to stretch the truths to answer in a way most beneficial to my research questions . It was important for volunteers to understand that I was not seeking a particular answer from any one person, but seeking authentic answers and reports of their experiences. Individual interpretations, including that of the interviewer, can change the val idity of the researched qualitative data (Bhattacharya, 2013; LeCompte, 2000; Pepper & Wildy, 2009). By including conversations about everyday experiences intertwined with conversations directly related to research, participants are more likely to offer ge nuine material (Bhattacharya, 2013). The data was recorded through observation and interview notes, as well as audio recordings of conversations and narratives. Audio recordings were used to supplement the interview notes and assure accuracy . They will be deleted at the conclusion of this study.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 22 Data Analysis Procedures The nature of qualitative data in research is susceptible to both bias and interpretation. The data gathered with this study will include personal preferences and biases towards variables that may or may not affect the answer to the research question. Fossey, Harvey, McDermott & Davidson (2002) wrote that the initial step in the analysis of data includes the judgment of whether the data is trustworthy. The more interpretation that is neces sary in the information that is given, the further the data can move away from fact (Pepper & Wildy, 2009). When dealing with narrative accounts, the first step was establish ing themes. S orting the information was essential in order to edit out the informa tion not directly related to the question (Pepper & Wildy , 2009). As certain subthemes rose or fe ll in importance as I analyzed the data , new themes and categories were established. Upon e stablishing appropriate themes within the collected data, connection s to relevant literature can be made (Pepper & Wildy, 2009). Using the themes from personal accounts and interviews, comparative analysis I made with existing published research associated with participatory community based learning. The connections betwee n gathered interviews and sorted answers with existing documentation not only helped clarify the answer to the research question, but also legitimize d the findings. The answer to the research question was no t to be answered by an individual account, observation or article, but was synthesized through the culmination of all the collected data . Findings Through conducting in person interviews with participants, organizers and onlookers at community wood fired kiln sites , commonalities among the responses I collected were evident . C lear themes in the benef i ts and concerns of community wood kilns were also established . The series of questions asked during these interviews were designed to help answer how wood fired
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 23 ki lns promote community within art education. Answering this question validates the hard work invested in the operation of the kilns, as well as strengthens the argument for the creation of wood fired kilns among communities that can support it. While a vari ety of answers were given for the research questions, three major findings stood out among those given. The findings outlined in this section help address ideas around both the educational and communal benefits of a wood fired kiln. The first finding addre sses the use of the kiln as an educational tool, a nd how the use of the kiln teaches fundamental principles of ceramics to those with or without a ceramic background. The second finding addresses the unknown results of the kiln, which often times creates a n allure to the type of firing, and causes both excitement for and avoidance of this st yle of firing . The unknown nature of the firing, while directly related to the pieces that come from the kiln, prompted the sharing of personal stories that connected many of the participants. The third finding proved to be the most resounding, and explains the camarad erie formed around the kiln, the impact felt within the firing team, and the perception of those observing it. Teaching Fire During a kiln side interview with Ben Freund, a self taught ceramic artist who has worked at twelve different kiln sites in four states, he stated "humanity has a love of fire" (personal communication, September 4, 2014). This love of fire , is one of the major bonding factors between ceramic artists a nd community members observing a wood fired kiln. During our interview, Ben was watching over a community firing for a fe w fellow resident artists at a clay studio in Baltimore, Maryland , and spoke eloquently on the kilns he has come to love. "The curiosit y of a wood kiln provides an onramp to educate outsiders to ceramics. It teaches the logistics of firing far better than any other type of firing" (B. Freund, personal communication, September 4, 2014). Perched below a busy street, the studio 's kiln attrac ts curious onlookers on a
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 24 regular basis who are attracted to the fire and smoke coming from the kiln. While Freund spoke about how the kiln "appears as an oddity" to most outsiders, he said that curiosity often brings them in, which always ha s huge benefit s (personal communication, September 4, 2014). A s someone who has helped manage and organize ma ny firings, Ben shared the following: I t is such an incredible experience to watch someone who has never fired a kiln look inside a 2200 degree Fahrenheit kiln for the first time. Once they see it, you'll have them trapped at least long enough to explain how it all works. (personal communication, September 4, 2014) While the view inside of the kiln is especially fascinating to those unfamiliar, it still provide s a mesmerizing view to everyone each time the peephole is opened. Gwen Fitzgerald, a director of marketing and communications who does pottery as a hobby, fires with a group of community members at Baltimore Clayworks. Her response to the outside percept ion of the kiln was similar to that of Freund, by saying "I don't think civilians, get it, but once they do, they're hooked. Th ey're totally interested" (G. Fitzgerald, personal communication, September 4, 2 014). She continued by saying that the kiln offer s a feel for the process more than any other type of firing, and that even after the firing is over, the pieces carry with them an opportunity for explanation and education (G. Fitzgerald, personal communication, September 4, 2014). The work done by the te am of individuals firing creates a history of marks and surfaces on the pieces inside the kiln. While they aren't always predictable or even desired, these marks serve as a visual reminder of the flame, smoke and atmosphere inside the kiln. The pieces fired in a wood fired kiln not only leave the kiln to serve their intended purpose, but also become tools for educating outsiders about the p rocess of wood fired ceramics.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 25 Interpreting the Unknown Potters and patrons that enjoy wood fired pieces often l ike them because of the variation of surface and color that is produced in the kiln. In each of the interviews I conducted, this unpredictability and spontaneity was addressed, but not always as a positive aspect of the process . Patty Thompson, who practic es and sells pottery as a hobby, described the feeling that many others described, saying that "You need to let it go. You can't control what's coming out of the kiln" (personal communication, October 7, 2014). A few hundred miles away and a month earlier, ceramic hobbyist and wood firing participant Fit z gerald said the same thing, saying that the wood kiln "has taught me to let go" (personal communication, September 4, 2014). This idea of lack of control creates both positive and negative responses, as cer tain aesthetics, as well as certain types of work don't lend themselves to the unpredictable nature of the wood kiln. Kevin Crowe, an accomplished artist commented a bout the unknown in his documentary on wood firing , saying that "This type of firing isn' t for everyone. It's a requirement that you surrender to the vagaries of the fire, ash, wind, combustion, and other people" ( Singer, 2013, Chapter 1 ). The uncertainty of the material and kiln is one thing, but because community wood kilns require teams of peo ple to fire, there is sometimes a lack of control of the teammates , which puts control of the outcome in untested participants. Teams must rely on one another, and regardless of experience or skill, those firing the kiln can only work for the entire kil n, not for any individual piece in it ( G. Fitzgerald, personal communication, September 4, 2014). The intermixing of experienced and inexperienced wood firers often creates teams of individuals that function just like small communities , raising the variabl es of the unknown. The idea of the unknown results is exciting for many artists. I sat down with two women who were participants with me in a community wood kiln building workshop . They have
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 26 participated in community wood firings in Maryland as well as P ennsylvania. Y. Kennon , a college administrator that creates pottery as a hobby, is an eternal optimist about the results of a wood kiln. Unprompted by a question, she said, "The wood kiln teaches us that life isn't about control. I'm not in control. I'll work as hard as I can, and that feeling of giving it up to the kiln is a high to me (personal communication, O ctober 7, 2014). Thompson agreed , saying, "while people sometimes focus on how the loss of control can be a bad thing, I think you just can't cont rol how great a pot can be" (personal communication, October 7, 2014) . Kennon perked up by the comment, saying "You get these pots out of this kiln that are so individual, and every time I fire, even the pots that suck, suck really great" (personal communi cation, October 7, 2014). While there is always hope for great results in each firing, both Kennon and Thompson find the best in each unpredictable outcome. Unique Collaboration The dominant finding from my interviews was overwhelmingly the idea of collaboration and teamwork associated with the firing among both strangers and friends. While the answers about this topic were positive and enthusiastic, the nonverbal response that I observed when the participants were responding surprised and excited me . When the topic of collaboration, teamwork, or camaraderie among firing participants came up, the interviewees smiled. Their body language changed to a much more relaxed pose, and their gaze told me they were referencing past experiences that they enjoyed . It was not something that immediately noticed for my first few interviews, but once I began to see it, I looked for the shift once the topic was discussed. Instead of searching for answers and phrasing a response, those being interviewed just began to sp eak. The answers were already there.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 27 While all of the participants in the study spoke very easily a bout teamwork and camaraderie, Thompson responded to the question about what the wood kiln offers , respond ing with, "T he community it builds. You don't get this as an adult in any other place. As a kid, you get placed in things that bring you together with others, but you don't ever do that again" (personal communication , October 7, 2014 ). G. Fitzgerald mirrored the sentiment from Baltimore , saying "Stran gers all come together to do this thing, and every time it just works out. The spirit of how it always works is just so nice"(personal communication , September 4, 2014 ). Coming together to work is one of the benefits , but the learning and sharing that accompan ies that time together is something that many reflected upon. "Those firing learn how to work in a team; they learn to understand the process and gain an appreciation not just for the process, but for the passion that these individuals have" (M. Vincent, p ersonal communication, September 25, 2014). While Vincent has only fired in a few community firings, the understanding of the nuances of what makes a wood firing specials has stood out almost immediately. Kevin Crowe spoke of his biannual firing, saying " S ense of community with any pottery is very strong. A wood fired potter in particular develops a very strong sense of community almost out of necessity" ( Singer, 2013, Chapter, 1 ). Thompson revealed a unique comparison that had not been previously mentioned . When speaking about the community involved, and the interactions that take place she said: We tend to influence each other, both consciously and unconsciously. Having this kiln provides us with the opportunity to bring in outside influences. Church is no longer the nexus for community in this area. Its places like this that draws in pe op le of similar interests and values in order to grow. ( personal communication, October 7, 2014)
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 28 Shortly after Thompson's comment, Y. Kennon , a good friend of Thompson' s said , "I feel like when I'm here, it's my best self. It's the people that I like, and they're the ones I love being around. It's not that I'm a different person, but the better part of me comes out" (personal communication, October 7, 2014) . The interact ions among this group, as well as the interactions of the Baltimore group were incredibly positive, and while geographically far apart without any knowledge of one another, they shared the same passion for being among like minded individuals. L. Kennedy is a beginner potter who has never wood fired, and has expressed no interest in the endeavor . She is close friends to many who do wood fire, but has never had the motivation to go through the labor and sleep deprivation associated with it. When asked about how she perceives the community kiln associated with her studio , she responded by saying that: W hen I know people are firing the kiln, I make sure if I'm in the area I'll come by and cheer them on. I know that the energy will be so great, and I know that anything I can do to help will be apprecia ted. (personal communication, October 7, 2014) Kennedy was a regular observer to both the kiln build, as well as the firing. Her gourmet sna cks and fresh fruit always seemed to be timed impeccably, and while she never physically built any piece of the kil n or threw any wood in the fire, she was always an important member of the team . Summary The findings of the interviews I performed clearly brought forward the idea of strong community development and a richness of interaction and conversations among participants of community wood firings. When asked about community wood kilns, and the experiences that they took from them, the interviewees spo ke more robustly about the interactions and the process of firing than that of the pots that come out of the kiln. The conversations had during the
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 29 interviews often came back to relationships among new and old friends, a determination to work for everyone, and the positive environment that the wood kiln produces. The kilns unpredictability and l ack of control offers both positive and negative aspects to a firing, but also creates anticipation for the unloading that isn't possible anywhere else . Whether an o ptimist or pessimist , the only known result is that something will be a surprise. When many of the participants were interviewed, they often spoke about the camaraderie associated with wood firing, but often times assumed it was an already established conc ept. Cama ra derie amongst teams of wood firers, or wood firers across different communities, assume the idea of teamwork and collaboration because the kiln cannot function without it. Most artists who choose to wood fire understand at least some of the obst acles ahead of them, and the idea of working with others for a common good is understood at the most basic level. Community kilns offer a place for not only ceramic artists, but also those just curious to gather, and based on the responses of those interv iewed, offer a natural place to educate about ceramics. Using a tool steeped in history, and one that only uses the most basic technologies, the opportunity to effectively inform is readily available. No matter the intention of approaching or using a wood kiln, the narrative study has found a multitude of positive outcomes associated with the community wood fired kiln. Discussion and Conclusion The purpose of this study was to answer the question of how wood fired kilns help prom ote community in art educa tion, and whether a kiln requiring this amount of effort, maintenance and initial cost is feasible for a public high school setting. Literature suggests that participatory art projects within a community create ownership and enthusiasm from all those invol ved, and a community wood kiln delivers the same feelings from those who experience it.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 30 Wood fired kilns create a place for gather ing to educate and tell stories while producing art in a collaborative and meaningful way. The methodology I chose for this study uses the idea of community surrounding wood fired kiln. I used a narrative research model to conduct interviews to capture the experiences and stories of tho se associated with wood kilns at various levels. The findings were clearly positive, and expanded on the ideas of using the kiln as a tool for education, navigating through the unknown, and the camaraderie felt among those who fire the kilns. Using this in formation, I will outline the importance and impact of a wood fired community kiln, along with establish ing the relevance and feasibility of a community kiln within a public school setting. Discussion and Interpretation of Findings Even though I entered this study with a passion for wood firing and a desire to build a community kiln, I tried to keep an open mind. I considered that maybe it was just my personal aesthetic that draws me to wood kilns, and my enjoyment of others' company lends itself to a woo d kiln team. Maybe my perception was too personal, too close minded. I entered into the data collection stage expecting nothing, and hoping for a variety of information to synthesize. What I found were similarities. I found elements of stories, recollectio ns of past firings and experiences that made me believe that the wood fired kiln community is even stronger than I originally believed. The stories shared, regardless of location or kiln site, all had an underlying positive tone of camaraderie and success. Early in my interviews, I realized one of the common elements that was being discussed was concerned with the direct instruction and education associated with firing pottery. My experiences with firing in wood kilns have taught me that the educational c omponent is highly narrative and less structured than what normally takes place in a classro o m . B ut what many of
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 31 th e interview participants stated is that they have learned more about the firing process from using a wood kiln than any other type of kiln. O nce I had a chance to reflect on this point, it made perfect sense. The variables used for a wood kiln follow the basic rules of combustion, and are completely controllable by those who are firing it. There isn't any other type of firing that offers the op portunity to adjust and adapt the basics elements of the fire, and then see the results inside the kiln. Adjusting the amount of air entering and exiting the kiln, along with the amount of wood and speed in which it is stoked significantly changes the stat e of the kiln. The kiln immediately responds to basic changes, and provides learning opportunities for those watching. The nature of the firing leaves permanent marks of the flame and atmosphere on the pieces inside, which then provide not only a product t o be appreciated for its aesthetic value, but one that visually describes the action of the kiln. The kiln is a tool not only for firing, but an educational t ool to illustrate when fire meets clay. The unpredictability of a firing has always been allurin g to me. My desire for color and surface on pots has never been one of control, so allowing the kiln to impact my work was always something that I found appealing. Those interviewed for this study were in some way associated with a wood kiln, so a direct c ontradiction to the aesthetic wasn't studied. Each interviewee discussed someone, either specifically or in generalities, that wouldn't like to be a part of a wood fired kiln, or someone whose pieces would not benefit. There was never judgment cast over wh o was right and wrong, but and understanding that it isn't for everyone. Loss of control is something that individuals fear in multiple facets of their life, and those who need to control the color, placement, or decoration of a glaze don't typically enjoy the inevitability of the unknown.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 32 The idea of community and sense of togetherness was the main inspiration for this study, but even though I knew its greatness, I underestimated it. There are so many levels to how the community wood kiln brings a t eam close together, and hearing the stories of friendship and collaborative success strengthens my feelings for the subject. While the participants in the study were adults outside of world of public education, the lessons are something easily translated i nto the classroom. Hearing about long term friendships that started because of a community firing, or the idea of deep conversations because of a quiet late night shift make me believe that any community that has a ceramic population can benefit from this functional gathering place. Different groups of adults have these places, whether it's the gym for an athlete, or a bike club for a motorcycle enthusiast. Creative gathering places aren't as common, and community kilns provide an opportunity for ceramic a rtists and enthusiasts, professionals and novices, to gather together and work towards a common goal. The quality of one piece does not affect the outcome of another, so beginners to the process can share the successes of a professional. This cooperative n ature towards a successful outcome as well as the acceptance of various ability levels creates and strengthens bonds across the ceramic community. Significance , Implications, and Recommendations I've experienced the power of a wood fired kiln. It' s not o nly a tool that puts a permanent mark on the pieces inside the kiln , but it's an environment that can influence the participants both as an artist and as a person. The pieces from a kiln are often a secondary outcome to a firing, because while I couldn't t ell which pot I've had in which firing from my past, I could tell you who sat and talked with me, and all the great stories we told. Each time I have been a part of a firing, there has been a newcomer to the kiln , either artist or observer, that gets hooke d on the process. Sometimes they want to make pots for the next firing , and others just want to come for
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 33 the late shift and throw wood. The process of firing is openly communal, and it's clear to every participant that they matter. While the number of indi viduals impacted begins with a small number, it doesn't take long for word to travel. Placed in the right community, and run by the right individuals, a wood fired kiln can be a true example of how art education comes alive. While my claims may seem as if I'm pushing for every community to have a wood fired kiln, I am not. It isn't manageable nor practical for every community to have one. Strategic locations without community kilns will draw the most artists and curious onlookers, along with providing the most opportunity to work with new artists from outside communities. Managing and maintaining a kiln is hard. While firings can run anywhere from half a day to 10 days, the prep work before the firing is significantly more. Knowledge can get y ou through a successful firing, but preparation for it relies on work ethic and effort. Variables such as number of work s to be fired , type of wood, desired length of firing, as well as aesthetic choices all must be considered when determining the right fit for a kiln within a community. Accompanying my research study at http://www.nixdorfpottery.com is an educational action plan outlining the key components, concerns and materials necessary for building a community kiln. The type of kiln I selected is the kiln that resides at both the Baltimore Clayworks and Historic Yellow Springs Art Studio. The kiln is a two chambered Noborigama that provides an opportunity for two different types of finished surface. (See Fig. 1)
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 34 Figure 1 . Noborigama styled kiln built during this research study in Chester Springs, PA The kiln's size is ideal for a group of 6 10 individuals, an appropriate sized crew for the firing, but if necessary, is small enough to fire with only a few. The firing time ranges from about 24 30 hours, and can be fired with different types of wood. This kiln would be an ideal style and size to be located at a public high school with a large ceramics program. I have gathered r esources per taining to the planning and construction of a community kiln in this style online using interactive images on my professional website , www.nixdorfpottery.com . The pages and images are meant to serve not only as an educational piece for those curious about wood firing, but a functional tool for those interested in planning a wood fired kiln build. Using personal experiences , vested individuals, as well as gathered resources, I compiled the images onto the website, dividing it into 4 sections. (See Fig. 2)
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 35 Figure 2 . Screenshot of interactive home screen. The four sections cover the four major components of planning a kiln. The education section covers some of informational pieces necessary for generating interest, lesson plans associated with kiln firing, a s well as links to outside resources. The administrative section offers a timeline, checklist, ideas for fundraising, cost breakdown, and other resources to consider. The implementation section deals strictly with the build, addressing issues associated wi th construction. Finally, the kiln section addresses the some specific topics associated with the Noborigama kiln itself, including videos from firings, as well as kiln logs and glaze recipes. The website and interactive images were created using variety of programs. Weebly ¨ was used for the website, Photoshop ¨ for the manipulation of imagery, and Thinglink ¨ for the assemblage of interactive images and videos. Thinglink ¨ is a new online tool with various levels
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 36 of membership, allowing users to create imag es that are responsive to rollovers, clicks, and embedded multimedia. (See Fig. 3) I found that while this tool was powerful for pages rich in embedded video , it offered no enhancement to other areas that were more text heavy. Figure 3 . A screenshot showing embedded video within images. This tool has great potential for other subject s within art education, but only moderately provided the enhancements I was attempting. In the future, I hope to document the build and firing of a kiln with this tool, embedding videos within still images of each of the processes. By planning the layout and structure of the images before the assemblage, I believe I can maximize this new online tool. Conclusion The research for this project was a true labor of love. Be ing a ceramic artist who would prefer being around the wood kiln late into the night over most other weekend activities, gathering data by interviewing wood firing participants and developing a plan to build a kiln seemed to good to be true. While it seeme d unnatural to pull someone aside and have a recorded
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 37 conversation about the same things we would sit and jovially talk about otherwise, it never took long for the presence of a phone recorder to fade away and the true essence of wood firing to come to lif e. While the stories and answers presented in this study were intended to address specific questions, they have done far more for me as an artist and educator. They have strengthened my desire to build a community kiln, and legitimize my instinct that the bonds and relationships built around a community kiln are worth the painstaking effort necessary to accomplish such a task. My website, http:///www.nixdorfpottery.com, houses the accompanying project addressing the needs and concerns for the kiln building project, and will capture the evidence of my inevitable future. I'm lucky to have been influenced by knowledgeable, positive individuals that have made my wood firing experiences meaningful and enjoyable. I look forward to the near future when I can be th e one that uses this study, along with the action plan , to bring the participatory experience of wood fired kiln to my community.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 38 References Bhattacharya, K. (2013). Voices, silences, and telling secrets: The role of qualitative methods in arts based research. International Review of Qualitative Research , 6 (4), 604 627. Bolin, P. E. (1999). What is taught? What is learned? How do we know? Art E ducation , 52 (5), 4 5. Bolin, P. E. (2000). Art education in and beyond the classroom. Art Education , 53 (5), 4 5. Briggs, R. (2011, May). Looking forward/looking back. Ceramics Technical , 32, 19 23. Chung, S. K., & Ortiz, C. (2011). Art education in action on the street. Art Education , 64 (3), 46 52. Davenport, M. (2000). Culture and education: Polishing the lenses. Studies in Art Education , 41 (4), 361 375. Fossey, E., Harvey, C., McDonald, F., & Davidson, L. (2002). Understanding and evaluating qualitativ e research. Australian and New Zealand Journal of Psychiatry , 36 , 717 732. Greenman, C. (2006, October). Creating community to sing the great tradition. Ceramics Technical , 23 , 98 101. King, L. (2009, October). A community of fire. Ceramics Technical , 29, 96 101. Kusakabe, M., & Lancet, M. (2005). Japanese wood fired ceramics . Iola, WI: Krause. LeCompte, M. D. (2000). Analyzing qualitative data. Theory Into Practice , 39 (3), 146 154. Lim, M., & Song, B. (2013). Three initiatives for community based art educa tion practices. Art Education , 66 (4), 7 13. Marche, T. (1998). Looking outward, looking in: Community in art education. Art Education , 51 (3), 6 13. Olsen, F. L. (2001). The kiln book (3rd ed.). Iola, WI: Krause.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 39 Pepper, C., & Wildy, H. (2009). Using narrat ives as a research strategy. Qualitative Research Journal , 9 (2), 18 26. Rothsank, J. (2011). Our most valuable tools. Studio Potter , 39 (1), 40 44. Singer, C. (Director). (2013). Out of the fire [Motion picture]. USA. Smith, M. K. (2008). "Informal learning', the encyclopedia of informal education. Retrieved March 28, 2014, from http://infed.org/mobi/informal learning theory practice and experience/. Smith, W. (2013, February). A burning question. Ceramics Monthly , 61 (2), 32. Stephens, P. G. (2006). A real "community bridge": Informing community based learning through a model of participatory public art. Art Education , 59 (2), 40 46. Sullivan, G. (2006). Research acts in art practice. Studies in Art Education , 48 (1), 19 35. Ulbricht, J. (2005). What is community based art education? Art Education , 58 (2), 6 12. Villeneuve, P., & Sheppard, D. (2009). Close to home: Studying art and your community. Art Education , 62 (1), 6 13.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 40 Appendix UFIRB 02 Ã Social & Behavioral Researc h Protocol Submission Form This form must be typed. Send this form and the supporting documents to IRB02, PO Box 112250, Gainesville, FL 32611. Should you have questions about completing this form, call 352 392 0433. Title of Protocol: Community Based Learning and the Participatory Art of the Wood Fired Kiln Principal Investigator: Nathan Nixdorf UFID #: 44175149 Degree / Title: Master of Art in Art Education Mailing Address: 507 Hemlock Lane Lebanon, PA 17042 Email: nnixdorf@ufl.edu Department: School of Art and Art History Telephone #: 717 725 8522 Co Investigator(s): UFID#: Email: Supervisor (If PI is student) : Michelle Tillander UFID#: 1449 1870 Degree / Title: PhD Mailing Address: College of Fine Arts 101 FAA PO Box 115800 Gainesville FL 32611 5800 Email : mtilland@ufl.edu Department: School of Art and Art History Telephone #: 757 619 4444 Date of Proposed Research: July October, 2014 Source of Funding NONE Scientific Purpose of the Study: The purpose of this study is to explore the communities surrounding wood fired kilns, and how their use serves as a catalyst for art education and community based learning. This study will help in the development of an acti on plan in support of the creation of a wood fired kiln within the public school setting. Describe the Research Methodology in Non Technical Language: As the principal investigator, I will collect narratives from individuals associated with wood fired kilns. Through semi structured interviews, I will document the stories and feelings of those who have used wood fired kilns in community settings. Conversa tions will be recorded, but the use of the recordings will only be to check the accuracy of notes and observations. I will also log and journal my experiences with the
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 41 participants during community firings. Describe Potential Benefits: The benefits of this research to art education will be both the documentation of the impact of community based learning, as well as the action plan created for implementing a large scale project (e.g., wood fired kiln) involving that include the community. The ceramics education field as well as the art education will find this research of value. Describe Potential Risks: All participants will remain anonymous for the study, unless otherwise noted by the participants. No risk factors are associated with p articipating in this research, as it involves just asking questions about the community associated with a wood fired kiln. Describe How Participant(s) Will Be Recruited: Participants will be individuals associated with community wood firings. Volunteers will be either approached at the site of the firing, or in advance of the firing through email or telephone. For narratives gathered from participants away from kiln sites interviews will be conducted through email, telephone or video chat services. Maximum Number of Participants (to be approached with consent) 20 Age Range of Participants: 18 75 Amount of Compensation/ course credit: No compensation Describe the Informed Consent Process. Wood firing participants will be asked to volunteer for the study. Participants will be approached with a physical copy of the consent form to sign, or will be sent a physical copy through mail if the interview does not take place in person. (SIGNATURE SECTION) Principal Investigator(s) Signature: Date: 4/18/14 Co Investigator(s) Signature(s): Date: Supervisor's Signature (if PI is a student): Date: Department Chair Signature: Date:
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 42 The University of Florida PO Box 115800 Gainesville FL 32611 5800 352 392 9977 352 392 8453 Fax Informed Consent for Participants in Research Study Community Based Learning and the Participatory Art of the Wood Fired Kiln Please read this consent document carefully be fore you decide to participate in this study. Purpose of the research study: The purpose of this study is to explore the communities surrounding wood fired kilns, and how their use serves as a catalyst for art education and community based learning. This study will help in the development of an action plan in support of the creation of a wood fired kiln within the public school setting. What you will be asked to do in the study: You will be asked to describe your experiences involving wood fired kilns. Based on your level of involvement with the wood kiln, questions could be adjusted to best fit your role in the firing process and organization. Participants are permitted to skip any questions they are not comfortable answering. Time required: Partici pation will take about 20 30 minutes Risks and Benefits: There are no risk factors associated with this report. If desired, participants can remain anonymous in the reporting of all results. Confidentiality: Unless I am notified otherwise, your identity will be kept confidential to the extent provided by law. Your narrative accounts and interview answers may be recorded, but only to check against interview notes to ensure accuracy. Upon completion of the study , all response notes and recordings will be destroyed.
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 43 Voluntary participation: Your participation in this study is completely voluntary. There is no penalty for not participating. There is no compensation for participating in the research. Right to wit hdraw from the study: You have the right to withdraw from the study at anytime without consequence. Whom to contact if you have questions about the study: Nathan Nixdorf, email: nnixdorf@ufl.edu . You may also contact my faculty advisors at the Universit y of Florida, Michelle Tillander: mtillander@ufl.edu , or Dr. Jodi Kushins: jkushins@ufl.edu Whom to contact about your rights as a research participant in the study: IRB02 Office, Box 112250, University of Florida, Gainesville, FL 32611 2250; phone 392 0 433. Agreement: I have read the procedure described above. I voluntarily agree to participate in the procedure and I have received a copy of this description. Participant: ___________________________________________ Date: _________________ Print name Participant: ___________________________________________Date: ___________________ Signature Principal Investigator: ___________________________________ Date: _________________
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 44 Interview Questions • Could you please tell a little bit about yourself, including your age, as well as your association with pottery? • Please describe how you became involved with the wood firing process? • How is this particular kiln viewed by the surrounding community, and has it always been that way? • Can you speak of the involvement of participants in the firing that have no work in the kiln? • What is the educational component in wood firing? How does knowledge get passed from one person to another? • Aside from the work produce d, what are the benefits that come from a wood fired kiln? • What are the negative aspects of firing a wood fueled kiln? • Is there anything you would like to add about your experiences with wood kilns that you feel are relevant for this study?
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 45 List of Figur es with Figure Captions Figure 1. Noborigama styled kiln built during this research study in Chester Springs, PA .......... 34 Figure 2. Screenshot of interactive home screen ................................ ................................ ........... 35 Figure 3. A screenshot showing embedded video within images ................................ .................. 36
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PARTICIPATORY ART OF THE WOOD FIRED COMMUNITY 46 Author Biography The idea of community in my life has been something that's been engrained in me, but not always something that I've recognized. Teaching at my alma mater, the same school district that both my parents graduated, taught and retired from has given me a sense of place and a perspective of community that many are not familiar. The strength of local connections and relationships is one that is difficult to match, and one that I hope to carry through in my career. My own personal education in clay is never ending. W hether as a student, apprentice, assistant or observer, I thrive on new information, and continuously seek out more. The ceramic world is a collaborative one, and it constantly amazes me how much people are willing to share. A piece of advice that was give n to me, and one that I try to pass to my students is simple: work for knowledge. Find someone who has information that you want, and offer to help at no cost. Do something, do anything, and do it for the exchange of information. I've done this countless t imes, and it's amazing how much I've learned, how many doors it has opened, and how many incredible connections it's provided. As a ceramic artist, I create work out of my home studio, and have exhibited in galleries across the United States, as well as South Korea. I create functional pottery that is intended to highlight the act of enjoying food. While the food is the focus, cre ating a unique experience along the way can heighten the experience. It's my hope that when someone uses a piece of my pottery, they not only enjoy what they're eating or drinking, but also enjoy the process. It's my dream to bring together all the piece s of my life, combin in g art, public education, and community to create meaningful experiences for all those involved. Art education doesn't end in the classroom, and my hope is to build a community that values artistic opportunities wherever possible.
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