Antioch University AURA - Antioch University Repository and Archive Student & Alumni Scholarship, including Dissertations & Theses Dissertations & Theses 2009 Palpable Pedagogy: Expressive Arts, Leadership, and Change in Social Justice Teacher Education (An Ethnographic/Auto-Ethnographic Study of the Classroom Culture of an Arts-Based Teacher Education Course) Lucy Elizabeth Barbera Antioch University - PhD Program in Leadership and Change Follow this and additional works at: http://aura.edu/etds Recommended Citation Barbera, Lucy Elizabeth, "Palpable Pedagogy: Expressive Arts, Leadership, and Change in Social Justice Teacher Education (An Ethnographic/Auto-Ethnographic Study of the Classroom Culture of an Arts-Based Teacher Education Course)" (2009).edu/etds/12 This Dissertation is brought to you for free and open access by the Student & Alumni Scholarship, including Dissertations & Theses at AURA - Antioch University Repository and Archive. It has been accepted for inclusion in Dissertations & Theses by an authorized administrator of AURA - Antioch University Repository and Archive. For more information, please contact dpenrose@antioch.edu, wmcgrath@antioch. PALPABLE PEDAGOGY: EXPRESSIVE ARTS, LEADERSHIP, AND CHANGE IN SOCIAL JUSTICE TEACHER EDUCATION (AN ETHNOGRAPHIC/AUTO-ETHNOGRAPHIC STUDY OF THE CLASSROOM CULTURE OF AN ARTS-BASED TEACHER EDUCATION COURSE) LUCY ELIZABETH BARBERA A DISSERTATION Submitted to the Ph.
in Leadership & Change Program of Antioch University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January, 2009 This is to certify that the dissertation entitled: PALPABLE PEDAGOGY: EXPRESSIVE ARTS, LEADERSHIP, AND CHANGE IN SOCIAL JUSTICE TEACHER EDUCATION (AN ETHNOGRAPHIC/AUTO- ETHNOGRAPHIC STUDY OF THE CLASSROOM CULTURE OF AN ARTS-BASED TEACHER EDUCATION COURSE) prepared by Lucy Elizabeth Barbera is approved in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Leadership & Change. Approved by: ________________________________________________________________ Chair date Carolyn Kenny, Ph. ________________________________________________________________ Committee Member date Laurien Alexandre, Ph. ________________________________________________________________ Committee Member date Laura Shapiro, Ph.
________________________________________________________________ External Reader date Maxine Greene, Ph.D Copyright 2009 Lucy Barbera All rights reserved I would like to dedicate this dissertation to the memory of Thomas Anthony Barbera Sr., brother-of-my-heart, July 12, 1948—February 13, 2008; to my sisters Joyce, Margaret, Laura, and Faith; to my brothers Barney and Jack; and to my parents Giacoma and Baldassare, and thank them for their unwavering love and support. Acknowledgements I would like to thank Carolyn Kenny, my dissertation chair and educator extraordinaire, who, through her guidance, support, and trust in me, provided a model of how beauty, truth, and justice make transformational learning possible. I would like to thank Laura Shapiro, who broke through hard ground with her original arts-based research, making it possible for me to walk in her footsteps for my own inquiry. I would like to thank Laurien Alexandre for her vision of leadership education and the benefits that vision has manifested in my life and learning.
I would like to thank Maxine Greene for the inspiration she has given me and so many others in education to apply the power of the imagination toward social justice. I would like to thank Rebecca Hosmer, my copy editor, and Matthew Swerdloff, my technologist, for their constant support and dedication to my dissertation’s publication, without which it would not have been possible. Finally, I want to thank my students for their courage and authentic expressions. I have learned so much from them.
i Abstract Palpable Pedagogy: Expressive Arts, Leadership, and Change in Social Justice Teacher Education is an arts-informed ethnographic study of the pedagogy and culture engendered when the expressive arts are employed in social justice teacher education. Palpable Pedagogy is a qualitative study that examines the power of the expressive arts to identify, explore, and address issues of inequity in the context of a social justice teacher education course that I taught over three consecutive years. The literature in the field outlines the essential components for effective social justice teacher education (identity, reflection, and dialogue) and neatly explores them. However, with the exception of Art teacher education, where national learning standards require that cultural diversity be explored through the arts, little has been written about the utilization and power of the arts as a pedagogical tool in general teacher education for social justice.
My objective in Palpable Pedagogy is to reveal the layers of felt meaning, transformational learning, and release of the imagination (Greene, 1995) for leadership and change that my students experienced in my social justice teacher education course, “Expressive Arts, Leadership, and Change.” The arts themselves provide a splendid methodological match for research of this kind. McNiff (1998) proposes that there is no better way to study the effects of the arts than through the arts themselves. Using an aesthetic approach in my ethnographic study, I employ participant observation, field notes, photography, videography, interviews, and student art process, and product as my data, creating a text/context of the phenomenologically understood life worlds of my students. A bricolage results, with the inclusion of my justice educator/artist self-study, situating me both emicly and eticly in the life world of my students and classroom.
Readers will aesthetically experience data presented in the forms of student and researcher poetry, performance, painting, mask making, sculpture, and narrative, as a way of understanding and ii knowing. This study reveals the inherent potential of the expressive arts as a pedagogical tool to reclaim art as a necessary human behavior/ birthright (Dissanayake, 1992) to make meaning, galvanize learning, catalyze leadership, and inspire action—thus, creating a unique and palpable pedagogy for social justice teacher education. This dissertation contains embedded images in jpg format. It also includes nine associated video files in avi format and two associated audio files in mp3 format.
The electronic version of this dissertation is available in the open-access OhioLink ETD Center, www. iii TABLE OF CONTENTS Acknowledgements i! Abstract ii! Table of Contents iv! List of Figures vi! List of AV Files xii! Chapter I: Introduction 1! The Study 5! The Epistemology of Aesthetics 6! Teacher Education, Leadership, and the Arts 8! Social Imagination and Palpable Pedagogy 10! Identity, Dialogue, and Reflection in Social Justice Education 15! Identity 15! Dialogue 17! Student Action Plan Presentation: Taking the “Diss” Out of Disability 17! Reflection 20! The Crisis of Representation—Art as a Form of Knowledge 23! Art as Process 23! Summary 24! Chapter II: Literature Review 26! The Roots of Art, Beauty, Justice, and Humanity 27! Aesthetic Education 31! Critical Theory and Humanistic Education 35! Multicultural Art Teacher Education 39! Arts-based Teacher Education and the Arts and Social Justice in Adult Education 41! Aesthetic Leadership 46! Chapter III: Research Methodology 50! Philosophy and Theory of the Arts as Inquiry Tool 50! Ethnographic/Autoethnographic Methods 55! Research Process and Participant Selection 57! Ethical Considerations 59! Summary 61! Chapter IV: Findings and Results of Study 64! Introduction 64! “The Arts” Defined 67! The Themes 68! A Few Words About Beauty 71! Identity: Autobiography—Past, Present, and Future 71! Reflection 82! Reflection Through Journal Writing 84! Mask-making as Reflection Tool 89! Emotion and Action 94! iv Fear of the Arts 96! Dialogue 106! Community 113! Compassion, Connection, Unity 117! Mandala-making and Community 122! Summary 129! Chapter V: Autoethnography 131! Dream 131! Autobiography: Unfolding Into the Present, Emboldened Into the Future 134! Autoethnographic Journal: July—December 2007 140! The Roots of Art—We Are All Connected In This Way 144! Finding Home: A Map to Finding My True Voice 146! Self-Study Research and Social Justice Education 167! Closing—Retrospective Show 168! Next Steps 170! Autoethnograpic Journal: Epilogue, July 2008-April 2009 171! Chapter VI: Discussion of Conclusions 181! Art as Mystery 181! Palpable Pedagogy 186! Interconnecting Themes Revisited 188! Antagonists to the Arts 190! Chapter VII: Implications for Leadership and Change 196! Brief Recapitulation of the Study 196! Literature Review Revisited 196! Relevance of the Study to Leadership and Change 197! Aesthetic Leadership and the Art of Leadership 198! Leadership Development of Teachers: Reflective Teacher Leaders 201! Suggestions for Future Explorations and Research 203! Challenges of the Study and Findings 205! Closing 206! Appendices 208! Appendix A 209! Appendix B 221! Appendix C 223! Appendix D 226! Appendix E 227! References 229! v List of Figures Figure 1.1 My Great Grandmother, Eugina Martinelli.2 Lucy Barbera (center) listens as her student tells about her life.3 Lucy Barbera “Teaching Who She Is.4 The dimensions of the epistemology of aesthetics.5 Front and back of student mask: Oppression and liberation.6 Model of palpable pedagogy.7 Polarities: Inclusion—Exclusion.9 Student sharing her educational autobiography.10 Extension of autobiography: Singing "Somewhere Over the Rainbow.11 Students explore and dialogue about ability and disability.12 Body trace and self-exploration on disability.13 Lucy Barbera (left) joins student dialogue group, 2007.14 Student uses movement to demonstrate personal ability.16 Student reflects on her Touchstone.17 Journal reflection on Touchstone.1 The data streams.2 What each of the following dissertation chapters will address.1 Student with Self-portrait Mask, 2006.3 Identified sub-themes.4 Interconnected themes and subthemes.5 Patton’s table under construction, with close-up, 2007.6 Lindsey’s journal: “I Am From” poem, 2007.7 Ellie’s mask of identity, 2007.8 Student points to compassion as a key element of her self-portrait, 2006.9 Lindsey’s journal entry on “The Letter,” 2007.10 Lindsey’s reflective journal cover, 2007.11 Inside Lindsey’s reflective journal, 2007.12 Lindsey’s reflection of G.13 Inside Lindsey’s journal—contexts for social justice work (Shapiro, 2004).14 Lindsey’s journal entries—personal and critical reflection side-by-side, 2007.15 Student dramatization “The Faces of Discrimination,” 2006.16 Student-generated composite list of polarities (flip chart notes, 2006-2008).17 Student reflection through mask-making.18 Student mask—being heard and being silenced, 2007.19 Face of oppression and rainbow of color, 2007.20 Mask—inclusion and exclusion, 2007.21 Student uses her feet to scribble her emotions, 2007.22 Students at the Dorsky Museum, July 2007.23 Student lends a work of art—“Her” Life, Samuel Dorsky Museum, 2006.24 Dramatization—students embodying fear of judgment and shame, 2008.25 Dramatization—students embodying resolution, hope, and vision, 2008.26 Students in dialogue groups, 2007.27 Students dialogue with Lucy Barbera, Dorsky Museum of Art, 2007.28 Students dialogue in dyads, 2006.29 Students use art as a springboard for dialogue, 2007.30 Students in dialogue, 2007.31 Students set up the retrospective show, 2007.32 Deep listening and dialogue, 2007.33 Deep noticing, retrospective show, 2007.34 Lindsey’s journal response to handouts Young (1990), Rogers (1993).35 Student drawing a mandala, 2007.37 Lindsey’s journal—mandala (Togut, 2004).38 Student creating her Piece of the World, 2007.39 Students assembling World Mandala, 2007.40 The World Mandala, 2007.41 Students pass the flame, 2007.42 Students bring their lights to the world, 2007.43 The candlelit World Mandala, 2007.44 The culture of an arts-based social justice teacher education course, 2006-2008.4 Mom, Laura, and Me; Dad and half of our Tribe.7 Bury Me Standing (Fonseca, 1995).8 Angelina, an aristocrat, eloped with the Gypsy’s son, Luigi.10 My Touchstone speaks.11 Landscape of the Soul.12 Self-portrait painted on 7-14-07.13 Close-up of necklace.14 7825 4th Avenue, spring 1955 with my mother.15 7825 4th Avenue, summer 1956 (me in white dress, my father and siblings).16 House on Calamar Lane, Woodstock.17 Open meadows across the Mill Stream.18 House on Wittenberg Road.19 Pine Hill cottage on Birch Creek Road.20 Rosendale house on Mountain Road.21 Landscape around cabin.22 Cabin we lived in after I split up with Alexander’s father.23 Magical, mystical stone croppings in the woods behind the cabin.24 Leopard carved into front door.25 Second converted chicken coop.26 Hearts Content Road place with footbridge.27 Falls behind Hearts Content Road place and house.28 Along the river behind Hearts Content Road place.29 Porch, meadow, and Alexander and I at Crispell Road home.30 Ohayo Mountain Road house.31 Alexander’s first major painting, 1994.32 School house in Rhinebeck.33 Apartment and studio a mile north of the school house.34 House at 7 Charles Street.36 Studio at 22 Stuyvesant Street.37 Rifton house on Hardenburgh Road.38 Stream behind Rifton house.39 House at 3 Charles Street, Rhinecliff.40 House in Woodstock and Sawkill River, 2007.42 Alexander and I at 676 Zena Road, 2006.44 Students and I set up Retrospective Show, 2007.45 Students viewing exhibit of my work at the Retrospective Show, 2007.46 Buddha of No Fear.47 Homage to Tom, collage 2008.48 My niece, Jackie Joy and I releasing Tom's ashes.49 Close-ups of Homage to Tom, collage, 2008.50 Homage collage, close-ups, 2008.51 Close-ups, Homage collage, 2008.52 Touchstone for Tom, hawk feather and fox tooth, 2008.53 Tom in turban, Chico, California, 2008.54 The healing power of love, Tommy, Jr.2 Students sharing Touchstones, 2008.