Artistic Mentoring as a Decolonizing Methodology: A Collaborative Painting Ethnography with Maya Artists Pedro Rafael Gonzalez Chavajay and Paula Nicho Cumez [Kõva köide]

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Artistic Mentoring as a Decolonizing Methodology: A Collaborative Painting Ethnography with Maya Artists Pedro Rafael Gonzalez   Chavajay and Paula Nicho Cumez
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Artistic Mentoring as a Decolonizing Methodology: An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael Gonzalez Chavajay and Paula Nicho Cumez illuminates the collaborative, holistic teaching processes of artistic mentoring, a decolonizing arts-based methodology, focused on the Indigenous expert as partner and mentor.
Osiyo: Welcome in Cherokee Christine Ballengee Morris Foreword Luke Eric Lassiter Acknowledgements List of Figures Pedro Rafael Gonzalez Chavajay - A Biography Paula Nicho Cumez - A Biography Salvador Cumez Curruchich - A Biography Joseph Johnston Introduction PART 1: The Artist as Mentor: The Mentoring Relationship as a Teaching Method and Paintings as Didactic Tools Introduction to Part 1: Painting as a Didactic Tool and Site for Teaching 1 Personal and Cultural Narrative as Inspiration: A Painting and Pedagogical Collaboration with Two Maya Artists A Problem of Perspective A Problem of Practice Perspective and Practice in Context Decolonizing Methodologies Results Life as Text Discussion Applications Conclusion 2 Where Lived Experience Resides in Art Education: A Painting and Pedagogical Collaboration with Paula Nicho Cumez Introduction Reflections on Feminist Pedagogy Female Kaqchikel Maya Painting and Teaching Processes Owning One's Narrative in Collaboratively Produced Paintings Weaving Women's Iconography in Paintings Fusion: One Imagines the Painting into Being Kaqchikel Women Painters' Iconography: Personal in Cultural Maya Women Painters as Role Models Asserting Female Ways of Connected Knowing and Teacher/Student Role Reversals A Feminist Teacher's Strategy: To Elicit Conclusion PART 2: The Artist as Historian: Paintings as Historical Documents, Sites for Cultural Transmission, and Platforms of Protest and Resistance Introduction to Part 2: The Artist as Historian, Massacre en Atitlan (Massacre in Atitlan) Painting as a Site for Claiming Maya History 3 Maya Paintings as Teachers of Justice: Art Making the Impossible Possible The Maya Painting Movement in Context Our Values Must Be Salvaged and Presented to Our Children 4 Crossing Borders 5 Advocating for Justice: A Maya Painter's Journey A Story of Courage The Anthropology of Genocide: Annihilating Difference (Hinton, 2002) A Brief Overview of Guatemalan History A Tragic Moment in History: Massacre in Santiago Atitlan December 3, 1990 Pedro Rafael Gonzalez Chavajay's Story PART 3: The Artist as Ethnographer: Collaborative Ethnography, Decolonizing Research Practice, and the Ethics of Representation Introduction to Part 3 6 "Coming of Age in Methodology": Two Collaborative Inquiries with Shinnecock and Maya Peoples Diane's Research Story Shinnecock Museum Kryssi's Research Story Conclusion: Closing the Distance section 1: Ethical Changes in Representation Phase One - Participants and Research Process 7 Visual Privileging: Subjectivity in Collaborative Ethnography 8 Decolonizing Development through Indigenous Artist-Led Inquiry Speaking with, Not for or about Others The Recounting of Tales, Myths and Readings Approaching Arts-Based Inquiry with Eyes Wide-Open Researching in Ways that Might (Dis)Serve Multiple Populations Conclusions section 2: Ethical Changes in Representation Phase Two - Relational Presentation 9 Indigenous Methodologies: A Collaborative Painting with Maya Painter Paula Nicho Cumez Introduction A Collaborative Painting with Maya Painter Paula Nicho Cumez Conclusion 10 The Inseparability of Indigenous Research and Pedagogy: A Collaborative Painting of a Maya Tz'utuhil Grieving Ritual La Consolacion PART 4: The Artist as Teacher: Transformations of the Academy and the Artist/Teacher Introduction to Part 4 section 1: Transformations: Curricular Applications to Teaching 11 Learning outside the Box: How Mayan Pedagogy Informs a Community/University Partnership Inroads: Art Education Connections: Transferring Knowledge across Cultures The Specifics How It Unfolded: Step by Step Negotiating Learning Leadership: Novices Become Experts Cultural Narratives: Paths to Learning Co-Mentoring, Friendship, and the Co-Construction of Knowledge Conclusions and Implications Situated Learning: The Local Context Learning outside the Box 12 Maya Teaching Methods: Transformers of Content and Pedagogy in Higher Education Part One: Working out of Maya Studios Part Two: Walk the Talk Conclusion section 2: Transformations: Self-Reflections of the Artist/Teacher 13 Interior Paths: Transformations of a Painter El Rapto del Gallo (Abduction of the Rooster): The Absence of Presence in Art Education Vendedora De Gallos (Seller of Roosters): Paths in as Lived Experience Conclusion: Who Rules the Roost? 14 Decolonizing Methodologies and the Ethics of Representation: A Collaborative Ethnography with Maya Artists Pedro Rafael Gonzalez Chavajay and Paula Nicho Cumez Introduction: Ethnography in Art Education Description of the Study: A Collaborative Ethnographic Study Language Dismantling Concepts: Research, Benefits, Researcher Subjectivity Confidentiality and Representation: How Will the Results Be Disseminated? Discussion: A Growing Discomfort Conclusion 15 Conclusion Discoveries Through the Lens of Life and Death Reciprocity and Relationship Doing Arts Thinking Expanding the Possibilities: Arts Thinking Grounded in Indigenous Perspectives Artistic Mentoring as a Decolonizing Methodology
Kryssi Staikidis, Ed.D. (2004), Teachers College Columbia University, is Professor in Art + Design Education at Northern Illinois University. She co-edited Transforming Our Practices: Indigenous Art, Pedagogies, and Philosophies (National Art Education Association, 2017) and has published many articles and book chapters in art education.

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