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Artistic mentoring as a decolonizing methodology : an evolving collaborative painting ethnography with Maya artists Pedro Rafael González Chavajay and Paula Nicho Cúmez /
To expand the possibilities of "doing arts thinking" from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: A Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez is grounded in Indigenous perspectives on arts p...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Autor Corporativo: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Leiden ; Boston :
Brill Sense,
[2020]
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| Colección: | Doing arts thinking ;
v. 5. |
| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- 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 Cúmez
- 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- PART 2: The Artist as Historian: Paintings as Historical Documents, Sites for Cultural Transmission, and Platforms of Protest and Resistance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 Atitlán December 3, 1990
- Pedro Rafael González 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.