Copyright (c) 2013 Syracuse University All rights reserved. http://surface.syr.edu/tl Recent documents in Teaching and Leadership en-us Mon, 28 Jan 2013 01:35:37 PST 3600 http://surface.syr.edu/tl/19 http://surface.syr.edu/tl/19 Wed, 03 Nov 2010 05:07:38 PDT This article addresses the advocacy of organizations like the National Art Education Association that seek greater legislative support, funding and time allocations to be devoted to arts instruction and the development of arts practices in the arena of public education. The author argues the timeliness of a reconceived paradigm for understanding and advocating the relevancy of arts practices in the wake of the Information Age. This article seeks to rethink the semiotics defining art in an era of shifting paradigms and as contextualized in contemporary educational policy.

]]> James Haywood Rolling http://surface.syr.edu/tl/18 http://surface.syr.edu/tl/18 Wed, 03 Nov 2010 05:07:37 PDT Un-naming the axiomatic constructs of a named identity—that which is thought to be fitting within a given regime of definition—becomes then an act of secular blasphemy, a performance of decanonizing translation that discursively relocates and reinscribes communicated meaning from power, prefix, and prefigurement to perpetual movement. Departing from Homi Bhabha’s description of blasphemy as a transgressive act, this paper blasphemes the certainty of definition in research writing, illuminating the performance of blasphemy as a source of new social names and the migration of norms and meaning. This paper is the third in a trilogy of research forays exploring the intersection of autoethnography, critical race theory, and performance studies. This new research, written to follow up Messing Around With Identity Constructs (Qualitative Inquiry, 10 (4), pp. 548-557) and Searching Self-Image (Qualitative Inquiry, 10 (6), pp. 869-884), is a continuation of the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.

]]> James Haywood Rolling http://surface.syr.edu/tl/17 http://surface.syr.edu/tl/17 Wed, 03 Nov 2010 05:07:36 PDT In this paper, the author explores the concept of childhood as a social category that impedes the perception of youngsters as critical thinkers in a visual culture. The author interrogates regularities within contemporary public schooling that work to represent the intellectual and cultural development of youngsters as the project of adult industry. Contrary to this representation, the author recounts the critical awareness and personal agency exercised by a group of 4th graders who engaged in a political cartooning exercise while examining the theme of social justice. The article includes an examination of the social construction of the concept of childhood as it intersects the discourse of Western socio-cultural superiority and the opening of sites of contention as a pedagogical strategy.

]]> James Haywood Rolling http://surface.syr.edu/tl/16 http://surface.syr.edu/tl/16 Wed, 03 Nov 2010 05:07:35 PDT The author relates the story of an exercise in curriculum-making that took place at The School at Columbia University as 4th graders responded to the erection of The Gates in New York’s Central Park in the winter of 2005, a unique installation of conceptual art by artists Christo and Jeanne-Claude. The development of these responses over several weeks surreptitiously afforded each participant in this curriculum experience the opportunity to conceptualize certain methods and meanings most salient to them. This article opens a creative space for reconsidering some notions on what constitutes exemplary content, curricula, and criteria for assessment in art education by drawing upon the metaphor of gateways and the re-search of children.

]]> James Haywood Rolling http://surface.syr.edu/tl/15 http://surface.syr.edu/tl/15 Wed, 03 Nov 2010 05:07:33 PDT This article relates a story of art education advocacy in the midst of a bureaucracy that misunderstood the purpose of art education at the launch of a new elementary school. It further argues that in 2010, art education continues to be practiced in the throes of a scientific knowledge paradigm that misunderstands the greater potential of the arts in education, imposing a ceiling ill-fitted for arts education practices and arts-based research. The author surmises some of the possibilities when the imposed ceiling is removed and we rethink art education, concluding with several schematic counter-discourses that lay out an art classroom without ceilings.

]]> James Haywood Rolling http://surface.syr.edu/tl/14 http://surface.syr.edu/tl/14 Wed, 03 Nov 2010 05:07:32 PDT This article investigates how representation attaches meaning to bodies, how certain bodies are categorically misrepresented and masked from normativity, and proposes a curriculum theory affording the agency of the misrepresented to demask invisibility. Brief historical narratives of three kinds of invisibility are presented as they are manifested in educational practice and visual culture—masking those deemed to occupy lesser physical bodies, lesser bodies of knowledge, and bodies lesser-than-normal. The author argues the relevance of art education as a transformative pedagogical practice that can inform and promote social significance, or what the author terms as in/di/visuality, the agency to reinterpret misrepresented physical or conceptual bodies. In the face of masking practices that unleash the squalls of invisibility and inequity throughout sites of curriculum practice and contemporary visual culture, the exercise of in/di/visuality acts as a watershed, displacing invisibility and affording a greater breadth of inclusion in educational concerns.

]]> James Haywood Rolling http://surface.syr.edu/tl/13 http://surface.syr.edu/tl/13 Tue, 02 Nov 2010 12:00:25 PDT This brief article is written as an introduction to this Qualitative Inquiry special thematic issue exploring the intersection of performance studies, critical race theory, and autoethnography. What do these forms of inquiry look like? The guest editor, a visual artist, has chosen the strategy of showing, rather than merely telling.

]]> James Haywood Rolling http://surface.syr.edu/tl/12 http://surface.syr.edu/tl/12 Tue, 02 Nov 2010 12:00:24 PDT Naming can alternatively be a definition of identity or a source of stigma. Un-naming can alter a story and serve to unhinge fixed definitions, initiating a democratic discourse that finds its own way of escaping the thrall of hegemony and dominating canons. Can qualitative research serve to un-name axiomatic frameworks of identity? This paper is written to follow up to Messing Around With Identity Constructs (Qualitative Inquiry, Volume 10, Number 4, pp. 548-557) and continues the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in research writing.

]]> James Haywood Rolling http://surface.syr.edu/tl/11 http://surface.syr.edu/tl/11 Tue, 02 Nov 2010 12:00:23 PDT How does the named body refigure itself? Bodies are evidentiary. They are documentary. We position our bodies and juxtapose them in foreground to a tableau other bodies; self-images are traced against other images of identity. We position our bodies to tell stories—to tell self-histories, sometimes false, sometimes true, always incomplete. For each of us, our thinking—our image of self—tends to cohere around an identifiable, repeatable pattern of discursive meanings that we first inherit and then overwrite with newly experienced and refreshed meanings. Life stories are structures in flux, deconstructions. The source of injurious self-image appears to be wound up in the cultural construction of “abnormality.” The reconstitution of a spoiled identity is effected in the presentation of extra-normative figures of self, selves outside the boundaries of a normalizing frame, selves less traveled. The author makes the argument that a body tells its own life in spite of all manner of stereotyping and propaganda, offering glimpses of humanity, poetry overcoming monstrosity.

]]> James Haywood Rolling http://surface.syr.edu/tl/10 http://surface.syr.edu/tl/10 Tue, 02 Nov 2010 11:18:34 PDT This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body’s embodiment of visual culture and tacit social experience, alternative representations accrete into varying symbolic systems, the multiple shapes a self-image may take over a lifetime. Given that social identity is derived from the interaction of various symbolic systems, how do some bodies and self-images come to be taken as that of identities incompatible with most others? In this exploration of the self-image and identity, the author reconsiders the purposes of art education in human development, especially when the self-image is given primacy over the objects we typically plan to make in the classroom.

]]> James Haywood Rolling Jr. http://surface.syr.edu/tl/9 http://surface.syr.edu/tl/9 Tue, 02 Nov 2010 11:18:33 PDT This study argues the efficacy of the phenomenological cultural work of a visual culture archaeology that liberates a political and critical identity, resistant to domination, authoring social change and its own agency through multiple and incommensurable positions. Built upon Foucauldian premises, visual culture archaeology is developed as a methodology for discursive un-naming and re-naming, and emerges from the inherence and attenuation of inscripted meanings in the reinterpretation of identity during a postmodern confluence of ideas and images. The hybridized representation of the African American in Western visual culture has been unique in the effort by some to define us over significant periods as less than human, less than American, or less than statistically significant in the purpose to maintain an unequal relation of economic and political power. This paper continues the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.

]]> James Haywood Rolling Jr. http://surface.syr.edu/tl/7 http://surface.syr.edu/tl/7 Tue, 02 Nov 2010 11:18:31 PDT This is a review of Arthur D. Efland’s 2002 book, "Art and Cognition: Integrating the Visual Arts in the Curriculum," which sets for itself the admirable task of coherently mapping variously situated theories of cognition, and from an integration of those theories, modeling a rationale for the necessary integration of arts learning in general education curriculum.

]]> James Haywood Rolling http://surface.syr.edu/tl/6 http://surface.syr.edu/tl/6 Tue, 02 Nov 2010 11:18:30 PDT This article begins with the premise that self-imagery is constituted as a shape-shifting aggregate of symbolic systems that incorporates the human body itself as one of its representations. At intermittent points of the body’s embodiment of visual culture and tacit social experience, alternative representations accrete into varying symbolic systems, the multiple shapes a self-image may take over a lifetime. Given that social identity is derived from the interaction of various symbolic systems, how do some bodies and self-images come to be taken as that of identities incompatible with most others? In this exploration of the self-image and identity, the author reconsiders the purposes of art education in human development, especially when the self-image is given primacy over the objects we typically plan to make in the classroom.

]]> James Haywood Rolling http://surface.syr.edu/tl/5 http://surface.syr.edu/tl/5 Tue, 02 Nov 2010 11:18:29 PDT Editor’s Note: Throughout my term as Senior Editor, not only have I had the assistance of a hard-working Editorial Board of reviewers, but also I have had the benefit of the expertise of James Rolling, Jr. as the Studies Editorial Assistant. At the recent NAEA convention we not only talked about our Studies editorial work, but also as James was preparing for his dissertation defense of his study of the construction of African-American identity, our adviser-student conversations continued. It seems appropriate that James continues the dialogue in his words. —Graeme Sullivan

]]> James Haywood Rolling http://surface.syr.edu/tl/4 http://surface.syr.edu/tl/4 Tue, 02 Nov 2010 11:18:28 PDT This study argues the efficacy of the phenomenological cultural work of a visual culture archaeology that liberates a political and critical identity, resistant to domination, authoring social change and its own agency through multiple and incommensurable positions. Built upon Foucauldian premises, visual culture archaeology is developed as a methodology for discursive un-naming and re-naming, and emerges from the inherence and attenuation of inscripted meanings in the reinterpretation of identity during a postmodern confluence of ideas and images. The hybridized representation of the African American in Western visual culture has been unique in the effort by some to define us over significant periods as less than human, less than American, or less than statistically significant in the purpose to maintain an unequal relation of economic and political power. This paper continues the author’s effort to establish the efficacy of a poststructural and poetic aesthetic in qualitative research writing.

]]> James Haywood Rolling http://surface.syr.edu/tl/2 http://surface.syr.edu/tl/2 Thu, 07 Oct 2010 06:08:53 PDT This study explores the question of “why we teach as we do” through the self-reflexive lens described by several noted curriculum theorists, but perhaps best exemplified in a simple theorem for a reflexive curriculum-making praxis first proposed by aesthetics educator Arthur W. Foshay in his aphorism, “Who is to encounter what, why, how, in what circumstances, under what governance, at what cost?” The efficacy in Foshay’s postulation is not self-evident, but must be revealed in an alternating sequence of engagements with the constituent elements of its syntax. The method for this presentation of living inquiry in curriculum-making is trifold, involving the intersection of an art studio project involving 3rd and 4th grade students in a new elementary school; the mixed genre writing of an accompanying paper drawing upon the artist/teacher/researcher’s autobiographical narrative and poetry; and, a series of drawings that retrace and elaborate upon the project and paper. This study argues that Foshay has proposed a qualitative theorem inviting ongoing interpretation in curriculum-making. An alternating sequence of conceptualizing events constitutes a living inquiry, offering the possibility of greater innovation in learning than the more formulaic unit structures designed by mandate.

]]> James Haywood Rolling Jr. http://surface.syr.edu/tl/3 http://surface.syr.edu/tl/3 Thu, 07 Oct 2010 06:08:53 PDT To be so ensconced in addressing the developmental needs of elementary learners through all of the fine arts, whether, as Eisner puts it, “visual, choreographic, musical, literary, or poetic” (p. xii), while at the same time developing content of relevance to the agenda of beginning artist-researchers in our unique era, is also to reflect upon my own journey from elementary artistic understandings to expertise. How did the arts carry me from point A, to point B—from an elementary education during which time art education was effectively cut from New York City public schools because of fiscal crisis, to a postsecondary education that has prepared me to teach to the varying levels of sophistication between grade school and college? The answer that comes to mind is that the practise of the arts has shaped me into a life-long learner, my various experiences in the processes and structures, materials and methods of the arts serving “as models of what educational aspiration and practice might be at its very best” (p. xii).

]]> James Haywood Rolling Jr. http://surface.syr.edu/tl/1 http://surface.syr.edu/tl/1 Thu, 07 Oct 2010 06:08:52 PDT How do we construe and re:construe the (archi)textures of (written) life? What is belonging when identities are temporal and where naming remains elusive or unknown? This article plays writing collaborative writing, deconstructing textual hierarchies between the “main” text body and footnoted text as a means of interrogating ways identities are written/performed. It is inspired by correspondences between the authors, generated in relation to three previous works published in Qualitative Inquiry, James Haywood Rolling, Jr.’s “Messing Around with Identity Constructs: Pursuing a Poststructuralist and Poetic Aesthetic,” “Searching Self-image: Identities to be Self-evident,” and Lace Marie Brogden’s “Not Quite Acceptable: Re:Reading my Father in Qualitative Inquiry.” We share correspondences between academics, using spaces created in writing “between friends” while constantly becoming through the re:writing of our identities from no fixed address

]]> James H. Rolling Jr. et al.