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CANADIAN JOURNAL OF EDUCATION 29, 4 (2006): 1223‐1270 ARTS‐BASED EDUCATIONAL RE

CANADIAN JOURNAL OF EDUCATION 29, 4 (2006): 1223‐1270 ARTS‐BASED EDUCATIONAL RESEARCH DISSERTATIONS: REVIEWING THE PRACTICES OF NEW SCHOLARS Anita Sinner, Carl Leggo, Rita L. Irwin, Peter Gouzouasis, & Kit Grauer With this review, we explore the practices of arts‐based educational research as documented in dissertations created and written over one decade in the Faculty of Education, University of British Columbia. We compile and describe more than thirty dissertations across methodologies and methods of inquiry, and identifiy three pillars of arts‐based practice – literary, visual, and performative. In this review, we trace the beginnings of a new stream of practice that is interwoven in some of these dissertations and underpins many of them: the methodology of a/r/tography. Four attributes underpin this collection of dissertations: a commitment to aesthetic and educational practices, inquiry‐laden processes, searching for meaning, and interpreting for understanding. Keywords: arts‐based educational research, arts and education practice‐based research, a/r/tography Les auteurs explorent les pratiques ciblées et analysées dans les recherches en éducation axées sur les arts, notamment dans les thèses réalisées au cours d’une décennie à la Faculté des sciences d’éducation de l’University of British Columbia. Ils ont compilé et décrit plus d’une trentaine de travaux faisant appel à diverses méthodologies et protocoles de recherche et identifié trois grands axes en matière de pratiques axées sur les arts – littéraire, visuel et de performance Dans ce tour d’horizon, les auteurs retracent les débuts d’une nouvelle approche qui apparaît dans certains des travaux et qui sert même de fondement à un grand nombre d’entre eux : la méthodologie de l’a/r/tographie. Cet ensemble de travaux présente quatre caractéristiques communes : une importance accordée aux pratiques esthétiques et pédagogiques, des processus axés sur la recherche, une quête de sens et un souci d’interprétation en vue de comprendre. Mots clés : recherche en éducation; arts; pratiques enseignantes; recherche axée sur les pratiques; a/r/tographie. 1224 SINNER ET AL INTRODUCTION This review explores the practices of arts‐based educational research as documented in dissertations created and written over the past decade in the Faculty of Education at the University of British Columbia (UBC). We have compiled and analysed more than thirty dissertations, completed between 1994 and 2004, for comparison of methodologies and methods of inquiry. From this analysis, we trace the beginnings of a new stream of practice that is interwoven in these dissertations: the methodology of a/r/tography. A/r/tography may be described as a localized methodology, which continues to evolve from artful processes being developed by a small but growing group of education researchers and their graduate students at the University of British Columbia1. Although dissertations are the focus of this paper, other studies and projects preceded, paralleled, and have followed these dissertations and have thus had an impact on the evolution of a/r/tography. Nevertheless, dissertations have been pivotal to the development of a/r/tography in and through time. In short, a/r/tography is a hybrid, practice‐based form of methodology. To be engaged in the practice of a/r/tography means to inquire in the world through an ongoing process of art making in any art form and writing not separate or illustrative of each other but interconnected and woven through each other to create additional and/or enhanced meanings. A/r/tographical work is rendered through the methodological concepts of contiguity, living inquiry, openings, metaphor/metonymy, reverberations, and excess which are enacted and presented or performed when a relational aesthetic inquiry condition is envisioned as embodied understandings and exchanges between art and text, and between and among the broadly conceived identities of artist/researcher/teacher. A/r/tography is inherently about self as artist/researcher/teacher; yet it is also social when groups or communities of a/r/tographers come together to engage in shared inquiries, act as critical friends, articulate an evolution of research questions, or present their collective evocative/provocative works to others (Irwin, n.d.). Irwin’s definition may serve as a guidepost for the reader as we explore the evolution of arts‐based educational research at UBC because ARTS‐BASED EDUCATIONAL RESEARCH DISSERTATIONS 1225 the intent of this article is to review the work of new scholars as evidenced in their dissertations and to share what we have learned about engaging in arts‐based educational research and inquiry. As a survey of a specific body of academic research, this article is not a critical review, nor a comparison to other such collections. We offer an introduction to the collection and a description of our experience, which helped foster a climate of inclusion that encouraged the development of scholarship in promising and innovative ways. The conditions that facilitated the emergence of arts‐based dissertations and more recently a/r/tographic dissertations at UBC began with a shift in thinking, an experience that resonates within the wider academic community. As Butler‐Kisber (2002) suggests, a shift is underway in the academy as more and more arts‐based works are accepted as doctoral submissions, and “increasingly, graduate students are looking for arts‐based expertise, and departments are grappling with how to support and evaluate the work” (p. 229). This shift was witnessed within our faculty; our review serves as an account of how the mentorship of new scholars engaged in this area of research has evolved into a community of arts‐based practice. In an effort to increase communication between individuals and institutions interested in arts‐ based research, and/or specifically our experience, we have listed the dissertations mentioned in this article on our a/r/tography website. In this collection, research is rendered in alternative formats to evoke or provoke understandings that traditional research formats cannot provide. Furthermore, artistic and pedagogical processes within these formats bring forth forms of inquiry in and through time that merit our attention. Moving beyond traditional text‐based dissertations to embrace the complex discourses possible within the arts generates a new system of exchange where arts‐based educational research unfolds as a provocative mode of inquiry. Arts‐based research design begins by envisioning a research approach, engaging in inquiry (questions emerge over time), selecting sources of information and ideas, and then offering interpretations with “intellectual openness and creativity” within practice, in essence, portraying new understandings textually, visually, and/or performatively (Finley, 2003, p. 283). Recognizing the necessity of a methodology being practice, process, and product is a key principle of 1226 SINNER ET AL arts‐based educational research, similar to Genette’s (1999) suggestion that aesthetic relations in works of art are both object and action at the same time. This denotes the purpose and relevance of arts‐based educational research and highlights why this collection of dissertations indeed prefaces a new era in academic research. The academy possesses an opportunity to guide practices of arts‐based educational research in ways that address critical concerns of rigour, validity, contribution to the field, and dissemination to a broad audience, and in so doing, make possible even greater openings for all scholars in the future. In light of this opportunity, questions guiding this review included: What do arts‐ based methodologies/methods consist of? What is the range of arts‐based methodologies/methods applied in this collection? What is the relationship between arts‐based methodologies/methods and social science methodologies / methods? BACKGROUND In the 1970s, educational researchers began using the practices of artists and arts critics to conduct educational research (for example, Eisner, 1976; Greene, 1975; Grumet, 1978; Vallance, 1977). With the introduction of aesthetics, arts‐based forms of educational inquiry were formulated, and by the 1990s had grown to include narrative writing, autobiography, dance and movement, readers theatre, multi‐media, hypertext, visual arts, photography, music, poetry, and creative non‐fiction (among others). Arts‐based research incorporates the processes, forms (or structures), and approaches of creative practices in academic scholarship. Therefore, arts‐based research draws from the creative arts to inform and shape social science research in interdisciplinary ways, thus redefining methodological vehicles in the field of education. Developing from the work of Canadian and American scholars such as Thomas Barone, Cynthia Chambers, Ardra Cole, John Dewey, Rishma Dunlop, Elliot Eisner2, Susan Finley, Maxine Greene, Gary Knowles, Claudia Mitchell, Lorri Neilsen, Joe Norris, Jane Piirto, Celeste Snowber, and Sandra Weber, arts‐based research is a rapidly growing field in education3. Arts‐based researchers in education contend that the creative arts are a mode of inquiry and representation that provides significant perspectives for making decisions regarding pedagogical theory, policy, ARTS‐BASED EDUCATIONAL RESEARCH DISSERTATIONS 1227 and practice. Although arts‐based research has developed significantly in the past decade and is being adopted into many fields of study across the academy, including medicine (Lazarus & Rosslyn, 2003), commerce (Gibb, 2004), science (Scott, 2006), and engineering (Penny, 2000), there are aspects that demand attention. There continue to be tensions in the academy concerning arts‐based inquiry: what constitutes artful expression and how expert one must be in an art medium to render research through the arts (Piirto, 2002). Efforts to define the merits, qualities, and methods of creative scholarship have raised questions of rigour and theorization of such research, and this debate continues among scholars interested in arts‐based inquiry. An evolving understanding of what is arts‐based educational research within our community of practice emerged through artful inquiries by students and faculty that would later become a/r/tography (for example, Irwin, 2004; Irwin & de Cosson, 2004). This methodology matured from uploads/Science et Technologie/ arts-based-educational-research.pdf