Kathy Bishop, Catherine Etmanski, M. Page, Briana Dominguez, C. Heykoop
Métissage is a creative method that can be used for engaging people in research, learning, teaching, and community or organizational development. As five authors, we offer a window into our diverse experiences with métissage,providing a theoretical overview, a practical description of insights and processes when facilitating métissage workshops, some key lessons learned, and an example of a simple woven narrative of our experiences with métissage.
{"title":"Narrative Métissage as an Innovative Engagement Practice","authors":"Kathy Bishop, Catherine Etmanski, M. Page, Briana Dominguez, C. Heykoop","doi":"10.15402/ESJ.V5I2.68331","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68331","url":null,"abstract":"Métissage is a creative method that can be used for engaging people in research, learning, teaching, and community or organizational development. As five authors, we offer a window into our diverse experiences with métissage,providing a theoretical overview, a practical description of insights and processes when facilitating métissage workshops, some key lessons learned, and an example of a simple woven narrative of our experiences with métissage.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134481909","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Moshoula Capous-Desyllas, Sarah Mountz, A. Pestine-Stevens
This article highlights the various ways in which we represented the visual voices of LGBTQ former foster youth through photovoice methodology in order to engage various stakeholders, diverse communities, and the participants themselves. We locate our research within other similar community-based, participatory projects and weave in our collective experiences. Through the juxtaposition of academic literature with the various steps of our research process, this article provides our critical reflections of our engagement process as we prepared for the research, interacted with the community, shared our findings, and incorporated social change efforts through the dissemination of the visual data in various formal and informal spaces.
{"title":"Unpacking the Layers of Community Engagement, Participation, and Knowledge Co-Creation when Representing the Visual Voices of LGBTQ Former Foster Youth","authors":"Moshoula Capous-Desyllas, Sarah Mountz, A. Pestine-Stevens","doi":"10.15402/ESJ.V5I2.68342","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68342","url":null,"abstract":"This article highlights the various ways in which we represented the visual voices of LGBTQ former foster youth through photovoice methodology in order to engage various stakeholders, diverse communities, and the participants themselves. We locate our research within other similar community-based, participatory projects and weave in our collective experiences. Through the juxtaposition of academic literature with the various steps of our research process, this article provides our critical reflections of our engagement process as we prepared for the research, interacted with the community, shared our findings, and incorporated social change efforts through the dissemination of the visual data in various formal and informal spaces.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125047968","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this interdisciplinary article, we employ scholarship from educational studies, cultural studies, geography, and sociology. We use graffiti texts we have encountered ourselves in places where we have lived or visited as examples of how graffiti becomes pedagogical. Theoretically, the concepts of public pedagogy, new mobilities, and affect theory — notably Sara Ahmed’s ideas — complement Doreen Massey’s ideas about place, space, and identity, and are cornerstones of our framework. As we consider them, pedagogy and learning are multidimensional processes, which involve intellect or cognition, affect or emotion, sensation, and perception. Place, space, and identity are taken up as sociomaterial phenomena, whose meanings develop as people, texts, physical structures, and various cultural artifacts come into contact with one another and with ideologies about what is (ab)normal and (un)desirable that circulate throughout and across societies. In presenting and discussing examples of graffiti texts we have encountered where we live or visit, we identify three pedagogical purposes that graffiti artists might employ: contemplation, reflection, and action. We close by considering implications for teaching and learning across disciplines, age groups, and context.
{"title":"Extemporaneous Lessons on Place, Space, and Identity: Graffiti as a Pedagogical Disruption","authors":"Kaela Jubas, Kimberly Lenters","doi":"10.15402/ESJ.V5I2.68336","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68336","url":null,"abstract":"In this interdisciplinary article, we employ scholarship from educational studies, cultural studies, geography, and sociology. We use graffiti texts we have encountered ourselves in places where we have lived or visited as examples of how graffiti becomes pedagogical. Theoretically, the concepts of public pedagogy, new mobilities, and affect theory — notably Sara Ahmed’s ideas — complement Doreen Massey’s ideas about place, space, and identity, and are cornerstones of our framework. As we consider them, pedagogy and learning are multidimensional processes, which involve intellect or cognition, affect or emotion, sensation, and perception. Place, space, and identity are taken up as sociomaterial phenomena, whose meanings develop as people, texts, physical structures, and various cultural artifacts come into contact with one another and with ideologies about what is (ab)normal and (un)desirable that circulate throughout and across societies. In presenting and discussing examples of graffiti texts we have encountered where we live or visit, we identify three pedagogical purposes that graffiti artists might employ: contemplation, reflection, and action. We close by considering implications for teaching and learning across disciplines, age groups, and context.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125497473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Values of exclusive leadership characterize the administration of the neoliberal university, but are incongruous with values of inclusive leadership often enacted in the work of teaching, learning, and research. This article explores how an action research project to advance inclusive leadership at Royal Roads University adapted a visual data elicitation method and used metaphor analysis to reveal opportunities to align espoused, communicated, and enacted values. Images evoke metaphors (Mumby & Spitzack, 1983; Vakkayil, 2008) that enable researchers engaged in their own organizational development to elicit creative possibilities that are “covered up by the familiarity of everyday experience” (Koch & Deetz, 1981, p. 13). By eliciting desired qualities associated with inclusive leadership (Rayner, 2009), we have been able to make visible and model inclusive messages, structures, behaviours, strategies, and actions as the building blocks of a culture built on the value of inclusivity and collaboration, and the principles of diversity and interdependence. One key insight of the research is that arts-based action research effectively equips academic and administrative leaders to transcend deficit-based problem solving and the reductionism associated with neoliberal university management and to approach organizational development with the creative energy that arts-based research inspires.
{"title":"Visualizing Inclusive Leadership: Using Arts-based Research to Develop an Aligned University Culture","authors":"Virginia McKendry","doi":"10.15402/ESJ.V5I2.68339","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68339","url":null,"abstract":"Values of exclusive leadership characterize the administration of the neoliberal university, but are incongruous with values of inclusive leadership often enacted in the work of teaching, learning, and research. This article explores how an action research project to advance inclusive leadership at Royal Roads University adapted a visual data elicitation method and used metaphor analysis to reveal opportunities to align espoused, communicated, and enacted values. Images evoke metaphors (Mumby & Spitzack, 1983; Vakkayil, 2008) that enable researchers engaged in their own organizational development to elicit creative possibilities that are “covered up by the familiarity of everyday experience” (Koch & Deetz, 1981, p. 13). By eliciting desired qualities associated with inclusive leadership (Rayner, 2009), we have been able to make visible and model inclusive messages, structures, behaviours, strategies, and actions as the building blocks of a culture built on the value of inclusivity and collaboration, and the principles of diversity and interdependence. One key insight of the research is that arts-based action research effectively equips academic and administrative leaders to transcend deficit-based problem solving and the reductionism associated with neoliberal university management and to approach organizational development with the creative energy that arts-based research inspires.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"206 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133892252","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Greene, M. Muchenje, Jasmine Cotnam, K. Dunn, Peggy Frank, V. Nicholson, Apondi J Odhiambo, K. Shore, A. Kaida
Body Mapping has been used for thousands of years by people who want to achieve a better understanding of themselves, their bodies and the world they live in. Artist Jane Solomon and psychologist Jonathan Morgan transformed Body Mapping for the “Long Life Project”, during the Médecins Sans Frontières (MSF) roll-out of antiretrovirals in Khayelitsha township, South Africa in 2001. Body mapping enables participants to tell their stories in the face of intense HIV/AIDS stigma. We adapted Body Mapping for the Women, Art and Criminalizaton of HIV Non-Disclosure (WATCH) study, a community arts based research (CBR) approach to better understand the impact that Canadian laws criminalizing HIV non-disclosure have on women living with HIV. Our national team includes women living with HIV, service providers, and researchers. This reflection illustrates our collective and iterative process of learning, teaching and doing body mapping workshops with women living with HIV in Canada. We share our experiences of coming to Body Mapping as an arts-based approach to CBR, how our roles as researchers stretched to include community-based education, advocacy, and group facilitation, and how we embodied the artist-researcher identity as we disseminate our research in ways that actively engage the general public on laws criminalizing HIV nondisclosure laws vis-à-vis Body Mapping galleries.
{"title":"Learning, Doing and Teaching Together: Reflecting on our Arts Based Approach to Research, Education and Activism with and for Women Living with HIV","authors":"S. Greene, M. Muchenje, Jasmine Cotnam, K. Dunn, Peggy Frank, V. Nicholson, Apondi J Odhiambo, K. Shore, A. Kaida","doi":"10.15402/ESJ.V5I2.68350","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68350","url":null,"abstract":"Body Mapping has been used for thousands of years by people who want to achieve a better understanding of themselves, their bodies and the world they live in. Artist Jane Solomon and psychologist Jonathan Morgan transformed Body Mapping for the “Long Life Project”, during the Médecins Sans Frontières (MSF) roll-out of antiretrovirals in Khayelitsha township, South Africa in 2001. Body mapping enables participants to tell their stories in the face of intense HIV/AIDS stigma. We adapted Body Mapping for the Women, Art and Criminalizaton of HIV Non-Disclosure (WATCH) study, a community arts based research (CBR) approach to better understand the impact that Canadian laws criminalizing HIV non-disclosure have on women living with HIV. Our national team includes women living with HIV, service providers, and researchers. This reflection illustrates our collective and iterative process of learning, teaching and doing body mapping workshops with women living with HIV in Canada. We share our experiences of coming to Body Mapping as an arts-based approach to CBR, how our roles as researchers stretched to include community-based education, advocacy, and group facilitation, and how we embodied the artist-researcher identity as we disseminate our research in ways that actively engage the general public on laws criminalizing HIV nondisclosure laws vis-à-vis Body Mapping galleries.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124062881","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Provision of safe water on reserves is an ongoing problem in Canada that can be addressed by mobilizing water knowledge across diverse platforms to a variety of audiences. A participatory artistic animation video on the lived experiences of Elderswith water in Yellow Quill First Nation, Treaty Four territory, was created to mobilize knowledge beyond conventional peer-review channels. Research findings from interviews with 22 Elders were translated through a collaborative process into a video with a storytelling format that harmonized narratives, visual arts, music, and meaningful symbols. Three themes emerged which centered on the spirituality of water, the survival need for water, and standoffs in water management. The translation process, engagement and video output were evaluated using an autoethnographic approach with two members of the research team. We demonstrate how the collaborative research process and co-created video enhance community-based participatory knowledge translation and sharing. We also express how the video augments First Nations community ownership, control, access and possession (OCAP) of research information that aligns with their storytelling traditions and does so in a youth-friendly, e-compatible form. Through the evaluative process we share lessons learned about the value and effectiveness of the video as a tool for fostering partnerships, and reconciliation. The benefits and positive impacts of the video for the Yellow Quill community and for community members are discussed.
在保护区提供安全用水是加拿大一个持续存在的问题，可以通过各种平台向各种受众动员水知识来解决这个问题。我们制作了一部参与式艺术动画影片，讲述第四条约属地黄羽毛第一民族(Yellow Quill First Nation)用水老人的生活经历，以动员超越传统同行评议渠道的知识。采访22位长者的研究结果通过合作过程被翻译成一个视频，该视频具有讲故事的形式，协调了叙事、视觉艺术、音乐和有意义的符号。三个主题集中在水的精神性、对水的生存需求和水管理的僵局上。翻译过程、参与度和视频输出由研究小组的两名成员使用自我民族志方法进行评估。我们展示了合作研究过程和共同制作的视频如何增强基于社区的参与式知识翻译和共享。我们还表达了视频如何增强原住民社区对研究信息的所有权、控制、访问和占有(OCAP)，这些信息符合他们的讲故事传统，并以青年友好、电子兼容的形式实现。通过评估过程，我们分享了视频作为促进伙伴关系与和解工具的价值和有效性方面的经验教训。讨论了视频对Yellow Quill社区和社区成员的好处和积极影响。
{"title":"“Spirit, Safety, and a Stand-off ”: The Research-Creation Process and Its Roles in Relationality and Reconciliation among Researcher and Indigenous Co-Learners in Saskatchewan, Canada","authors":"Myron Neapetung, L. Bradford, Lalita Bharadwaj","doi":"10.15402/ESJ.V5I2.68334","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68334","url":null,"abstract":"Provision of safe water on reserves is an ongoing problem in Canada that can be addressed by mobilizing water knowledge across diverse platforms to a variety of audiences. A participatory artistic animation video on the lived experiences of Elderswith water in Yellow Quill First Nation, Treaty Four territory, was created to mobilize knowledge beyond conventional peer-review channels. Research findings from interviews with 22 Elders were translated through a collaborative process into a video with a storytelling format that harmonized narratives, visual arts, music, and meaningful symbols. Three themes emerged which centered on the spirituality of water, the survival need for water, and standoffs in water management. The translation process, engagement and video output were evaluated using an autoethnographic approach with two members of the research team. We demonstrate how the collaborative research process and co-created video enhance community-based participatory knowledge translation and sharing. We also express how the video augments First Nations community ownership, control, access and possession (OCAP) of research information that aligns with their storytelling traditions and does so in a youth-friendly, e-compatible form. Through the evaluative process we share lessons learned about the value and effectiveness of the video as a tool for fostering partnerships, and reconciliation. The benefits and positive impacts of the video for the Yellow Quill community and for community members are discussed.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114378082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The arts-based research paradigm prioritizes creativity, relationships and the potential of transformative change (Conrad & Beck, 2016). Arts-based research may be useful in disability communities where people may prefer to communicate artistically or through movement, rather than through spoken word (Eales & Peers, 2016). Participatory action research (PAR) involves researchers working with communities to create research critical of dominant power relations and responsive to the needs of communities (McIntyre, 2008). Both arts-based research and PAR value an axiological approach that is responsive to the community’s needs over a dogmatic procedure, meaning that researchers must be reflexive and responsive to the often unexpected realities of the field. Over four months in 2017, eight dancers/researchers from CRIPSiE (Collaborative Radically Integrated Performers Society in Edmonton), an integrated dance company, came together to investigate how integrated dancers practice elements of timing in rehearsal, through an arts-based, participatory process. In this paper I examine the gap between my assumptions of how research should be conducted and the reality of the field, specifically: the tension between university research ethics and the ethics of the CRIPSiE community, the differences between the value of the rehearsal process and the performance as sites of data collection, and the assumptions I had made about the necessity of a singular research question.
{"title":"Reflecting on my Assumptions and the Realities of Arts-Based Participatory Research in an Integrated Dance Community","authors":"Kelsie Acton","doi":"10.15402/ESJ.V5I2.68345","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68345","url":null,"abstract":"The arts-based research paradigm prioritizes creativity, relationships and the potential of transformative change (Conrad & Beck, 2016). Arts-based research may be useful in disability communities where people may prefer to communicate artistically or through movement, rather than through spoken word (Eales & Peers, 2016). Participatory action research (PAR) involves researchers working with communities to create research critical of dominant power relations and responsive to the needs of communities (McIntyre, 2008). Both arts-based research and PAR value an axiological approach that is responsive to the community’s needs over a dogmatic procedure, meaning that researchers must be reflexive and responsive to the often unexpected realities of the field. Over four months in 2017, eight dancers/researchers from CRIPSiE (Collaborative Radically Integrated Performers Society in Edmonton), an integrated dance company, came together to investigate how integrated dancers practice elements of timing in rehearsal, through an arts-based, participatory process. In this paper I examine the gap between my assumptions of how research should be conducted and the reality of the field, specifically: the tension between university research ethics and the ethics of the CRIPSiE community, the differences between the value of the rehearsal process and the performance as sites of data collection, and the assumptions I had made about the necessity of a singular research question.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121074619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Singing and songwriting; graffiti, protest art, and mobile art installations; oral, digital, video, literary, métissage, and mixed media storytelling; drawing, photography, and other visual arts; Witness Blanketing and body mapping; embodying Indigenous literatures and expressing values through metaphor; dancing, performing, and more—as you will read in this special issue, these creative actions have become essential to the practice of engaged scholarship.
{"title":"Engaged Scholarship and the Arts","authors":"Kathy Bishop, Catherine Etmanski, M. Page","doi":"10.15402/ESJ.V5I2.68329","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68329","url":null,"abstract":"Singing and songwriting; graffiti, protest art, and mobile art installations; oral, digital, video, literary, métissage, and mixed media storytelling; drawing, photography, and other visual arts; Witness Blanketing and body mapping; embodying Indigenous literatures and expressing values through metaphor; dancing, performing, and more—as you will read in this special issue, these creative actions have become essential to the practice of engaged scholarship.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132493712","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Music pulses emotion in its lyrics, its tune, and in the creative process.A song can move people to dance, to reflect, and—often—to act. For an artist, a song’s creation can also reveal and clarify one’s own emotions. When people listen, a song can legitimize that the artists have something valuable to say—especially when the artists are youth who believe their ideas need a wider audience. This article talks about the power of song for youth recovery post-disaster in the context of the 2016 Fort McMurray wildfire disaster in Alberta, Canada. It highlights the use of music in a community-engaged research project that aimed to understand and amplify youth ideas for improving their community. The article draws on the value of Youth-Adult Partnerships, where eight youth worked with a professional recording studio in the wildfire-affected community to produce original songs for a youth-centric social media campaign. Focusing on the youths’ songs and personal experiences of their development, the article offers ways forward for wildfire recovery through processes that strengthen youth voice and wellbeing. The community-engaged research process underscores the power of music creation as an empowering method for enhancing youth engagement and reveals youths’ insights through their musical reflections on their priorities for a resilient community after disaster.
{"title":"Hey, Hey, Hey—Listen to What I Gotta Say: Songs Elevate Youth Voice in Alberta Wildfire Disaster Recovery","authors":"Tamara Plush, Robin S. Cox","doi":"10.15402/ESJ.V5I2.68343","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68343","url":null,"abstract":"Music pulses emotion in its lyrics, its tune, and in the creative process.A song can move people to dance, to reflect, and—often—to act. For an artist, a song’s creation can also reveal and clarify one’s own emotions. When people listen, a song can legitimize that the artists have something valuable to say—especially when the artists are youth who believe their ideas need a wider audience. This article talks about the power of song for youth recovery post-disaster in the context of the 2016 Fort McMurray wildfire disaster in Alberta, Canada. It highlights the use of music in a community-engaged research project that aimed to understand and amplify youth ideas for improving their community. The article draws on the value of Youth-Adult Partnerships, where eight youth worked with a professional recording studio in the wildfire-affected community to produce original songs for a youth-centric social media campaign. Focusing on the youths’ songs and personal experiences of their development, the article offers ways forward for wildfire recovery through processes that strengthen youth voice and wellbeing. The community-engaged research process underscores the power of music creation as an empowering method for enhancing youth engagement and reveals youths’ insights through their musical reflections on their priorities for a resilient community after disaster.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128333053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
When people join an institution, no assurance of positive social connection exists. The mechanisms of psychological attachment to institutions are not well understood. However, place attachment is a predictor of individual well-being and, when correlated with life satisfaction and neighborhood ties, can enhance civic engagement and social trust. Research suggests that narratives can be a symbolic mechanism of place attachment. Thus, to increase place attachment in the parent population at a small elementary school, various art-based narrative activities were carried out as part of the OurSchoolOurStories project. Creating a storied blanket was one activity. Seven women needle-felted nine squares with the theme of representing some aspect of what the school meant to them. In a circle, they shared many stories including where they came from, how they came to be at the school, and their experiences at the school. Through these artistic narratives, participants were able to share much about their place identities, which allowed for social connection, and a sense of integration within the group.
{"title":"Woolly Stories: An Art-Based Narrative Approach to Place Attachment","authors":"Kendra D. Stiwich, J. Lindsay, Chantey Dayal","doi":"10.15402/ESJ.V5I2.68348","DOIUrl":"https://doi.org/10.15402/ESJ.V5I2.68348","url":null,"abstract":"When people join an institution, no assurance of positive social connection exists. The mechanisms of psychological attachment to institutions are not well understood. However, place attachment is a predictor of individual well-being and, when correlated with life satisfaction and neighborhood ties, can enhance civic engagement and social trust. Research suggests that narratives can be a symbolic mechanism of place attachment. Thus, to increase place attachment in the parent population at a small elementary school, various art-based narrative activities were carried out as part of the OurSchoolOurStories project. Creating a storied blanket was one activity. Seven women needle-felted nine squares with the theme of representing some aspect of what the school meant to them. In a circle, they shared many stories including where they came from, how they came to be at the school, and their experiences at the school. Through these artistic narratives, participants were able to share much about their place identities, which allowed for social connection, and a sense of integration within the group.","PeriodicalId":202523,"journal":{"name":"Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning","volume":"491 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122174914","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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