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.

• Osiyo: Welcome in CherokeeChristine Ballengee MorrisForewordLuke Eric LassiterAcknowledgementsList of FiguresIntroductionMentor BiographiesPedro Rafael González Chavajay Joseph JohnstonPaula Nicho CúmezJoseph JohnstonSalvador Cúmez CurruchichJoseph JohnstonPART 1: The Artist as Mentor: The Mentoring Relationship as a Teaching Method and Paintings as Didactic ToolsIntroduction to Part 1: The Artist as mentor Pastor Maya (Maya Pastor)1 Personal and Cultural Narrative as Inspiration: A Painting and Pedagogical Collaboration with Two Maya ArtistsA Problem of PerspectiveA Problem of PracticePerspective and Practice in ContextDecolonizing MethodologiesResultsLife as TextDiscussionApplicationsConclusion2 Where Lived Experience Resides in Art Education: A Painting and Pedagogical Collaboration with Paula Nicho CúmezIntroductionReflections on Feminist PedagogyFemale Kaqchikel Maya Painting and Teaching ProcessesOwning One’s Narrative in Collaboratively Produced PaintingsWeaving Women’s Iconography in PaintingsFusion: One Imagines the Painting into BeingKaqchikel Women Painters’ Iconography: Personal in CulturalMaya Women Painters as Role ModelsAsserting Female Ways of Connected Knowing and Teacher/Student Role ReversalsA Feminist Teacher’s Strategy: To ElicitConclusionPART 2: The Artist as Historian: Paintings as Historical Documents, Sites for Cultural Transmission, and Platforms of Protest and ResistanceIntroduction to Part 2: The Artist as Historian, Massacre en Atitlán (Massacre in Atitlán)Painting as a Site for Claiming Maya History3 Maya Paintings as Teachers of Justice: Art Making the Impossible PossibleThe Maya Painting Movement in ContextOur Values Must Be Salvaged and Presented to Our Children4 Crossing Borders5 Advocating for Justice: A Maya Painter’s JourneyA Story of CourageThe Anthropology of Genocide: Annihilating Difference (Hinton, 2002)A Brief Overview of Guatemalan HistoryA Tragic Moment in History: Massacre in Santiago Atitlán December 3, 1990Pedro Rafael González Chavajay’s StoryPART 3: The Artist as Ethnographer: Collaborative Ethnography, Decolonizing Research Practice, and the Ethics of RepresentationIntroduction to Part 3: The Artist as Ethnographer, Nuestra Amistad (Our Friendship)6 “Coming of Age in Methodology”: Two Collaborative Inquiries with Shinnecock and Maya PeoplesDiane’s Research StoryShinnecock MuseumKryssi’s Research StoryConclusion: Closing the DistanceSection 1: Ethical Changes in Representation Phase One – Participants and Research Process7 Visual Privileging: Subjectivity in Collaborative Ethnography8 Decolonizing Development through Indigenous Artist-Led InquirySpeaking with, Not for or about OthersThe Recounting of Tales, Myths and ReadingsApproaching Arts-Based Inquiry with Eyes Wide-OpenResearching in Ways that Might (Dis)Serve Multiple PopulationsConclusionsSection 2: Ethical Changes in Representation Phase Two – Relational Presentation9 Indigenous Methodologies: A Collaborative Painting with Maya Painter Paula Nicho CúmezIntroductionA Collaborative Painting with Maya Painter Paula Nicho CúmezConclusion10 The Inseparability of Indigenous Research and Pedagogy: A Collaborative Painting of a Maya Tz’utuhil Grieving RitualSharing Pain and HappinessWe Shared ThisLa ConsolaciónOh What a Wonderful ThemeYou Were the Author of This PaintingYou Were ThereReality of a CommunityThis Painting Carries Something ImportantWe Have Gotten to Know Each OtherPart of a Larger StoryPART 4: The Artist as Teacher: Transformations of the Academy and the Artist/TeacherIntroduction to Part 4: The Artist as Teacher, La Consolacion (Condolence)Section 1: Transformations: Curricular Applications to Teaching11 Learning OUTSIDE the Box: How Mayan Pedagogy Informs a Community/University PartnershipInroads: Art EducationConnections: Transferring Knowledge across CulturesThe SpecificsHow It Unfolded: Step by StepNegotiating LearningLeadership: Novices Become ExpertsCultural Narratives: Paths to LearningCo-Mentoring, Friendship, and the Co-Construction of KnowledgeConclusions and Implications Situated Learning: The Local Context12 Maya Teaching Methods: Transformers of Content and Pedagogy in Higher EducationPart One: Working out of Maya StudiosPart Two: Walk the TalkConclusionSection 2: Transformations: Self-Reflections of the Artist/Teacher13 Interior Paths: Transformations of a PainterEl Rapto del Gallo (Abduction of the Rooster): The Absence of Presence in Art EducationVendedora De Gallos (Seller of Roosters): Paths in as Lived ExperienceConclusion: Who Rules the Roost?14 Decolonizing Methodologies and the Ethics of Representation: A Collaborative Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho CúmezIntroduction: Ethnography in Art EducationDescription of the Study: A Collaborative Ethnographic StudyLanguageDismantling Concepts: Research, Benefits, Researcher SubjectivityConfidentiality and Representation: How Will the Results Be Disseminated?Discussion: A Growing DiscomfortConclusion15 ConclusionDiscoveriesThrough the Lens of Life and DeathReciprocity and RelationshipDoing Arts ThinkingExpanding the Possibilities: Arts Thinking Grounded in Indigenous PerspectivesArtistic Mentoring as a Decolonizing MethodologyIndex