ChicagoArtsPartnershipsinEducation

DisruptingthePlace-nessofSchools:ReconstructingSpaceThroughtheArts

CAPEAfterSchoolResearchandEvaluationReport2018-2019ProgramCycle

ErinA.Preston

IndependentResearchConsultantAugust2019

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TABLEOFCONTENTS

I. Introduction(pp.2-3)II. ResearchDesign(pp.4-6)

III. LiteratureReview(pp.6-12)

IV. DataAnalysis(pp.12-32)

a. Section1:Technology-basedArtClasses

i. DigitalArtatGriffinElementary(pp.12-14)

ii. ElectronicMusicatBensonHigh(pp.14-16)

iii. ComparativeAnalysis:ReconstructingSpace(pp.16-19)

iv. ComparativeAnalysis:Belonging(pp.19-22)

b. Section2:Performance-basedArtClasses

i. TheatreatGriffinElementary(pp.22-23)

ii. DanceatBensonHigh(pp.24-26)

iii. ComparativeAnalysis:ReconstructingSpace(pp.26-28)

iv. ComparativeAnalysis:Belonging(pp.28-32)V. Conclusion(pp.32-34)

VI. Recommendations(pp.34-36)VII. References(pp.36-40)

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INTRODUCTION

Asaresearchorganization,ChicagoArtsPartnershipsinEducation(CAPE)hassoughtto

enactequity-seekingmethodologies.CAPEconceivesofteachers,teaching-artists,students,and

CAPEStaffasArtists/Researcherswhoengageincollaborativeinquirytoexplorepossibilitiesof

learningandart-making(Sikkema,2016).AsJosephSpilberg,CAPE’sCo-directorofEducation,

describes:

[P]artofourroleistoputforthbigideasandinquiryquestionsthatweasanorganizationareinterestedin,thatwearecuriousaboutandmakeourselvesasastaffvulnerableto[participants]toletthemknowwhatweareauthenticallyinterestedinandbelievein.Andindoingso,weputitforthtothemandaskthemtojoinus,basically,toseeifthereareanytakersinpursuingtheirowninquiryquestionsthatareparallelorconnectedorinresponsetoorindissenttowhatourinquiryis.(Interview,032018)

CAPEconceivesofcuriosityasthecatalystforcreatingandconnectivethreadformaintainingan

absorbinglearningexperienceaspartofsharedinquiryforadultsandstudents.

Inthe2018-2019programyearofCAPE’sAfterSchoolprogram(CAS),theideaofspace

servedasa“sensitizingconcept”forinquiry(Blumer,1969).Theconceptwaspresentedto

teacher-artistpartnersinprofessionaldevelopmentandwasusedasanorganizingthemefor

sessions.Forexample,teacher-artistpartners

viewedsitespecificvisualartcreatedfrompast

collaborationsbetweenteachingartistsand

students.Theyanalyzedhowtheseworksmight

impactthewaystudentsseethespaceoftheir

school.Inanothersession,Iexploredthe

relationshipbetweenteachers,content,

students,andcontextwithteacher-artist

partners.Oneteachingartistreflectedonhow

hersharedbackgroundwithstudentsinherclass

relatedtocontextduetohavingashared“culturalcommunity”and“connectedness”(Paris,

2016),affordinghermanyfamiliaritiesincludingthesimpleyetconsequentialabilitytocorrectly

pronouncestudentnames(Kohli&Solorzano,2011).Inthesesessions,teacher-artistpartners

reflectedonhowspacerelatedtotheirinterests,contentareas,andpedagogy.Inthisway,

Figure1:Atransitionalworkontheriseofstairsbetweentwoschoolsandaconnectiveworkrunninghorizontallythroughlockers.

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spacewas“aplacetostartinquiry,nottoendit”(Charmaz,2014,p31).Discussionsand

activitiesinprofessionaldevelopmentactivatedparticipants’ownquestions,asSpilberg

describes:

Ourbigideasandinquiryquestionshavetobeabitbroadersothateveryoneintheroomcan feelliketheyhaveaplacewithinthat,butwhenwedobringthosetoagroupofteachersand artistsit'sawayofchallengingthemtomodelafterthattothinkalittlebitmoreopenlyabout theirworkandtochallengethemselvestopursuetheirowncuriositiesandinterestsandtohave adialoguewithusaboutwhatitisthey'reinterestedinandcuriousabout.(Interview,032018)Withintheirafter-schoolcurriculum,partnersdeterminedwhetherandhowtoengagespace

withtheirstudents.

Thepurposeofthisstudyistoevaluatetheimpactofinquiryintospatialengagement

withintheprofessionaldevelopmentprogramonCASstudents.CAPE’smethodologyrelieson

collaborativeinquirycreatedthroughtherelationsofteacher-artistpartners.Eachpartnership

createsandevolvestheirco-teachingpracticebynegotiatinghowtheydefinetheirwork,vision,

andpedagogicalapproaches.Assuch,teacher-artistpartnerscontinuallycreaterelationalspace

witheachotherandtheirstudents(Lefebrve,1991;Massey,2005).ResearchonCAPE’sin-school

programminghasshownteacher-artistpartnershavethepotentialtodisruptnormsofteaching

andlearningtocreateopportunitiesformoreresponsivecurriculumanddemocraticpraxis

(Preston,2018).InadditiontoCAPE’sartsintegrationmethodology,theafterschoolcontext

affordsCASadditionalopportunitiestodisruptnorms.Teachingartistsarenotintraditional

classroomteachingrolesandenactcontemporaryartspracticesaspedagogy(Smolin,2010).

Theseindividualscanshifthierarchalsocialorganizationandarenotenculturedtotherestrictive

normsoftheeducationalsystem.Further,theafterschoolcontextdoesnothavethesame

constraints(e.g.pacing,roles,physicalspace,andcurricularcontent)andpressuresfortest

performanceastheregularschoolday.Thiscreatesaspatialflexibilitywhichcan,inturn,impact

thepossibilitiesoftheschoolspace.ByinvestigatingwhatconstitutesCASspacesandhowthey

arereconstructed,thisstudycanofferinsightintothewaysspatialengagementcanimpact

studentlearning,artmaking,andidentity.

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RESEARCHQUESTIONS

1. HowdoCASteacher-artistpartnerscreateandreconstructspacewitheachotherand

theirstudents?

2. Howdoesspatialengagementimpactlearning,artmaking,andidentity?

RESEARCHDESIGN

ANALYTICAPPROACH

Thethematicfocionspatialengagementwassharpenedbymovingbetweenresearch

activitiesanddataanalysisusinggroundedtheory(Charmaz,2014).Exploringspacewithin

professionaldevelopmentledtoan“expansionanddeepeningofthetopicthroughongoing

discussionsanddeliberations”(Bang&Vossoughi,2016).CAPEmethodologybuildsuponthe

lineageofequity-seekingdesignmethodologieswhichseekmorecollaborativerelationships

betweenresearchersandparticipants(Bang,Faber,Gurneau,Marin,&Soto,2015;Bang&

Vossoughi,2016;Erikson,2006;Sandoval&Bell,2004).

Thoughteacher-artistpartnersexploredtheconceptofspaceinprofessional

development,thisreportprimarilyfocusesonhowstudentsmadesenseofspacewithintheir

CASclasses.Thus,itwasimportanttouseinvivomethodsforcodingwhenpossibleusing

studentlanguageandterms(Charmaz,2014).Usinggroundedtheorywithanemphasison

studentdatasupportedmygoaltoarticulateandhonor“aperspectiveonlearningfromthe

perspectiveoflearners.”(Stevens,2010).

PARTICIPANTS

FourCASclasses(consistingoffourteacher-artistspartnersandtheirstudents)were

selectedasparticipantsinthisresearchbetweenfallof2018andspringof2019.Selectionof

participantswasdeterminedinpartnershipwithCAPEstaff.Classestookplaceattwourban

publicschools,oneelementaryandonehighschool,inthesouthernareaofChicago.Griffin

ElementarySchoolservesaround450studentsfromPre-Ktoeighth-gradeandemphasizes

communityinvolvement,thearts,andsocialemotionallearning.Thedominantdemographicsof

theGriffinstudentpopulationareBlack(73%)andHispanic(24%)with95%ofstudentsmeeting

lowincomedesignations.BensonHighSchoolservesabout650studentsfromgrades9-12and

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emphasizescreativity,problem-basedlearning,andthearts.Approximately97%oftheBenson

studentsareBlackand85%aremeetlowincomedesignations.

Sevenoftheteacher-artistparticipantsareBlackandoneiswhite.Comparedtothe

Chicagoteacherdemographicbeingdominantlywhiteat50.2%(CPS,2019),theCASteacher-

artistpartnerparticipantsweremuchclosertothe“culturalcommunities”ofthestudentsthey

wereserving(Paris,2016).

Atechnology-basedclassfromGriffinElementaryfocusedondigitalartandatechnology-

basedclassfromBensonfocusedonelectronicmusicproductionwerepairedforcomparative

analysis.Aperforming-artsbasedclassfromGriffinElementaryfocusedontheatreanda

performing-artsbasedclassfromBensonHighfocusedondancewerechosenforcomparative

analysis(seetablebelow).

DisciplinaryArea Class Participants

Technology-basedArtsComparativeAnalysis

DigitalArtatGriffinElementary SchoolClerk/AfterschoolArts&CraftsTeacherTeachingArtist:VisualArt6Students

ElectronicMusicatBensonHigh MusicTeacherTeachingArtist:MultidisciplinaryArt1Student

Performance-basedArtsComparative

Analysis

TheatreatGriffinElementary SpecialEducationTeacherTeachingArtist:PerformanceArt3Students

DanceatBensonHigh TeacherTeachingArtist:Dance2Students

DATASOURCES

Thisstudyusedmultipleethnographicmethodsofdatacollectionincludingsemi-

structured,interviewconferences(comprisedoftheteacher-artistpartnersandthreestudents,

inpersonusingaudiorecording);observations(fieldnotes);studentwrittenreflections;and

artifacts(digitalportfolios,materialsproducedduringPDsessions,anddocumentationof

artworkproducedfromunitimplementation).Datacollectionactivitiesaredescribedbelow.

StudentWrittenReflections&SpaceConferenceProtocol.Theinvestigatorconducted

allprotocols.Writtenreflectionswerecompletedbystudentsasaprimefortheirinterviews.

StudentsfromthefourclasseswereinvitedtoparticipateinSpaceConferencestosharetheir

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experienceswiththeresearcher,fellowstudents,andteacher-artistpartners.SpaceConference

interviewswereconductedattheendoftheprogrammingyear,weremaximumonehourin

length,andwereconductedwiththreerandomlyselectedstudentsandeithertheCPS

teacher/staffortheteachingartist.Interviewsweresemi-structuredandaudiorecorded.The

protocolwasdesignedtodrawouthowstudentsexperiencedtheprogramanditsimpacton

them.Theconceptofspacewaspresentedopenenoughtoallowforatheoreticalsampling.

ClassroomObservations.Participatingclasseswereobservedmaximumoftwiceand

observationswereaccountedusingfieldnotes.

Observations&ArtifactsfromProfessionalDevelopmentSessions.Professional

developmentsessionsincludedartmakingactivitiesanddiscussionswhichincorporatedthematic

topicsofspaceandrelationaldynamics(includingideasfrom:Dewey,1938;Hawkins,1974;

Lefebrve,1991;Massey,2005;Raider-Roth,2017).Thesediscussionsservedtostimulateareas

ofcuriosityforteacherswhichinformedthethematicfocusofresearch,dataanalysis,and

reporting.ArtifactsproducedordistributedduringPDsessionswerecollectedasasourceof

data,thisincludescomponentsofdiscussionforthoseaffirmativelyconsented.

DigitalPortfolios.AspartoftheirparticipationintheCASprogram,andmorebroadlyas

partofCAPE’smethodologyofactionresearch(Burnaford,2006),teacher-artistpartnersshare

writtenreflectionsandaccountsoftheircollaborationandarts-integrationprojects.

LITERATUREREVIEW

SOCIOCULTURALCONTEXTINLEARNING

CAPE’smethodologyisshapedbysocioculturalandprogressivetheoriesoneducation.

CAPEviewslearningandartmakingasanexperienceresultingfromsharedinquiry—across

disciplinesandtraditionalhierarchicalroles—producedfromandcontributingtoalarger

socioculturalcontext(Sikkema,2016).Tosupportthisconceptionoflearning,CAPE’s

professionaldevelopmentfocusesonstrengtheninganinterdependentrelationshipbetween

teacher-artistpartners,students,content,andtheirspecificcontextthroughspatialengagement

(Hawkins,1974;Raider-Roth,2017;Sikkema,2016).

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Hawkins(1974)providedamodel—thathasevolvedtothenameRelationalTriangle1—

todescribetherelationshipbetweenessentialcomponentsoflearning:teachers,students,and

content.Inthismodel,teachersfacilitatearesponsiverelationshipbetweencontentand

students.Thisresponsiverelationshipisdirectedtowardscultivatinganaestheticof

“engrossment”ininquirybythestudent(Hawkins,1974).Here,contentknowledgeisnot

transmitted,itissociallyconstructedthroughinquirywithinthelearningexperience(Dewey,

1938;Freire,1970;Hawkins,1974;Vygotsky,1978).Contentmediatestheteacher-student

relationshipasteachersprovidefeedbackandadjustcontentbasedonstudentengagement

(Hawkins,1974).Thegoalofteacherfeedbackisforstudentstointernalizethelearningprocess

towardmetacognitionandself-determinationinsteadofsimplypleasingtheteacher(Dewey,

1938;Hawkins,1974).InCAPE’smethodology,teacher-artistpartnersestablishaninquiry

questiontoexplorethroughcontemporaryartpractices(Smolin,2010).Astheyassess

engagement,partnersmaysharpentheinquirytofocusonspecificskillsorwaysof

thinking/makingbasedonin-the-momentneeds.Partnersmayalsorestructureactivitiestowield

socialresources—theteacher,teachingartist,andallstudents—asindividualsshiftroles

betweenlearner,teacher,andresearcher(Sikkema,2016).Wheninquiryisauthenticallyshared,

thereisreciprocity,amorehorizontaldistributionofpower,andstudentsaretreatedwith

dignity(Espinoza&Vossoughi,2014;Gutiérrez,2008;Hawkins,1974).Tobeabsorbedinshared

inquiry—especiallyforadults—requirescomingtounderstandcontentanewandvaluingthe

waysofthinkingandbeingofthoseoneislearningwith(Espinoza&Vossoughi,2014).

Althoughcontextwasseededwithinearlierprogressivetheories,manyscholarsexplicitly

investigatedthesocioculturaldimensionsofcontextaspartofaconceptualshiftineducational

researchtowardequityanddignity(asanincompletelist,see:Ball,1995;Erikson,2006;Espinoza

&Vossoughi,2014;Gay,2000;Habermas,1984;hooks,1994;Ladson-Billings,1995;Lave&

Wenger,1991;MollandGonzalez,1994;Paris,2012;Raider-Roth,2017;Turkle&Papert,1990).

Thisresearchcentersonanasset-basedpedagogywhichvaluesepistemologicalandcultural

1 Raider-Roth(2017)addedtheconceptofcontexttoHawkins’s(1974)InstructionalTriangle,buildingtheframeworkunderthenameRelationalTriangletoemphasizerelationships.Herframeworkisnotprimarilyusedinthisstudyduetoitsuseonadultlearninginprofessionaldevelopinherresearch.However,herworkisdeeplyrelatedtofundamentalideasaboutteachingandlearning,andarebroadlyreferencedwithinthisstudy.

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pluralismandrecognizesconsequentiallearningoccursoutsideofformalenvironments.This

scholarshipissetagainstourhistoryofreproducinginequitiesthroughsystems,including

education,whichmaintainamonolingual,monocultural,andmonolithicideology.Theinclusion

ofcontextisareminderthatinfluencesonteachingandlearningarenotlimitedtotheteacher,

studentandthecontent,butthatlearningoccurs1)inaspecificenvironment,withitsown

historicity,powerrelations,andnorms,andthattheimpactoftheenvironmentalcontext

influenceslearning,behavior,andrelationships,and2)individuals—teachersandstudents

alike—bringtheirownvalues,biases,waysofknowing,

andmotivationstolearningexperiences.Thus,context

iscastbybothindividualandsystemicinfluences

withintheschoolandexpandsfarbeyondthewallsof

alearningspace.

Raider-Roth’s(2017)additionofcontexttothe

RelationalTriangleprovidesawaytodiscusspotential.

Learningpotentialisexpandedwhenthe

epistemologies,cultures,andexperiencesofstudents

arevalued(Django,2012).Dewey(1938)assertedthat

teachersmustanimatethephysicalandsocialresourcesoftheenvironmenttocreatelearning

experiencesconnectedand“worthwhile”tostudents.Indeed,theimmediatecontextis

consequentialforengagementandlearning;researchonsocialcognitionhasdemonstratedthat

theimmediateenvironment“activatesorinhibitspreviouslyacquiredknowledgestructures,and

cantherebyshiftcognitionandbehavior”(Kesebir,Uttal,&Gardner,2010,p.2).Whenastudent

isdisconnectedfromtheirindividualcontext—their“workingrelationshipwiththeworldaround

[them]”(Hawkins,1974,p.51)—theyarediminishedandsoaretheirpotentialfutureselves

(Markus&Nurius,1986).Scheffler(1985)describestheroleofcontextinpotential:

...bothwhatpeoplepotentiallyareandwhattheyinfactturnouttobearecontingent,toanincalculableextent,onhumanintention,bothindividualandsocial,boundedonlybyavailableresourcesandthelimitsofingenuity.Theburdenofeducationalresponsibilityimposedonstudents,parents,teachers,planners,andindeedallsociety’smembers,stemsfromthisfact.(p.11)

Figure 2: The Relational Triangle with Spatial Contexts

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Usingthisassertion,CASclassroomspacescouldbeconsideredthroughthelensofintention;

whatarepartnersintendingtoactivateinstudentsandhowmightsuchactivationexpandor

bindpotentialfutures.

Normativeapproachesinpubliceducationruncountertowhatweknowabout

cultivatingstudentpotentialandlargelycontinuethelegacyofassimilation—therebylimiting

studentpotential(Ahmed,2007;Paris,2012).Contenttendstobestatic,depersonalized,

decontextualizedandtransmittedtypicallythroughprescriptivemethods.Subjectmatteris

predeterminedwithtimelinesandassessmentsinalignmentwithmandatesandstandardized

tests.Hunter,Aprill,Hill,&Emery(2018)caution“afocusonlarge-scale,high-stakestesting

leavesindividualstudents—andthewholechild—potentiallyunknowable,unseen,and

unheard…[and]riskdepersonalisingstudents’minds,hearts,andbodiesasproductsofa

systematisedinput/outputeducation”(p.96).Gutiérrez(2008)describesthisaspartof

“marketplacereforms”designedwithnarrowbusiness-orientatedprinciples(p.148).This

approachaimstoeffectivelyteacher-proofteachingandstudent-prooflearning,operatingwith

the“samenessasfairness”principle(Gutiérrez,2008,p.148)andfalseobjectivity“thatthereis,

infact,asinglebestway”toteach(Eisener,1992,p.594).

Wheneducationaldecisionsareorganizedaroundmandatesandstandardizedtests,

teacheradaptabilitytousetheirfullknowledge—ofthemselvesandstudentsasindividuals—

becomeslimited(Raider-Roth,2017;Santoro,2018).Theamountofindividualizedinformation

teachersgatherabouttheirstudentsnarrows,andthislimitsateacher’sabilitytobeboth

responsiveandcreative.Partofknowingwhatworksbestforstudentsisknowingthemasfull

individualswithintheircontext(Allington,2002;Haberman,Gillette,&Hill,2018),including“the

languages,literacies,andculturalwaysofbeing”(Paris,2012,p.96).Sopowerfulistheimpactof

high-stakestestingthatByrneBausell&Glazier(2018)founditenculturespre-serviceteachers

toabandonwhattheyknowaboutgoodteachingandto“positionstudentsasnumbers”(p.1).

Therestrictivenatureofcompliancemandatesdiminishespotentialandopposewhatisknown

abouteffectiveteachingmethods(ByrneBausell&Glazier,2018;Raider-Roth,2017;Santoro,

2018).ThoughCASclassestakeplaceinschools,theyarenotgovernedbytherestrictionsofthe

regularschooldayanddonothavetobepressuredbymandatesandstandardizedtest

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performance.RevisitingtheRelationalTriangle,thecontextualshifttoanafterschoolsetting

andtheadditionofateachingartistprovidepowerfulleverstoexpandbothadultandstudent

potential.

SPACE

Potentialisboundtospace.AsScottSikkema,CAPE’sDirectorofEducation,describes,

spacecanbethephysicalenvironment,suchastheorganizationoftablesandchairswithina

classroom(FN_103019).Theorientationoffurniturecertainlyimpactswhatstudentsattendto

andservestomanagesocialactivity.Sikkemaalsodescribeshowspacecanalsobethoughtofas

therelationshipsandinteractionsbetweenpeople(FN_103019).Spaceiscreatedthroughthe

continualprocessofsocialpractices(Lefebvre,1991).Itisformedthrough“knowledgeand

action”(Lefevbre,1991,p.11).Whatknowledgeisvalued—utilizedasaresourcetoactively

engagewithandextend—andwhatactionsarepermissiblecontributetothepotentialfor

individualandcollectivelearning.Thus,spaceissociocultural,historical,political,andrelational

(Lefebrve,1991;Massey,2005).Acrucialdeterminantinsignifyingvaluetostudentsiswhether

andhowalearningexperienceisinclusiveoftheirlinguistic,social,cultural,andpractico-sensory

(useofallsenses)knowledge(Lefevbre,1991;Paris,2012).Actionscaneitheractivateand

unfoldsuchknowledgeorsuppressandinhibitit.Thesocialorganizationwhichgovernsactions

withinaclassroomdefinethespace.Whoismakingdecisions?Whatarethepowerrelations?

Whatpracticesopenorinhibittheflowofideasandknowledge?Whoseknowledgeisassigned

value?Ifweconceiveofaclassroomintheseterms,spaceisanembodimentofsocial

relationshipsandareflectionofsocioculturalandpoliticalvalues(Lefebrve,1991,p.27).

WithinthespaceofCAS,sharedinquirycreatesaninterstitialspace.Muchlike

Gutiérrez’s(2008)descriptionofaThirdSpace,CASclassesarebetweenformalandinformal

learning,arebothinandoutofschool,promotefluidsocialroles,andoftentimescontentis

interdisciplinary.Thesocialpracticeofsharedinquiryisfulloftensions,yetthesetensionscan

guideanexperiencetowardsreciprocity,responsiveness,andexpandedpotential(Preston,

2018).Gutiérrez(2008)specificallycitedtheintersectionof“teacherandstudentscripts”as

“creatingthepotentialforauthenticinteractionandashiftinthesocialorganizationoflearning

andwhatcountsasknowledge”(Gutiérrez,2008,p.152).Bylookingcloselyatauthentic

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interactionswithinsharedinquiry,thisstudywillcharacterizehowtheinterstitialspacesofCAS

canimpactlearningandidentity.

BELONGING:TOBEKNOWN&TOKNOWOTHERS

Themovementbetweenmentalandsocialspaceallowsforaspacetobeunderstood,

discussed,andactedupon(Lefebvre,1991).Asonemakessenseoftheiridentityinasocial

space,theyassesstowhatdegreetheycanactwithautonomyandself-determination.They

assesswhethertheirsenseofselfcanbeenactedtowardeitheracoherentorfracturedidentity.

AsLefebrve(1991)describes,individuals“aresituatedinaspaceinwhichtheymusteither

recognizethemselvesorlosethemselves”(p.35).Studentssensethepartsofthemselvesthat

arevaluedormeanttobediminishedthroughlearningexperiences.Thetotalityofthenorms

andsocialorganizationwithintheplaceofaschoolsignifysuchmessages.Tuan(1977)

characterizedaplaceaswhatisknownandconcrete,whereasspaceisunknownanddynamic.

Place-nesscanfunctionastheunnoticedandimplicitstructureshapinghabits,norms,andsocial

relations(Ahmad,2007;Bourdieu,1977;Tuan,1977).Tuan(1977)theorizedthat“placeis

securityandspaceisfreedom:weareattachedtooneandlongfortheother.”Forsome,place-

nesscanbecomforting,butIproposeamorecriticallookatplace-nessindevelopmentandask

whobenefitsfromthesecurityofplace-ness—oftentimes,itisthoseinpower.Placesarenot

neutral,anditisforthisreasonthatpreviousCAPEresearchhasdescribedschoolsas“non-

places”duetotheirdisengagementwiththestudentsandcommunitiestheyserve(Augé,1995;

Sikkemaetal.,2019).Thedominantmessagesignifiedthroughtheplace-nessofschoolingisone

ofassimilation.Althoughstudentsmaysensetheboundsandlimitationswithintheplace-nessof

aschool,place-nessisnotmonolithic.AsScheffler(1985)describes,“thesymboliccomponentof

aperson’senvironmentdoesnotsimplyreflecttherest;itisitselfcreating,spillingoverthe

boundsofotheractualitiestoadditsownparticularportion”(p.20).Massey(2005)also

conceivedofspaceasaprocesswhichcannotbefullyenclosedandcontainschance.

Contemporaryartspracticesfacilitatethisspill-over,becausetheyarebothpersonallyrelevant

andactivatesocioculturalcontexts(Smolin,2010).Bydisruptingtheplace-nessofschool

throughartpractices,studentscanre-centerthemselveswithinalearningexperienceinclusive

oftheirwaysofbeingintheworld(Habermas,1984;Paris,2012).

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Lastly,theplace-nessofschoolcanimpactastudent’ssenseofbelongingand

psychologicalsafety.Here,Edmonson’s(1999)conceptualizationofpsychologicalsafetyprovides

ausefulwaytothinkaboutthemovementbetweenmentalandsocialspace.Herresearchon

teamlearningfound“interpersonalclimates”comprisedof“trust,respectforeachother’s

competence,andcaringabouteachotheraspeople”contributedtoanindividual’ssenseof

psychologicalsafety(p.375).Environmentswiththeseconditionspromotelearning,risk-taking,

andconnection.Edmonson’scharacterizationofaninterpersonalclimatesupporting

psychologicalsafetywillinformhowspaceandbelongingarediscussed.

InCASclasses,howdoesthesocialactivityofsharedinquirycreatespace?Ifspacesare

createdthroughsocialrelations,howdorelationsexpandordiminishpotential?Howcanthe

place-nessofschoolbedisruptedthroughcontemporaryartpractices?Isoughttouncoverwhat

constitutedthespacesofCASclassesandhowsuchspacesimpactedthewaystudentssaw

learning,themselves,andartmaking.Thefollowingdescriptionsandanalysesofcasesexplore

howCASclassesrecreatedspacebyengagingsocioculturalcontexts,shiftingthesocialorder,

andcultivatingasenseofbelonging.

CASES

TECHNOLOGY-BASEDARTCLASSES

DIGITALARTSATGRIFFINELEMENTARY

Theteacher-artistpartnersfortheGriffinElementarydigitalartclassestablishedan

inquiryintoself-expressionthroughanaloganddigitalarts.Theirinquiryquestionwas:“What

candigitalartsaccomplishthatanalogartscannot?”(CAPE,2019).Studentsworkedonprojects

spanningseveralskills(animation,improvisation,collage,andvideoproduction)andprograms

(Scratch,Pixlr,andiMovie).Projectswerelooselytimeconstrainedandactivitieswere

experientialandexploratory.

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The teaching artist focused on developing technical skills by fostering a connected

relationshipbetweenstudents,theirmaterials,andtheirindividualinterests.Theteachingartist

describedtheclassdesignasincluding“waysforeveryonetogettotrydifferentthingsthatmaybe

they don't normally get to try, ways to explorewhat your interests are, and be able express

yourself througha lotofdifferentmediums,and investigateyourrelationshipwithallof these

differenttools”(Interview,060319).Inmanyoftheprojects,studentsmovedbetweenanalogand

digitalarts.Thisconceptualandpedagogicalapproachmadeartisticprocesses–bothintraditional

and technologicalmedia–more transparent. Forexample,

theteachingartistguidedstudentstomanipulatesoundona

record player by disrupting its grooves through adding

scratches or stickers and later tomanipulate images using

movement when scanning (CAPE, 2019). Extending this

concept into amore current technological realm, students

were guided to continue manipulating digital media as a

materialbyeditinganimage’scode(CAPE,2019;Sikkemaet

al, 2019). The projects and activities were designed for

exploration, rather than a specific outcome, thereby

supporting autonomy, students’ connection with the

materials,andtheexpressivepotentialofthetools.

Theteacher-artistpartnersengagedrelationalandphysicalspace.Thepartnerspracticed

critiquesessionsafterallprojectsandcultivatedaninterpersonalclimateofpsychologicalsafety

emphasizing,astheteachingartistdescribed,“supportivelanguagetomakestudentsfeelsafein

trying out new ideas” (CAPE, 2019). For several projects, students were organized into

collaborations and utilized locations outside of the classroom, including the hallways. As an

example of disrupting both the physical and social place-ness of school, the teaching artist

organized a graphic design skill development activity around improvisation. After each step,

Figure3:Studentworkfromthescanningactivitycreatedthroughphysicalmovement.

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students had to change seats and build upon the

previous student’s work. As a goal, this resulted in

each student contributing to everywork in “shared

authorship”(CAPE,2019).Thisdirectedcollaboration

activity not only engaged the tensions of shared

authorship, but disrupted attempts for planning in

the art making process and reintroduced the

possibilityofsurprise.

ELECTRONICMUSICATBENSONHIGH

Theteacher-artistpartnersfortheBensonHighelectronicmusicclassestablishedan

inquiryintohowstudentscometounderstandthemselvesascomposers.Theteacher-artist

partnersmovedfromstandardinstrumentationtoelectronicmusicproductionandcomposition.

Projectweremostlyindividualandself-determined,butallweresupportedthroughdialogic

practicesintheformofone-on-oneconferringwithateacher-artistpartnerandwholeclass

critiques.

Thepartnerscenteredcurriculardecisionsonstudents’intrinsicmotivationandcreative

capacitytomaximizeownership.Asaspecificprojectexample,thepartnershadthegoalfor

studentstoconnecttherichlocalhistoryofmusicwiththeirownaesthetic,byfusingboth

historicalinfluence(throughinstrumentationorotherelements)withcontemporarysensibilities

andelectronicproduction.Theyinvestigatedlocalthehistoryofjazz,blues,andhip-hopinclass

andthroughafieldtriptoaculturalcenter.Studentsweretaught“basic12barbluesusinga

xylophoneandmarimba”andexperimentedwithimprovisation(CAPE,2019).Studentsdidnot

takeuptheprojectideasintheircompositionsandthepartnershonoredthatdirection.This

decisioncamefromtheirdesiretocultivateintrinsicmotivationandindividualaesthetics.The

teachingartistviewedthisasanecessaryalternativetotheprescriptiveandstandardized

learningexperiencesstudentsencounterduringtheregularschoolday:

See,afterschoolislikeIcanengagehowmuchIwantto.Duringschoolismore:“Youneedtodo theseparticularthingtogetpasthere.”AndIthinkinsomeways,aswell,itneedstochange.It needstobemorefocusedonthestudentsandnotstandardizedanythingbecausenotwo peoplearealike.Ithinktherearecertainskillsyoushouldhaveamasteryofsothatyoucan

Figure4:Studentworkfromtheimprovisation&sharedauthorshipactivity

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navigatetheworld.Ijustfeellikehavingoptions,differentoptions,iscriticalandifyoucan presentoptionsinawaythatisnaturalthenIthinkpeoplegetthingsoutofit,studentsgetthings outofit.(Interview,053019)Inthisclass,differentoptionsmeantstudentsweredrivenbytheirownaestheticandgoals.The

teacheralsoperceivedtheirapproachascounteringpressuresoftheregularschooldaywhich

limitintellectualandcreativepotential(Interview,053019).Astheteacherreflectedonthe

spaceofCAS,shedescribedhowstudents’pressuretoperform,tonotfail,tonotbepenalized

waslifted:

Ithinktheelementofbeinggradedandbeingheldaccountableforthestandardsand benchmarksthatyou'relearningareremoved,anditallowsthestudenttoreallydiveintoIthink ahigherlevelofcreativity.There'snotsomuchpressuretomakesurethatyourmeetingX,Y,and Z.Althoughwithoutthemknowingit,theexpectationisstillthesameforafterschool,butthat pressureof“Oh,I'mgettingagradeonthis.Imayfailthis.Imayhavetoredothisoveragain.” Wherehereinthecapeprogram,Ithinkrepetitivenesswasn'tpunitiveitwasmoreso“ItriedXYZ. NowletmegobacktoABCandseewhathappensthere…”So,Ithinkthatwasoneofthemost rewardingthingstoactuallywitnesswiththestudentsthatcomeinherebecausestudents wouldsay“OhImessedup!”There'snosuchthing.You'reopeningyourselfuptocreativityright now.(Interview,053019)Here,theteachercalledattentiontohowtheplace-nessofschoolisdefinedbyrestrictive

structureswhichdiminishthepossibilityforstudentstofeelthepsychologicalsafetyrequiredfor

creativepursuits.InCAS,thepowerdynamicshiftedwithpartnersservinginfacilitationrolesto

supportskilldevelopmentandtheartmakingprocess,therebycreatingexpansivestructures.

Thispedagogyembodiestrustinstudents’visionandcompetence,bothofwhichwerefoundto

becharacteristicofaninterpersonalclimatesupportingpsychologicalsafety(Edmonson,1999).

Twospecificdialogicpractices,conferringandcritique,shapedthespace’ssocial

organizationandinterpersonalclimate.Whilestudentsworkedontheircompositions,the

partnersconferencedwithstudentsone-on-one.Probingquestionsandsuggestionswerenot

prescriptive,butratherfocusedonsoundanalysis,composition,andconnectingstudentvision

tofeedback.Astheteacherdescribed,thegoalwastohelpstudentsrefinetheirwork,withthe

emphasisonstudentownershipandfeedbackconstruedasaperspectivenotavalue

assessment:

Ithinktherewasapolishingof“Hey,youknow,beadventurousandtrythatout.ThisiswhatI'm hearing.Haveyouthoughtofmaybethis?”Andninetimesoutof10,sincetheytriedsomeofour

16

suggestions,Ithinkthere'sbeenonlyoneortwotimeswhereastudenthassaid“Idon'tlikethat” andwe'vesaid“Okay,that'sfine.It'syourpiece.Thisiswhatyou'redoing.”(Interview,053019)Theteachingartistsimilarlyfocusedonstudentownershipandprovidingasupporttowardself-

determination.Hedescribedhisapproachtofeedback:

Ithinklisteningtothem.MakingfeedbackbasedonwhatIhear.Someofthemstarttothink abouttheprocess,whichIspeakabout,too.Someofit'sjustgivethemaformatandsome guidelines,butthentheydeviateontheirownwhichI'mhappyabout,because,eachoneof them,they'reallindependentthinkersandthecommentsthattheymakeaboutthingsarevery interesting.(Interview,053019)Theabovestatementsbythepartnerscharacterizethesocialorganizationasmorehorizontal

thanhierarchal.Thepartnersdidnotassessvalueorholda“right”answer.Studentsputforth

workthattheyvaluedandformedthroughtheirvisionandaesthetic,requiringmuchmoreof

themselvesbeingputintotheworkthanduringtheregularschoolday.Thiscanberiskyand,as

partofcreatingsharedvulnerability,critiquewasusedasaritualattheendofeverysession.The

teachingartistdescribedthebenefits:

Oneofthelastthingswewanttodoisshare,becausethatmakesyouvulnerablesoIkindof madeitmandatory.Mandatoryvulnerability,butsetcertainrulessothat[critiques]canbe positiveandnourishingandIthink[students]developtheroutineoflike“Yeah,letmeshowit.” andtheycanexpectcertainthings…AndIthinksharingouthasplentyofbenefitswith everything:inbuildingupconfidence,itgetsacritiquefrompeoplewhoaregoingthroughthe samethingthatyouare,butwithdifferentminds.AndlikeIsay,it'ssetupinanourishingway. It'samandatorynourishmentsession…Idon’talwaysthinkaboutstuffinthemannerthatthey do,becauseIdon’tknowwherethey’redrawingfrom,butthatalsohelpsmelearnaboutthem. That’sanotherthing,it’saboutlearningabouteachother.Ididn’tthinkaboutthat,but,when youshareyourworkandtalkaboutit,I’mlearningaboutyou.AndIthinkthatbrings[students] closer,too,asaunit.(Interview,053019)Thereciprocalnatureofthecritiquesessionsreliedonmutualrespectandsupportineach

other’svision.Althoughtheteachingartistviewedthesupportiveclimateas“alreadyinplace,”

theshiftedsocialorganizationcultivatedpsychologicalsafetyandthepedagogicalapproach

fosteredself-determination.

COMPARATIVEANALYSISFORTECHNOLOGY-BASEDCLASSES

RECONSTRUCTINGSPACE

HowdoCAPEteacher-artistpartnerscreateandreconstructspacewitheachotherand

theirstudents?

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Projectsandactivitiesinboththedigitalartsandelectronicmusicclassesdisruptedthe

place-nessofschool,becausetheyweredesignedarounddevelopingskillsthroughexploration

ratherthantowardpredeterminedproductswithrigidtimelines.Thisapproachtotechnology

educationisonewhichfosterstinkering,aplayfulwayoflearningwhichallowsastudenttothink

withmaterialsinamorepersonalizedwayoutsideoftheconstraintsofalogic-basedand

structured-planningmodel(Resnick&Rosenbaum,2013;Turkle&Papert,1990).AtBenson

High,theteachingartistviewedthisapproachascenteringstudentinterestandvision,whileat

thesametimedescribingside-by-sidelearningrelationsbetweenteachersandstudents:

WellI’mnotaborderpersonsoanythinggoes,iftheyhaveanidea“Ithoughtofthissongandwe needtodothistomakeadanceorthisorthat”—I’mthepersonyoucantellthattoandwecan takeadeviationandwecangoworktowardsit.So,intermsofspace,Itrynottohavedefined spacessothatthingscanbemoremalleable.(Interview,053019)Forastudentintheelectronicmusicclass,thisapproachacknowledgednotonlythedifferent

interestsandtalentsofstudents,buthowflexiblesocialspacecanexpandcreativepotential:

Icanmakebeatsandsomeoneelse’smakingadanceandsomeoneelse’srecording.Ifeellikeit allowsustoallworktogetherinaway,becauseweallhavedifferenttalentsinthatgroupand we’reallsotalentedandourownwaybutIfeellikewhenweworktogetheritmakesitbetter. (Interview,053019)Theexploratoryapproachcreatedaflexibilitythatwasexperiencedasareprievefromrestrictive

structuresoftheregularschoolday.Althoughprojectswerenotopenendedandasmalleablein

theelementary-leveldigitalartsclass,thedegreeofself-directionandflexibilitywas

developmentallyappropriate.Eisner(1991)assertedthat“thecurriculumweprescribefor

schoolsandthetimeweallocatetosubjectsshowchildrenwhatadultsbelieveisimportantfor

themtolearn”(p.591).Intheseclasses,studentsfelttheexploratorypedagogyandflexibility

affordedthemtheopportunitytopursueinterests,notberestrictedbytime,andtoexercise

autonomy:

Inthenormalschooldayit’sboring,becausewehavetodotestingitgivesmestress.Itjustgives mestress,right.WhenI’minafterschool,Idon’thavetoworryaboutstressbecauseifwehavea questionorwe’redoingartorsomething[theteachingartist]willtelluswecangotoanother website.Let’ssaywecouldn’tdoPixlr,[theteachingartist]saidthenwecancontinueonScratch ifwecan’tdoPixlr.(Interview,060319). It’smorelaidbackandchillandfun,otherthan“Youhavetodothisandthisandifyou’renot doingitcorrectlythenyou’remessingitup.”(Interview,053019)

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It’slikeduringschoolyoualwaysgetsofrustratedthatyoujustwanttotakeabreakandthen afterschoolyougettotakebreaksanddothingsthatyouliketodoandnotthingsthatyoujust don’twanttodo.(Interview,060319). We’vebeentestingandduringafterschoolwegettobefreeandworkonotherthingsthatwe mostlylikeandnotduringtheregularschoolday.(Interview,060319). Inafter-school,youdon’tgettodotheboringstuffeverysingleday,youcanactuallydodifferent thingsyoucanhavefunwithwhatyou’redoing,becausenobodycanhavefunwithtesting. (Interview,060319).SomestudentsdescribedhowtheflexibilityoftimeandsocialspaceinCASsupportedtheircognitivedevelopmentandabilitytohaveaprocess-basedorientation: Wheneverwe’reatschool,especiallywhenwehavecomputers,wehavetogoinGoogle classroomsandmakesurethingsareturnedinatacertaintime,buttheninafterschool,ifyou don’tgettofinish,yougettofinishonthenextclassandmaybeyoucanimproveonit.And whenyou’reinschoolonaregulardayandhavetodowork,youcan’treallyimproveonit becauseyou’reinsuchahurrybecausethingsneedtobedoneontime.(Interview,060319). [In]schooltheygiveyoualesson,likelet’ssayyougetatestandsomebodydidn’tstudyyoucan’t useyournotessometimesandthenit’san“F.”Youcan’tuseyournotesandyoucan’tgethelp because[you]didn’tstudyornothing,buthereyoustudy,butifyouforgetyoucanstillget help.(Interview,060319) Ifeltcomfortablebecauseyou’renotjust…byyourselfnotknowingwhattodo.Youdon’thave stressandyoulearnwhattodoandithelpsyoualot.(Interview,060319) Youactuallygetthetimetoactuallylearnandcomprehendeverything.(Interview,060319)Inthesetechnology-basedclasses,thepedagogy,muchliketinkering,supportedapersonalized

approachtolearningwhichfacilitatedtheinternalizationofthelearningprocess:understanding

whentheyneedabreakortoswitchprojectsup,howtopursueinterestsindividuallyand

collectively,determiningasatisfyingend-pointtoaproject,anddeterminingwhatitmeansto

havelearnedsomething.

Bothtechnology-basedclassesalsoreconstructedthespacebyattendingtothesocial

organization.Conferringandcritiquefosteredself-determination,aninterpersonalclimateof

psychologicalsafety,andreciprocity.Althoughthissectionisfocusedonhowthespacewas

createdbypartnerswiththeirstudents,thefollowingquotesbyteachingartistsillustratehow

studentstookuprelationalpracticessupportingatrustingandrespectfulspace:

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Wehavecreatedaspaceinwhichstudentsarefreetoexploreideas.Wehaveagreedtonotuse negativelanguageabouteachother’sworks,instead,onlyusingsupportivelanguagetomake studentsfeelsafeintryingoutnewideas.(CAPE,2019) Oneoftherulesisyoureallycan’tgetdownonpeople.So,givingspacewherepeopleexplore differentideaswithoutpeoplesayingnegativethings…buttryingtoencouragepeopletoactually gettoexperimentandtrydifferentstuffinaplacethatissafeforthatkindofexploration. (Interview,060319). Studentsweresupportive,respectful,andencouraging.Bytheendoftheclass,everystudenthad successfullycollaboratedinonewayoranother.Often,studentswhodidn’tconsidereachother friendswouldbehesitanttoworktogether,butintheendwouldcomeupwithveryinteresting compromisesandideasthroughtheircollaboration.(CAPE,2019) Ikeepgettingthissimilarexperiencethatthestudentsat[thisschool]reallysupporteachother’s ideas,whichIthoughtwasreallyunique.There’snotalotofcompetitioninthatmanner— meaningthatpeopledon’tsquashyourideasbecausethey’rebeingcompetitive,whichis,Iwant tosay,somethingthatIhavebecomeusedto…peoplenotbeingsincerebecauseoftheirown self-interest.Inoticedrightawaythattheysupporteachotherinanuncannyway,whichforme,I feltthatwasaliberationthatIneededtobearound,aswell.So,alotofthingsthatare happeningatCAPEafterschoolarereciprocalinwaysthatIgivethematruehonestunique perspectiveonthingsandtheygivemeasimilarthing.Icherishthem,Ido.(Interview,053019) Ithinktryingbuildagoodclasscultureaswe’resharingstuff:everyone’sgivingeachother attention,everyone’saskinggoodquestionstoeachother,showingrespectforeveryoneelse’s work.So,we’rekindofunderstandingthateveryoneisinthesameplacewhentheyshareand thateveryoneisexpectedtosharewithrespectandkindness,butalsothatit’siftheydon’tdoit whywouldtheyexpecttoreceivethataswellsoareciprocalthing.(Interview,060319).Thelaststatementemphasizedstudentsbeing“inthesameplace”duringcritiques.Thisrelates

toTuan’s(1977)notionofplaceaswhatisknownandsecure.Withintheplace-nessofthe

regularschoolday,engagingincritiquemaynotfeelsafeorreciprocal.Inthesetechnology-

basedCASclasses,dialogicpracticesreconstructedsocialspaceandsecuredaninterpersonal

climatebuildonmutualresponsibilityforthesharedexperienceofcollectivelearning.

COMPARATIVEANALYSISFORTECHNOLOGY-BASEDCLASSES

BELONGING:TOBEKNOWN&TOKNOWOTHERS

Howdoesspatialengagementimpactlearning,artmaking,andidentity?

Studentsinthedigitalartandelectronicmusicclassespursuedtheirinterests,leading

themtobetterseeandbethemselves.Potentialswereexpandedasstudentsgainedconfidence

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inseeingthemselvesascompetentartistsandlearners.Thisfacilitatedaspatialspill-over

whereinstudentengagementintheartsoutsideofclasswasactivated,mediacreationwithin

theclassextendedoutward,andidentitiesasartistswerethrownforwardasdraftsofpotential

futureselves(Heidegger,1962;Markus&Nurius,1968).Asstudentsdescribed,interest-driven

learningactivatedintrinsicmotivation:

I’vealwayswantedtomakeartoncomputers,butIneverfoundawayhowtodoitsoonce [theteachingartist]showedusIwaskindofexcitedaboutdoingit.(Interview,060319). Ithelpedmelearnmoreaboutthere’smorethanonetypeoftechnology,there’smorethanone typeofapp.fordifferentthings.Ididn’tknowthatIcouldmakebeatsonmyownphonewithout gettinganewone.Itwasjustafunexperienceoveralljustbeinginthatclass.(Interview,053019) Ilearnedstuffthatmostpeopledon’tknowhowtodoandthatyoucouldgetpaidfor.Andit helpedmegetbetterwithsomethings.Likethisapp.called[intelligible],youcouldmakevideos andstuff,andIhavethis[app]calledPowerDirectorandyoucanputstufftogether,andI havethisappcalledIJustPaintEggs.[Whentheteachingartist]showedusPixlr,ithelpedmea lotandIlearnedhowtouseIJustPaintEggs.Iknowhowtotraceandusethestabilizerandthe brushes,soithelpedmegetbetterandhelpedmeknowtouse[otherprograms].(Interview, 060319). Well,Ifeelliketheseskillsthatheshowedusyoucouldusewhenyougetolder.Youcanlearn howto[animate]anddostufflikethatbecauseweuse…Scratch.[In]Scratchyoucanputstuff togethersoIthinkthatcouldhavehelpedyouanimatethings.(Interview,060319). Iwritemyownsongs.Icoulduse[electronicmusic]asmyownbeatsinmyownsongs.(Interview, 053019) WhenIfirstjoined,theyweredoingmoviesand,inmyhead,whentheysaidtheyweredoing moviesIwaslike“Yes,I’mgoingtoacethisbecauseIlovewatchingmovies!”andIalwaystoldmy motherIwantedtobeanactor.So,itwaskindofgreattobedoingthisafterschool.[studentwas thenaskedwhatitmeanttobeabletomakeashortfilm].Thattomefeltamazingbecausethisis myfirsttimedoingit.Ialwayswantedtobeanactor,sothiscouldbemychance.(Interview, 060319). ItkindofgavememorecouragetobringmyinnerartistoutbecausewhenIwasyoungerIused todoalotofartbutmyparentsweren’taroundtoseeitsoIjustwouldn’tdoitanymore,but once[theteachingartist]showedusskillslikePixlrhowyoucanmakecollagesitkindofimpacted memorebecauseIseeitasifIcoulddothisnowthenIcouldbeabletodothisinthefutureand Icouldactuallymakemoneyoffofthisandshowotheryoungkidsthattheycandoanything,too, eventhoughit’snotsomethingthatyouwouldimagineyourselfdoing.So,itkindofbroughtstuff outofme.(Interview,060319). Inaway,[theelectronicmusicclass]mademefeelmorepowerfulagainstmyselfbecauseIdidn’t havealotofself-esteemgoingintothisclass.IthoughtthateverythingImadewasgoingtofail.I

21

didn’tthinkitwasgoingtobegood,Ithoughtitwasgoingtobeawful,andIdidn’thavethemost trustinmyself.ButnowthatI’vebeeninitforsolongandhavegottentoseethingsthatI’ve createdthatotherpeoplestartedtolike,itmakesmefeellikeIcandoanything.Andthatwith creatingtheBohemianRhapsodypiece,itwassomethingthatIdidn’trealizethatIcoulddoandI didn’tknowthatIhadthatpowerwithinmeandnowthatIknowthatIhavethatpower,I’m goingtouseit.(Interview,053019)Intheelectronicmusicclass,partnersfurtherpropelledthisspilloverbybringinginavisiting

musicartist;planningfieldtripstoamuseum,aculturalcenter,andaprofessionalrecording

studio;andcoordinatingamuseumtofeaturestudentmusicasasoundtrackforvisitorsduringa

specialpublicprogrammingsession.Fortheteachingartist,planningthosespilloversisan

integralpartofbuildingstudents’capacitytothrowforwardbyconnectingpresentactivitywith

possiblefutureselves(Heidegger,1962;Markus&Nurius,1968):

WiththeCAPEafterschoolprogram,themainthingwasthatyouhadadirectmentorthatgives youaccesstothingsyoumaynotnormallyhave.Forinstance,oneofourfieldtripswastosee CRCStudios.Normallyyouwouldn’tgetthereunlessyouhadsomeprofessionalaffiliationor needtobeinaprofessionalfacilityinordertodoaparticularthing.Ithinkitwasgreattojust bringthemthere,butnotonlybringthemthere,buttobringthemthereinthecapacitytolisten tosomeoftheworkthatwecreatedintheclassroominaspacethat’sactuallybuiltformusic listeningsotheycanaskactuallyhearthedepthoftheirmusicamongstspeakers…inacritical listeningenvironmentwheretheycangettheirfeedbacktomovetheirartworkevenfurther… beingtherewasworthsomuchmore,becausesomepeopleobservetheenvironment“Oh,I can’twaittogobackonmyown”or“Letmetakethisengineer’snumberdown”orwhathave you.JusttokindofobservebecauseIknowwhenIwasthatageIdidn’treallyknowwhatthat placelookedlikeandIcouldn’tfigureitoutinmyheaduntilIgotthereandthenonceIwasable togetthereIrealizedthethingsthatIcandowithinthatenvironment.(Interview,053019)Astudentsharedtheimpactofvisitingtherecordingstudio: Togototherecordingstudio,itwasjustareallyfunexperiencecuzIbarelyleavemyhouse.I leavemyhousetogotoschoolandtoGirlScouts.So,Idon’treallygoplaces,butgoingtoaplace whereeverythingwassoprofessionalandjustsuchacoolexperienceitwasjust“Wow,people actuallydothis?Therearepeoplewhowritetheirownsongsandaregettingthempublishedin placeslikethis!”IwishIcouldgothereandIknowthatifIworkhardenoughIcangetthere. (Interview,053019)Inthetechnology-basedCASclasses,identitieswereintegratedandself-conceptsexpanded

throughthespill-overofinterests.Theresoundingcountermessagefromstudentsabouttheir

experiencesduringtheregularschooldaywasoneofdiminishedpotential.Withafocusontest

performance,studentswereanxiousandfeltunseen,andthiscreatedafracturedsenseofself:

22

Whenyougettoschool,youhavetoworryaboutwhatyou’regoingtogetonthetest.Areyou goingtofail?!It’slikeyou’renotakid,it’slikeyou’reanadult.Wearelearningaboutmany things,becauseyoudon’twanttofail.Youwantyourattitudetobegreattowardstheteachers, butinafterschool,youstillhavetoberespectfulinafterschool,butinafterschoolyoucanrelax. Youcan’talwaysbestressed!Youcanbestressedfortheupcomingdays,butyoucouldrelaxfor thetimethatyouareinit.(Interview,060319) Myidentityinschool,IwouldsayI’mnotasnice.Iamnice…whereverIgoIwanttostartoff respectful,butIwantpeopletoknowthatI’mrespectfulandthenIcouldmessupsometimes.In after-schoolI’mnice,butinschooldaysI’mnotsonice.(Interview,060319) Inschool,that’swhereyouspendmostofyourtime,butinafterschoolyoujustwanttobe friendlyyoudon’twantpeopletothinkthatyou’resomedudethatjustwantstomaketroubleall thetime,butinschoolnobodyactuallyknowsthat,because…nobodyevennoticesyou. (Interview,060319)Withoutthesepressures,studentsinthedigitalartandelectronicmusicclassescouldconnect

withtheirwork,advanceintellectualandcreativeexpressionthroughself-determination,and

throwforwarddraftsofpotentialfutureselvesthatintegratedtheirinterests(Heidegger,1962;

Markus&Nurius,1968).

PERFORMANCE-BASEDARTCLASSES

THEATREATGRIFFINELEMENTARY

Theteacher-artistpartnersfortheGriffinElementarytheatreclassestablishedaninquiry

intohowstudentscometounderstandandfindmeaningintheirlivesusingtheirfullsenses.

Theirinquiryquestionwas:“Howdostudentsperceivetheworldandtheirplaceinit?”(CAPE,

2019).Thisinvestigationwasmediatedthroughtheatrepracticesincludinggames,writing,

improvisation,creatingandreadingtableaus,andmonologues.Theinquirywasopenand

responsive,allowingin-the-momentlearningtoguidethecontent.Astheteachingartist

describes,“ourexplorationofthesensesbecamemorenuanced,extendingbeyondphysical

sensationstoothernotionsofsensesasinsenseofself/identity,senseasinfeelingsafeor

unsafe,includedorexcluded”(CAPE,2019).Thisapproachvaluedtheaffectiveandrelational

componentsoflearning,bridgingthedeepconnectionbetweenhowstudentsfeelandtheir

learning.

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Thesocioculturalcontextwasactivatedbydrawingconnectionsbetweenidentityand

community.Studentsdeterminedtheymustfirstunderstandthemselvesbeforelocatingthe

conceptsofsafetyandinclusion(CAPE,2019).Thisledtocreating“IAm”self-identification

statements,worksfocusedontheideaofbelonging(asmonologuesortableaus),andskits

“demonstratinghowstudentsfacilitateinclusionandexclusionpracticesthataffectasenseof

belonging/notbelongingintheschoolenvironment”(CAPE,2019).Studentscreatedand

performed“IAm”statementsandcontributedthemultifariousidentitiestheycarried,including

shy,aChicagoan,astudent,adramatist,etc.Studentsarticulatedandexpressedtheiridentities

whilegroundingthemselveswithinthecollectiveintheclass.Thisprocessrequiredvulnerability

andaninterpersonalclimatewhichsupportedmutualrespect.Astheteachingartistdescribed,

Ourinterpersonaldynamicswerenotasidestoourartmaking;theyinformedandshapedit.Our endproduct(performances)couldonlybeachievedthroughourconstructionofacollaborative communityspacethatwassafeforeachpersontoexpress,explore,examine,questionand contribute.(CAPE,2019) Theinterpersonalclimatewascontinuouslyprocessedamongsttheclass,andindoingso

socialspacebecameamaterialtodeconstructandrecreate.Theteacher-artistpartners

cultivatedaninclusiveinterpersonalclimateandopenlyconfrontedasocialdynamicswiththe

studentsbyexploringrelationsthroughtableausandskits.Asanexample,theyobserved

relationalaggression,suchascliques,continuingfromtheregularschooldayintotheafterschool

space.Todisruptthis,theclassrepresentedspecificmomentsastableaus(or“frozenpictures”)

toreadasatextofrelationalspace.Thepartnersguidedstudentstoexploreandheardifferent

perspectivesanalyzingwhatindividualsinvariouspositionsmightbethinkingandfeeling.Asthe

teachingartistarticulated,thisgavestudentsdistancetobetterunderstandtheirbehaviorand

theexperiencesoftheirpeers(Interview,060419).Inthisway,studentsusedsocialphenomena

asaspatialmaterialtoexploreandreconstructastheirawarenessgrew.Theteacherreflected:

We’vegotintothespacewherestudentswhowouldn’tspeakoutloudbeforewouldspeakup andvolunteeredtoparticipate.Studentswhomayhavefeltreallyself-consciousbeforenowfeel theconfidenceandnotfeeljudgedandalsostudentswhomayhavebeencriticalorexclusiveare nowmoreopentoworkingwithotherstudentsthattheynormallywouldn’thaveworkedwith beforehand.(Interview,060419)Bydeconstructingandreconstructingspace,theplace-nessofnormativerolesandinteractions

weredisrupted.

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DANCEATBENSONHIGH

Theteacher-artistpartnersfortheBensonHighdanceclasscenteredtheirinquiryon

howtoembodyperspectivesonsocialjusticethroughmovement.Thepartnersinvestigated

socialjusticeideaswiththeirstudentsthroughdialogue,writing,andbothindividualand

collectivemovement.Studentsgeneratedtheconceptsofaccountability,impact,andimageto

exploremoreindepth.Theyinvestigatedtheseconceptsmovingoutwardfromanindividualto

communitytogovernmentcontext.Toembodytheirviews,studentsbeganexplorationthrough

individualmovement.Theythenprogressedtocollectiveprocessesbyrefiningtheirabilityto

communicatetoeachotherandasanensemble.Choreographywascreatedbystudents,with

theteachingartistshapingcountandtransitionstructures.

Asstudentsusedtheirvoicesandbodiestocommunicateperspectivesonsocialjustice,

theteachingartistguidedthemtounderstandandmakeuseoftheirbodilyknowledge.The

partnersuseddialogicpracticestoguidestudentsto“[connect]withtheirvoicesasmembersof

theworld”andtoarticulatewhattheyknowandbelieveaboutsocialjustice.Theteachingartist

sharedhowstudentsdescribedfeeling“invisibleandun-impactfulwithineverythingaround

them”andrelatedlysheremarkedthat“sooftenstudentsofcolorfromlowsocioeconomic

backgroundsdon’tfeelthattheyalwaysexperiencejusticeatanylevel”(CAPE,2019).The

contentactivatedthesefeelingsofbeingdiminishedandspannedbothpersonalandsystemic

contexts,attimestriggeringpasttrauma(Interview,052819).Theteachingartistdescribedhow

sheapproachedthesemomentswithdignity,viewingemotionalandbodilyknowledgeasa

valuablepartofalearningexperience:

…Thefirstweekweweretalkingaboutaccountabilityandjusthowdoweseethatinthose examplesinourfamilyspaces,inourcommunitiesspaces.Butspecificallywhenwegottofamily, that’swhencertainthingsstartedtocomeupandthetearswerejustflowing.Iwasjustlike,“All right,andwe’rehereandthat’sgreat.That’svalid.There’snothingwrongwithhowyoufeel there’snothingwrongwithyouvocalizingthedisappointmentandhurtthatyoufeel,becausethe accountabilitythatyou’relookingforincertainspacesisnotbeinghonoredandrespected.”So howdowedotakethatandhowdoweembodythatinmovement?Anditalmostbecomes therapeutic.(Interview,052819)

Students’abilitytoembodytheirperspectivesthroughmovementreliedonaninterpersonal

climateofpsychologicalsafety.

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Theteacher-artistpartnerscultivatedatrustinginterpersonalclimatebystructuring

ownershipintoeveryfacetofthecurriculumandspace.Studentsgeneratedsocialjusticetopics,

ledthedirectionofdiscussions,createdchoreography,andcriticallyengagedinfeedback.The

teachingartistconceptualizedskilldevelopmentindancetoconcurrentlyencompassvoice,

vulnerability,bodilyknowledge,andtheabilitytoseeandrespondtoeachother.Thisapproach

situatesthelearningexperienceandspaceasasharedintellectualandcreativeresponsibility.As

theteachingartistdescribes,“[u]singyoureyes,yourgaze,istobeabletomakethosecritiques

andassessmentsonyourown.Justlikemetothatpracticeofwatchinggroups[asking]‘Whatdid

yousee?Whatdidyoulikeaboutit?Whatneedstobeimproved?Whydoyouthinkthat?’”

(Interview,052819).Theteachingartistviewedcritiqueactivitiesasobservationalandanalytical

skilldevelopment,buttheyalsohonorstudentaestheticsandpromotepsychologicalsafety.In

comparingtheCASclassandherdanceclassduringtheregularschoolday,onestudentshared

how“here,IjustfeellikeIcanopenmyselfupandexpressmyselfbecausetheteacherallowsit

andwon’tsay‘Oh,you’renotdoingitright’”(Interview,052819).Thisstudentconnectedthe

relationshipbetweenconfidentcreativeexpressionandownership.Anotherstudentshareda

similarsentiment:

[Theteachingartist]teachesbetterthan[theotherdanceteacher]andImeanthatwithevery fiberofmybeing.Nohatetothem,noshade,butshemakesdancefun.Shehasmoreenergy. Shegivesusmore,like“Yougottobeloudwithit.Yougottodothisthis”andthatsheactually makesitfun.[Theotherdanceteacher]islike“Youhavetodoitlikethisandifyoudon’tfollow myrules,youhavetogetout.”(Interview,052819)Thisstudentreflectedonwhatgoodteachingmeanstoherbydescribinggettingmore

knowledgeandspecificityinfeedback.Shecharacterizedthespaceasfun,andweoften

associate“fun”withanengagedbutlightsensibility.However,thisstudentdescribedfunasa

sharedlearningexperiencedrawingconnectionsbetweenknowledgeandaction.Using

Lefebrve’s(1991)ideathatspaceisformedthrough“knowledgeandaction,”studentsviewed

theCASdanceclassasaspacewhichhadmorehorizontalandshareddistributionofknowledge

tocreateownership.Asspecificexample,onestudentdescribedthedifferencesintheway

techniquewastaughtbetweenthedanceclassduringtheregularschooldayandinCAS:

[Theteachingartist]waslike“You’relockingyourlegs.Youneedtofindthesoftness,it’snotthat youfullyhavetobend,it’sjustyouhavetosoftenthem.”So,Ididthatinthe[danceclass]we

26

hadtodayandshewaslike“Straightenyourleg,ithastobestraight!”…andifIstraightenmyleg, Igethurt,but[shewas]like“Ifyoudon’tstraightenyourleg,youcan’tdoit”andIwaslike“but [myCASteachingartist]taughtmethatthere’ssevendifferenttypesofballetandbecauseour bodiesaredifferentfromoneanotheryoucan’tjustdosomethingthatonepersonsays.” (Interview,052819)

Here,theteachingartist’spedagogyfortrainingtechniquewasthroughreconnectingthe

studentwiththeirownbodilyknowledgeratherthanfromanexternalsource.Theknowledge

thatshehadhyperextensionledthestudenttoreconceptualizedanceasaheterogeneous

ratherthanaone-size-fitsallpractice.Byconnectingknowledgewithaction,theteacher-artist

partnersfosteredownershipandpsychologicalsafety.

COMPARATIVEANALYSISFORPERFORMANCEBASEDCLASSES

RECONSTRUCTINGSPACE

HowdoCAPEteacher-artistpartnerscreateandreconstructspacewitheachotherand

theirstudents?

Emotionalandbodilyknowledgewerevaluedintheperformanceartsclasses,which

disruptedtheplace-nessofschoolby“re-centering”knowledgeandwithintellectualpractices

inclusiveofemotion(hooks,1994;Lefebrve,1991).Bothclassesbeganwithexercises

reconnectingmindsandbodies;forexample,thedancestudentsstretchedandthetheatreclass

“woke-up”thebodythroughstretches,vocalizations,andexpressivegames.Thecontentofboth

classes—identityandsocialjustice—meanttheyinvokedexperiencesthatcouldbeemotionally

powerfuland,attimes,triggeringbybringingpainfulrealitiesofsocial,cultural,andpolitical

issuestobear.Theteacher-artistpartnerswereresponsivetostudentsthroughin-the-moment

curricularadjustments,whichhooks(1994)assertsisthemostdifficultpartofliberatory

pedagogyforteachertoenact.Withtheseadjustments—likestoppingtoprocesseither

relationalspaceintheatreorpainfulexperiencesassociatedwithtopicsindance—partners

createdaspaceforstudentstomakesenseoftheirlifeexperiencesandvaluedtheaffective

dimensionsoflearning.Partnersemphasizedstudentwell-beingby“reassert[ing]thesensations

andmovementsofthebodyinthemoment-by-momentunfoldingoremergenceofactivity”

(Leander&Boldt,2012,p.25).Eisner(1991)arguedthatournarrowconceptionofintellectual

activitydiminisheslearningpotential,andthatthewayartactivatesemotioninlearning

27

experiencescanserveasanequalizerwithinasystemthatovervaluesobjectivity(p.593).Both

classesactivatedandextendedknowledgecomingfromstudents’emotionsandbodies.In

theatre,feelingsofinclusionorexclusionwereexploredtopromotecriticalawareness.Indance,

emotionswereinvestigatedandembodiedinchoreography.Lefebrve(1991)describedhowthis

candisruptspace:“[t]hemomentthebodyisenvisionedasapractico-sensorytotality,a

decenteringandre-centeringofknowledgeoccurs”(p.62).

Theseclassescultivatedcriticalawarenessinstudentstobetterunderstandtheirlife

experiences,includingexperienceswhichresultinharmtothemind,bodyandspirit(hooks,

1994).Thisholisticapproachacknowledgedexperienceasconstitutedbyboththoughtand

emotion(Tuan,1977)andisconnectedtoThichNhatHanh’sconceptionofteacherashealer

(hooks,1994).StudentsatGriffinElementaryexploredthesocialcontextsoftheirclassand

school,andstudentsatBensonHighinvestigatedmoredistal—yetpersonallyrelevant—

conceptual,political,andsociologicalcontexts.AtGriffin,studentscametobetterunderstand

themselvesandtheirpeers,whilecriticallyengagingintheirrolewithinthesocialspace.Asthe

teachingartistdescribed:

Howdoweobservewhat’shappeningamongst[students]andmakingthisadifferentkindof spacesotheycanworkthroughsomeofthechoicesthatthey’remakinginrelationshipsorthe waythey’retreatingotherpeopleorthewaythattheyreceivedcertaintreatmentandnot internalizingthings.So,Ithinkit’sbecomethatkindofthatprocessingspaceiswhatitturnedout tobeforusandforthem.(Interview060419)Intheatre,deconstructingsocialspaceasamaterialcreatedtheopportunityforstudentsto

reconstructit.Thispracticealsoreinforcedtheideathathowstudentsfeltindifferentspaces

wasnotareflectionofthem.TheteachingartistatBensonHighdescribedhowshehelped

studentsunderstandhowtheyfeltindifferentspaces,andthattheycoulduseartisticpractices

totransformthemselvesintheCASspace:

Especiallywhenyouhavestudentswhodon’tdance,andso“HowdoIbecomemorecomfortable withmybody?HowdoIbecomecomfortablewithsharingspacewithanotherbodythat’snot aggressive?HowdoInotenterthisspaceonthedefensealreadybecausethat’showItravel throughouttheschoolspacedaily?I’monthedefense,sohowdoIcomeintothisspaceandnot bedefensiveorifIcomeintothespacedefensivewhatistheprocessneededtojustkindofbring thedefensedownsoIcanactuallybeokay?Andbeingabletoknowthatit’sasafeanda courageousspace,becauseinthespacethatwecreateeveryone’sversionofsafetyisdifferent. (Interview,052819)

28

Asanotherwaythedanceclassexploredhowspacecanshapethewaystudentsfeel:

Thestudentsexploredtheideaofsafetywithinthecontextofimageandhowimagesimpacts placesinwhichtheyfeelsafe.Withinthisphraseofthework,thestudentsexploredtheideaof executingbodylanguagesthatportrayedanidea/stereotype/imageofvarioustypesofpeople. Withinthiscomponentofourworkourstudentsbegantogrowanawarenessofother’sbody language.(DigitalPortfolio,CAPE,2019)Criticalperspectivesaboutspacewerefostered

because this approach situated student

concerns,asrelatedtosocial justice,aspoints

of inquiry. This is an important element

sociocultural contextwhich“helps students to

accept and affirm their cultural identity while

developing critical perspectives that challenge

inequities that schools (andother institutions)

perpetuate”(Ladson,Billings,1995,p.469).At

BensonHigh,theteachingartistaimedtodesign

“spacesthatwilldraw[students]inandputtheresponsibilityonthemtomaintainthecultureof

that space” (Interview, 052819). In Griffin Elementary, partners processed the social space to

develop critical awareness in students about their active role in constructing the space. Both

classes moved students between mental and social spaces to make visible what shapes

experiencesinbothproximalanddistalcontexts.Asstudentswereguidedtoprocessandcritically

reflectonsocialactivity,learningpotentialwasexpandedalongwiththeirabilitytounderstand

howspacesarecreated.

COMPARATIVEANALYSISFORPERFORMANCE-BASEDCLASSES

BELONGING:TOBEKNOWN&TOKNOWOTHERS

Howdoesspatialengagementimpactlearning,artmaking,andidentity?

Theatreanddancestudentsexploredtheirlifeexperiencesandwereactivemembersin

reconstructingspace,leadingthemtobetterseeandbethemselves.Studentsidentifiedways

theCASspaceexpandedtheirlearning,relationships,andexpressivepotentials.Dancestudents

emphasizedhowtheirdiscomfortinschool(andassociatedaversiontointerpersonalrisk-taking)

impactsexpressionandconfidence:

Figure 5: Writing exercise as part of an investigation into image, body language, and safety.

29

[Danceclass]taughtmethatit’snotalwaysstraightlinesandyoudon’talwayshavetolooka certainwaythateverybodywantsyoutolook,like“Oh,shedidthatandthat’snotwhatwe wantedhertodosowedon’twantheranymore”orsomethinglikethat,butyoucandanceand expressyourselfindifferentwaysandnotbejudgedornothavetomeeta[limited]standard. (Interview,052819) Thisclassgavemeaplatformtoshowcasemyabilitiesandprojectmyvoicethroughdance becauseI’mnotaverytalkativepersonaroundalotofpeople,butwhenI’mwithpeoplethatI feelcomfortablearoundI’mverytalkativeandItalkedalotandI’mveryloudandextrabut[the class]givesmetheabilitytofeellikeIcanbemyselfwithoutfeelinglikeI’mgoingtobejudged forit.(Interview,052819) Itgivespeoplewhomightnothavealotgoingforthemwhojustneedanoutletfromthestuff thatgoesonathomeoratschool,itgivesthemanoutlettobethemselvesandnotfeellikethey havefeelthattheyhaveaplacethattheycanbethemselvesandnothavetoworryaboutbeing pressuredintodoinganythingorhavinghateonthemfortryingtodosomethingthattheylove doing.So,Ifeellikekeepingtheprogramaroundgivesmorepeopleanopportunitytolove themselvesmorecuzIknowthatit’shelpedmealot.(Interview,052819) Justtheabilityforallofustocomefromdifferentdancebackgrounds,forsomepeoplewho weren’tevenlikeactualdancerswhocametotheschoolforactingorfordigital,togetforthem tostillbesuperhypeaboutcomingtodanceclassafterschool,itjustshowedmethatnomatter whereyoucomefrom,Isawandthearrayofdifferentbackgroundsofpeople,thatwe’reall comingtogethertodoonethingthattheyalllovetodo.So,Ijustreallywanttobeapartofthat. Seeingthateveryonecouldbewhotheyareandnotfeelliketheywereinaplacewherethey wouldbejudgedforit…(Interview,052819)Similarly,thesestudentsarticulatedhowtheplace-nessofschoolinhibitstheirabilitytobe

themselvesandbeknown:

Inthisdanceclass,soItakedanceasmypathwayhereinanormalschoolday,butwhenIcome hereIfeellikeIcanbemyselfbecausethere’s…groupsasusualinhighschool…it’slikeifyou’d beyourselfyou’realwaysgoingtohavepeopleonyourbackaboutitandtalkingaboutyouand makeyouself-consciousandtearyoudownkindof.(Interview,052819) Ifeelinschool,IfeellikeI’manerd,butwhenIgettoafterschoolIfeellikeasuperstar.Cuzin school,mostpeopleandtheteachernevernoticemostpeople.Like,Idomyhomeworkand nobody[does]theirsandthenthey’reallcomingwhenIjustopenandlookatmyhomeworkand checkit.They’reallaround!Somepeople,likethey’reatmytablelookingatmyhomeworkand I’mlike“Whatareyoudoing?!”justswipemypaperaway.I’mlike“Seriously,nuh-uh.”Andin afterschoolmostlyeverybody[knows]me.Makethat,everybodyknowsme.AndIfeellikeI’ma superstar.(Interview,060419) So,attheschoolclass[myteacher]doesattendance.Shecallsout[names],shejustgoestothe computer,startstypinghermouse,shejustlooksateveryone,seesifthey’rehere…Indrama,so asanexample,[theteachingartist]callspeopleup,forexample,andthentheypronouncetheir

30

name,forexample[student’sname],thenyoustarttobowfor10seconds,thenyouwalk backandtheotherpersongetsaturntodoit.(Interview060419)Theteacher-artistpartnersalsoidentifiedhowtheinterstitialspaceinCASaffordedthemcrucialdifferencesinknowingstudents: Idon’tthinkthekidswereactuallyawarethattheycancomeinandofferupwhotheyare. (Interview,060419) They’reabletoopenupalotmore.Ithinkthespaceactuallychangeslives,becausekidsarenow abletofeelcomfortableonadifferentplatformintheafter-schoolprogram.Weallowthemto feelcomfortableenoughtoopen.(Interview,060419) Thechildrencanactuallyperform.Theycantellushowthey’refeeling,whatlifechangesthey’re goingthrough,andactuallyperformintheirownperspective.Theyareabletoopenupandshare withusthingstheymaynotbeabletoshareduringtheregularschooldayandit’sfromtheir perspective.AndIlovethatabouttheafter-schoolprogram,itgiveskidsadifferentspacetobe abletobethemselves.(Interview060419)Thedanceteachingartistdescribedtherelationshipbetweenhowonefeelsandtheirabilitytoexpressthemselves: Ifyoucomefromspaceswhereyou’renotgiventheopportunitytoshare,letaloneexplore,what yourcreativevoiceis,tohaveaspacesavailable,whenanopportunitypresentsitselftosay improv,whichisreallyanotherwayofsaying,showmewhoyouare,andnotcopycatthelast danceclassyoutook,buttobeconfident,competent,andboldinwhatyourvoiceisandhow thattranslatesthroughyourbody.(Interview,052819)AdancestudentcomparedherexperiencewithimprovisationbetweenherregulardanceclassandherCASclass: When[teachers]sayexpressyourself,likewhenyouhearthismusicjustshowitoff,soI’mself- aware.I’mlike,“Idon’tthinkIwanttodothat.”So,wedidanimprovisationonetimeandIhad justdidthingsthatIwouldnormallydoindanceclassandtheywerelike“No,dosomething different!”andso[theteachingartistsaid]dosomethingdifferent,openyourselfup,andsoI closedmyeyesandIthoughtaboutbeingbymyselfandhowIwoulddancebymyselfandsoI openedupandstarteddoingit.(Interview,052819) Recreatingaspaceattunedtotheinterpersonalclimatecultivatedpsychologicalsafety

andengenderedasenseofbelonging.Studentswerecriticallyengagedwitheachotherthrough

dialogicpractices,artmaking,recreatingspace,andcreatingensembleperformances.These

classeswerenotwithouttensions,butthemovementbetweenmentalandsocialspaceafforded

studentstotheopportunitytovaluetheirfullknowledgeandrespectoneanotherwithinthe

collective.Thisfosteredcriticalengagementaspartofacommunitythrough“aclimateof

31

opennessandintellectualrigor”(hooks,1994).Itwasstrikinghowconsequentialgainingasense

ofbelongingwastostudentswhofeltisolatedordisconnectedduringtheregularschoolday:

Well,forme,[theclass]makesmefeelbetteraboutmyself,becauseIdon’tfeellikeI’mavery specialperson,butwhenI’mincludedinsomethinglikethis,it’saspecialthing,likethisdance,or thisfilm,IfeellikeitmakesmefeellikeI’mimportantandthatIhavepurpose,becauseInormally don’tfeellikethat,butinthisspace,thisarea,itmakesmefeellikeI’mactuallyworthsomething. (Interview,052819) SometimeswhenIdon’thaveanyonetodealwithIjustcryeasilyand…Imakefriendsin[theCAS class]becauseIdidn’tknowthemthenIrecognizedthemandthenIstartedtomakethem [friends].(Interview,060419) Ihavelearnedthatthereisstrengthinnumbers.Therereally[is]whenweallworktogetherwe cancreatesomethingspectacular.(Interview,052819)

Andespeciallyforanewstudentreflectingontheirexperiencejoiningtheschool: IfeellikebelonghereandImakesomemorefriends.Ijustfeelcomfortablelikeourfamilies.It justverycomfortablelikebig,big,oldfamily.Anditdoesfeellikewhenyoubored,youdon’t havenofriends,anditwasnew,andIhadnofriendsatall,soyoufeelkindoflikeuncomfortable andunhappythatjustfeelbad.Whenwestartedtogooverthe“Belonging”the“IAm”[works] justmademefeelgoodandImakealotoffriendslike[thesestudents]everybody,evenmyown roomclass.So,attheschool,it’sliketheopeningofmylife.(Interview,060419)

Lastly,studentsdevelopedcriticalawarenessandself-knowledgethroughtheexplorationofmentalspacewithinartspractices: [Danceclass]makesmefeellikeallthatnegativitythatpeoplebringintomylife,orinanyone’s life,Ifeellikethroughdanceyoucanreallyletyourselfabsorbthemusicandfeelbetterabout thesituationandtheneverythingthat’sgoingon,youcanbasicallyblockouttherestoftheworld foramomentandfeelbetteraboutyourselfandlearnmoreaboutyourselfinternally.(Interview, 052819)

MakingartimpactshowIseemyselfbylearningmoreaboutmyself,becausesometimesIcanact outandwon’tevenknowit…soourclassimpactsmebyopeningmyselfuptonewthingsand liftingmyselfupinsteadofputtingmyselfawayandhidingmyselffromdifferentthingswhen hidingyourselfisn’thelping.I’lljustmakeupadancemoveorsaysomethingthat’sonmy mindandbelike“ShouldIhavesaidthat?”,“ShouldIhavedonethat?”orgo“Thatshouldhelp.” EventhoughIdidn’tknowitwould.(Interview,052819) Iuse[art]tomakedifferentchoices,becausesometimesinthepastIwasmakinggoodchoices thenIstartedactingweirdinthefutureandthensomeonesayssomethinganditmakesmethink aboutwhathappenedinthepastandwhatishappeningrightnow…AndthenIthinkaboutitand choosewhichoneIreallywanttobe.ThewayIwasbeinggoodorweirdandIchose…goodsoI startedactingthewayIwasbeforesoitmakesmechoosefromwhathappenedinthepast. (Interview,060419)

32

Usingartcanchangeyou.OrIcanchangemylifeinagoodway.Iseehowitchangesmylifewith myartbyusingmybrain,myknowledge,ofwhathappenedinthepastandwhatishappening now.Iusethosetochangemylife.(Interview,060419)Thesestudentsdescribedadevelopingawarenessthatthenatureofidentityistemporaland

spatial(Heidegger,1962).Artmakingintheperformanceartsclasseshadaqualityof

“throwness”byactivatingthepast,processingthepresent,andreflectingonone’sagencyto

shapethefuture—whetheritbetheimmediatesocialspaceofthetheatreclassorhowstudents

canusetheiremotionasexpressionsofresistancetosocialinjusticesindistalcontextsthrough

artindanceclass(Heidegger,1962).

CONCLUSION

ThecaseanalysesexploredwhatconstitutedthespacesofCASclasses,howsuchspaces

werecreated,andwhattheimpactsofthespaceswereonstudentidentity,learning,andart

making.Allfouroftheclassesinthisstudyshiftedthesocialorganizationoflearningby

supportingwhatRyan&Deci(2000)proposedasthreeinnateneeds:autonomy,competence,

andrelatedness.InCASclasses,theseneedsweremetconcurrentlythroughcontemporaryarts

practicesaspedagogy.Autonomywasfosteredthroughinterest-driven,self-directed,shared

inquiry.Competencewasgainedasstudentsdevelopedskillsworkingtowardtheirowngoals

andwassupportedthroughongoingfeedbackintheformofdialogicpractices—conferringand

critique.Relatednesswascultivatedthroughengagingsocioculturalcontextsinclusiveof

individuallearnersandaninterpersonalclimateofpsychologicalsafety.Intheseways,the

spacescreatedbyCASclassesexpandedstudentpotentialbypromotingintrinsicmotivationand

well-being(Ryan&Deci,2000).Ryan&Deci(2000)describedtheabovethreeneedsasbasicyet

consequential,becausewhentheyarenotmetoutcomesarenotmerelyneutral—itis

deleterioustomotivationandmentalhealth.Therestrictivestructureswhichconstitutethe

place-nessoftheregularschoolday(e.g.narrowconceptionsofknowledge,afocusontest

performance,andexternallycreatedgoals)oftentimesdiminishautonomy,internalmotivation,

andconnectedness.However,thereconstructionofspaceinCASclassesdisruptedthosenorms

tobettersupporttheoverallwell-beingofstudents,fosterpsychologicalsafety,andbuildshared

33

intellectualandcreativityresponsibility.AsLapan(2004)argued,therealizationof

interdependencebetweenoneselfandothersleadstoasatisfyingself-concept,because

understandingtheseconnectionsisnecessaryforagencyandmeaningfulrelationships.Realizing

interdependenceenabledthestudentstoseetheCASspaceasbuiltfromandinclusiveoftheir

emotional,social,andcognitiveselves—atonceboththeirresponsibilitytocontinuallyrecreate

andaspacetowhichtheybelong.

Spaceisinherentlytemporalasaproductofpastaction—containinghistoricity(Lefebrve,

1991;Massey,2005).Massey(2005)describesthisconceptualizationofspaceasonewhich

embraces“theopennessofthefuture”(p.189).Heideggar(1962)viewedthissenseoftemporal

movementashavingaqualityof“throwness.”Inthetheatreclass,“throwness”enabled

studentstoconnectpreviousactionstothepresentinordertoshapesocialspacethrough

relationalethics.Thedanceclassengaged“throwness”tomoredistalcontextsofsocialjustice.

Inthetechnology-basedclasses,“throwness”affordedspatialspilloverbyconnectingintereststo

possiblefutures.Inthisstudy,classspacewassimilartoGutiérrez’snotionofaThirdSpace

whereinstudentscould“reconceivewhotheyareandwhattheymightbeabletoaccomplish

academicallyandbeyond”(Gutiérrez,2008,p.148).Studentscametounderstandtheiridentity

asflexible,dependingonthespaceandtime,andthatlearningexperiencesservedtoexpandor

inhibittheirpotential.Thisallowedthemtodefinewhattypeoflearningexperiencestheyfound

valuableandfulfilling.AsWaltersetal(1994)described,“throughreflection,wehavefoundthat

studentsarequitecapableofsettingstandardsforthemselvesandthatsettingstandardsisan

importantelementincontinuingtolearnoutsideofschool”(p.299).Students’abilitytoidentify

aninternalstandardisalsocrucialforthemtoself-constructtheiridentity(Lapan,2004).

Theinterdependencewithinthespace,constitutedbybothbelongingandresponsibility,

wasformedthroughwhatMassey(2005)describedasgroundedconnectedness.Massey(2005)

definedgroundedconnectednessasasocialspaceoperatingwithrelationalethicsincluding

sharedresponsibility.TheCASclassesinthisstudyemployedcontemporaryartspracticesas

pedagogy—includingconferringandcritique—todeveloprelationalethics.Oftentimes,arts

pedagogyisdiscussedinoverlysentimentalterms,butMassey(2005)describedrelationalethics

asnot“poetic”andgauzy,sheviewedthemasdistinctlypolitical.Asdiscussedinthesections

34

above,aneducationalenvironmentisinherentlypolitical.Thesocialorganizationguiding

relationsamongstteachersandlearnerscanbeauthoritarianinatransmissionmodelor

liberatorythroughmoreside-by-sideprogressivemodels.Outcomescansignalthedifference

betweengoalsofassimilationorself-determination.Curricularcontentcommunicatesto

studentswhetherepistemologicalorculturalpluralismismeanttobevaluedorinhibited.A

spaceanimatedbyrelationalethicsisonewhereindividualssensearesponsibilitytofostereach

other’spotential—asdefinedinternallythroughautonomyandimaginationratherthan

externallythroughcomplianceandassimilation.Assuch,relationalethicsrequireindividualsto

bepresentwitheachother—groundedintheirconnection—andrelatingwithauthenticity

(Massey,2005).Gutiérrezetal.(1995),Massey(2005),andTuan(1977)alldiscussedaformof

“genuineexchange”or“authenticinteraction”asrareandtransformativeinrelationtospace.

Massey(2005)describedhowgroundedconnectednessisnotenclosedwithinspaces,itcan

havefar-reachingimpactsincludingan“outwardlookingness”and“opennessofthefuture”(p

189).Whenexternalpressuresandconstraintsbegintofallaway,thepotentialforself-

constructionofbothidentityanddraftsoffutureselvesbecomespossible(Markus&Nurius,

1986;Ryan&Deci,2000).

RECOMENDATIONS

1).Lookmorecloselyatstudents’self-concept.Thisstudyfoundstudentsinallclassesdescribe

theirCASwasaspacetheycould“bethemselves”and“belonged.”Insubsequentyears,itmight

beusefultoinvestigatehowstudentidentitiesareintegratedorfracturedinlearningandart

makingexperiences.Howdotheydescribetheiridentityatthebeginningofaprogramming

year,howdotheytakeupidentitiesintheprogram,andwhatsenseof“throwness”dothey

havetowardtheendoftheprogrammingyearintotheirfuture(Heideggar,1962)?

2.)Reconsiderthedelicacyofrelationalethicsbylookingattension.Theoriesabouttensionin

collaborativelearningenvironmentscouldilluminatehowclassescometorecognizeand

contendwithchallengestotheirrelationalethics.Forexample,threeoftheclassesexperienced

eitherrelieforpresenceoftensionwithchangedmembership.Edmonson(1999)assertedthat

35

interpersonalclimatessupportingpsychologicalsafetyrequireongoingmaintenance,and

Massey(2005)describedspaceasmalleableandalwaysforming.Assuch,momentsoftension

withintheprocessofspatialcreationandmaintenancecanprovideinsightsintorelationalethics.

HowdostudentsconceptualizerelationalethicswithintheirCASspace?Investigatingthis

questioncouldrevealhowstudentsself-constructwhatisvaluableintheaffectiveandrelational

dimensionsoflearningandartmakingexperiences.

3.)Investigateritualsasasiteofresocialization.Ininterviews,participantscalledattentionto

ritualswithintheregularschoolday(e.g.takingattendance)andinCASclasses(e.g.

introductionsandcritiques)asconsequentialtotheconstructionofspaces.Ritualscanbecome

anembodimentofspatialrelations.Kesebir,Uttal,&Gardner(2010)foundthat“often,asa

ritualunfolds,bothartifactsandconceptualelementsareusedtocreateacomplexpatternof

primes.Theseprimeshelptocreatethecontextsinwhichthinkingandbehaviorismolded”(p.

18).WhataretheritualsofCASclassesandhowdothesereinforceorchallengethenormsof

interactionsintheschoolenvironment?Howdostudentsmakesenseofritualsaspartoftheir

learningandhowdoritualsprimelearninginCASspaces?

4.)ExtendopportunitiesforsharedinquiryamongsttheCAScohort,CAPEstaff,andresearch

teamthroughparticipatoryresearchpractices.The2018-2019cohortexploredmany

dimensionsofspaceduringPDsessionsincludingsitespecificart,embodyingsocialactivity

throughinstallation,andhistoricityinavisittoaculturalcenter.Theseexplorationscouldbe

furtherdeepenedbystrengtheningthesharedinquiryamongstthecohort—aversionof“social

gravity”(Erickson,2006)—toguideprofessionaldevelopmentsessionsandasanintegralaspect

ofresearchactivity.

5.)ContinueinvestigatingthedialogicaspectsofContemporaryArtsPracticesaspedagogy

(Smolin,2010).Thisstudyfounddialogue,specificallyconferringandcritique,tobethemost

consequentialpracticesfosteringself-determinationandapromisingareaoffutureresearch.

DialogicpracticeshavebeenfoundtobeacrucialaspectofartsintegrationandCAPE

36

partnerships.Smolin(2010)describedcontemporaryartspracticestoincludedialogueaspartof

theartmakingprocessandtheartitself.Watts(2014)usedaconferringprotocoltogather

teacherandstudentdatainamethod“natural”tothecontext.Critiqueandconferringare

fundamentalstudiopracticesinthearts.However,critiquepracticesareanareathathasnot

beenwidelystudiedandconferringhasdominantlybeenstudiedinreadingandmathematics

activities.Bothpracticeselicitstudentthinking,deepenconceptualunderstanding,promote

reflection,andfacilitateproblem-solving(Calkins,1986;Munson,2018).Comparedtoreading

andmathdisciplineswhereconferringistypicallyresearched,thisstudyfoundconferringtobe

partofamuchmoreagentiveprocess,oftentimesactivatedsocialresourcesintheclassroom

beyondtheone-on-oneteacherstudentdynamics,andelicitedstudentthinkingtowardmeeting

studentdefinedgoals.Conferringinthisstudymeantlisteningtostudentsoutsideofthebounds

ofapredeterminedoutcome.Yoon&NgyugenTempleton(2019)recentlyinvestigatedthe

challengesoflisteningtochildren,includingbothclassroomandresearchcontextswhichclaim

tousestudent-centeredapproaches.Critiqueandconferringareoneofthewaysteachingartists

integrateContemporaryArtsPracticesintotheirpedagogywhichpromotelisteningand

presence.Infutureresearch,investigatingconferringandcritiquepracticescouldilluminatehow

studentsarelistenedtoindialogicpractices,howpartnersandstudentsarepresentintheir

responses,howresourcesareoffered(seeconceptsofsocial,material,andconceptual

resourcesinNasir,2008),andhowstudentsperceivetheirself-determinationbeingsupported

orthwarted.

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