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NATIONAL FORUM OF EDUCATIONAL ADMINISTRATION AND SUPERVISION JOURNAL

VOLUME 35, NUMBERS 1, 2, & 3, 2017-2018

VISUAL COUNTER-STORYTELLING:
EMPOWERING NAVIGATION OF
IDENTITY IN EDUCATIONAL SPACES

Kyle A. Reyes
Utah Valley University
________________________________________________________
Abstract

This article focuses on the aggregate findings of two studies on student identity
navigation and empowerment through artistic expression. Through a Critical Race
Theoretical lens, the voices, stories, and narratives of students of color were central
to both studies. The findings suggest that artistic exploration and expression coupled
with meaningful mentoring connections provide strong foundations for students of
color to feel a sense of ownership of their education and empowerment to walk with
their diverse identities. Through the two artistic programs, students reported feeling:
(1) validated in their racial, cultural, linguistic, and artistic identities, (2) empowered
by the relevancy of the learning process, and (3) increased confidence through a
connection to peers and mentors who shared their identities.
Keywords: visual counter-stories, identity, Critical Race Theory, art
education

Introduction

Cradled in one culture, sandwiched between two cultures,


straddling all three cultures and their value systems, la mestiza
undergoes a struggle of flesh, a struggle of borders, an inner
warLike others having or living in more than one culture, we get
multiple, often opposing messages. The coming together of two self-
consistent but habitually incompatible frames of reference causes un
choque, a cultural collision. (Anzalda, 1987, p. 100)

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Gloria Anzaldas poetry and scholarship have ignited


discussions and artistic representations of individuals negotiating
racial, cultural, political, socioeconomic, and educational identity
tensions and spaces. Chicana/o artists (Yreina Cervantez and Ruby
Chacn) and scholars (Pat Mora and Miguel Len-Portilla) have
explored the concept of Nepantla, a Nahutal term referring to the land
in the middle, or living in the border (Mora 1993; Perez, 1998). Mora
(1993), like Anzalda, argued that Mexican Americans are often
caught not belonging to either the United States or Mexico but in the
space between. Meyers Bahr (2003) discussed the experiences of
Viola Martinez as a California Piute and the converging paths of
culture and space including shedding her native culture at an Indian
boarding school, pursuing a college degree, and working at a Japanese
American internment camp during World War II. These experiences,
and others, caused Viola constant negotiation of her identities,
loyalties, and realities. Turner (2002) argued that these explorations of
the space in-between are examples of liminality or rites de passage
(transition rites). During liminality, Turner noted, the state of the
ritual subject becomes ambiguous, neither here nor there, betwixt and
between all fixed points of classification (p. 96). It is in these
bordered, converging, and liminal spaces where students of color often
find themselves as they enter educational organizations that are
disconnected from the ecosystems of their native languages, heritages,
cultures, and traditions.

How do discussions play out in the mind of a student who may


experience what Du Bois (1953) referred to as a warring soul? He
said, One ever feels his two-ness,an American, a Negro; two souls,
two thoughts, two unreconciled strivings; two warring ideals in one
dark body, whose dogged strength alone keeps it from being torn
asunder (p. 3). How do students, with increasingly complex and
diverse identities, navigate and negotiate the often rough and changing
terrain of belonging in classrooms and schools? How are students
especially students of color and students from other underrepresented
backgroundsfinding a sense of voice and authenticity in educational
spaces? What are educators and educational leaders doing to invite and
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provide space for student identity navigation and educational


empowerment?

This article focuses on the findings of two studies that explored


the impact of visual counter-story activities on student empowerment
and identity navigation. Each study was designed to recognize and
validate students of color as authors and creators of their own visual
narratives and stories. The first, Hidden Voices: Graffiti, explored
students navigation of conflicting scripts and tensions concerning:
destruction and contribution, classic and modern artistic expression,
and sense of place and belonging. The second study focused on a
series of identity art workshops and dialogues meant to provide
students of color with a canvas or platform for expression while
connecting the modern spaces they occupied with native traditions and
elements of their heritages. In both studies, I focused on the artistic
voices and counter-stories of 7th-12th grade students of color.

Theoretical / Conceptual Framework

With a focus on visual narratives and stories of students of


color, the theoretical lenses I found to be most appropriate to guide
these studies were Critical Race Theory (CRT) (Matsuda, Lawrence,
Delgado, & Crenshaw, 1993; Parker & Lynn, 2002) and Culturally
Relevant Pedagogy (CRP) (Ladson-Billings, 1995a, 1995b). Research
conducted through a Critical Race Methodology includes:

1. Foregrounds race and racism in the research process;


2. Challenges traditional research methods and theories that
normalize whiteness and present communities of color as
othered individuals (Parker & Lynn, 2002);
3. Produces a liberatory solution for racialized, gendered, and
classed experiences of suppression;
4. Recognizes the social, cultural, historical and personal
experiences and stories of people of color as sources of
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strength (Delgado, 1995; Smith, Yosso, & Solrzano,


2006, 2007; Yosso, 2006); and
5. Employs an interdisciplinary approach to research drawing
on history, sociology, anthropology, and other disciplines
(Parker, 2003; Solrzano & Yosso, 2002).

Since Ladson-Billings seminal 1995 articles, interpretations of


Culturally Relevant Pedagogy have expanded to include some of the
following characteristics:

Consciously creating social interactions to help students


maintain fluid student-teacher relationships;
Seeing cultural and linguistic talents and realities students
bring with them to the classroom as being value added
(Durden, 2008);
Including aspects of the students cultural environment in
the organization and instructions of the classroom;
Making conscious decisions to be part of the cultural
community support and instill cultural community pride in
the students;
Offering opportunities for reflexivity. Reflexivity can give
us the tools to better understand ourselves and our actions
(or inactions) (Lemke, 1995); and
Developing learning situations that are more congruent
with those the student has experienced in his/her own
culture.

These two lenses presented empowering and critical


approaches to my studies and activity programming, particularly in
two areas. They are: (1) valuing and centering the voices and stories of
students of color, and (2) the power of culture-based forms of artistic
expression and communication as counter-stories.
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CRT: Centering Voices of Students of Color

CRT originating in the legal arena with scholars like Derrick


Bell, Charles Lawrence, Richard Delgado, Lani Guinier, and Kimberle
Crenshaw began to take root in the educational sector around the mid-
1990s. Ladson-Billings and Tate (1995), in their assessment of the role
of CRT in education, argued that for full and effective analysis of the
educational system, the voices of persons of color are required. Ten
years later, Dixson and Rousseau (2005) summarized the development
of the CRT movement in education by highlighting one of the key
ways CRT has helped reframe the discussion around educational
equity, social justice, racism, diversity, power, and privilege
Voice, or the recognition of the experiential knowledge of people of
color (p. 10). This critical lens challenged the way schools, schooling
systems, and society at large had historically viewed the value and
voices of people of color, moving from a deficit-based view to an
asset-based perspective (Yosso, 2005).

CRT scholars noted that in education, too often, students of


color are viewed from a deficit point of view or that they are perceived
to be inherently low-achievers as manifested by a number of
educational measures (Valencia & Solrzano, 1997). By centering
their studies on the experiences and narratives of students and
educators of color, CRT education scholars sought to locate and
validate voices, identities, and stories not historically present in the
educational sector. Validation of the narratives of communities of
color (students, parents, faculty, staff, administrators) is a vital
component for understanding how to address educational inequities
(Delgado Bernal, 2002).

One of the criticisms of CRT is its perceived lack of


connection to praxis (Farber & Sherry, 1993). These studies focused
on programs that sought to be examples of Critical Race Praxis
active programming that centered the student voices hidden from our
societal and historical majoritarian narrative.
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Art as Counter-Story

Counter-stories take root in Critical Race Theoretical


scholarship and juxtapose the experiences, voices, and stories of
historically marginalized populations against majoritarian scripts,
narratives, and stories that have traditionally framed accepted societal
norms and truths (Smith, et al., 2006, 2007; Solrzano & Yosso, 2001,
2002; Yosso, 2006). Yosso (2006) stated, Critical Race counter-
storytelling is a method of recounting the experiences and perspectives
of racially and socially marginalized people. Counter-stories reflect on
the lived experiences of People of Color to raise critical consciousness
about social and racial injustice (p. 10). Counter-stories offer new and
liberating lenses with which to see the world from historically silenced
voices and communities. These stories can be empowering for
disenfranchised communities (Knight, Norton & Dixon, 2004).
Concerning counter-storytelling, Solrzano and Yosso (2002) said:

We define the counter-story as a method of telling the stories


of those people whose experiences are not often told (i.e., those
on the margins of society). The counter-story is also a tool for
exposing, analyzing, and challenging the majoritarian stories of
racial privilege. Counter-stories can shatter complacency,
challenge the dominant discourse on race, and further the
struggle for racial reform. (p. 32)

Counter-stories have been presented by critical race scholars


primarily in three forms: (1) personal stories or narratives; (2) other
peoples stories or narratives; and (3) composite stories or narratives.
Personal stories are shared from the authors experiences and are
usually situated within the context of a larger sociopolitical critique
(Solrzano & Yosso, 2002, p. 32). Some CRT researchers have
presented stories and experiences of another person, or persons,
concerning racial or gender oppression; also situated within a
sociohistorical and political context. Finally, a composite counter-
story draws on the racialized experiences of persons of color where
authors create composite characters and place them in social,
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historical, and political situations to discuss racism, sexism, classism,


and other forms of subordination (Solrzano & Yosso, 2002, p. 33).
It is important to recognize that counter-storytelling is not fiction.
Characters are grounded in real life experiences and actual empirical
data stemming from real social, political, and cultural situations
(Solrzano & Yosso, 2002). The process of counter-storytelling is
rigorous and informed by multiple data points (Villalpando, 2003).

Educators have used art and arts-based education to draw out


student voice and expression for decades. Within the art education
literature, few studies, have connected art to a sense of identity
navigation, and no studies could be located that sought to explore how
art forms might be used to help students navigate identity tensions
found within schooling environments. In the Critical Race literature,
recent attention has been given to digital storytelling as a form of
counter-storytelling (Roln-Dow, 2011) yet other forms of visual
counter-stories are missing from the discussion.

For certain indigenous communities, craftsmanship and visual


artisanship have always had a place for utility (tools, cooking vessels,
storing vessels, canoes), cultural preservation (genealogy carvings,
tapestry, scrolls), ceremonial practices (masks, visual rituals, spiritual
pieces, drums, regalia), or aesthetics (paintings, calligraphy, dyes).
Art and artisanship is a natural part of expression for such
communities yet far too many students from indigenous-originated
backgrounds (like those in these studies) are not allowed to use art and
artisan forms of expression in their schooling experience (Helu-
Thaman, 1990). Moreover such competencies in cultural arts and
cultural expression are not valued as core competencies for learning
and knowledge generation in mainstream schooling (Beveridge, 2010).
Students quickly recognize that such visual explorations of the world
around them are not valued in the classroom. Indigenous communities
historically approached other subjects through visual and experiential
methods (astronomy, agriculture, mathematics, language, science,
oceanography). With many indigenous languages passed from one
generation to another through oral means, the written word is not the
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first and most natural form of communication. Layer on this the deep
connections to symbols, images, and patterns representing entire
stories, histories, and genealogies, and it becomes clear that the visual
arts need to be recognized as vital forms of education, exploration, and
knowledge transfer. Art, as visual counter-story then, has a powerful
role in the counter-story literature as well as the art education
literature.

Methodology

These two studies involved Critical Race analyses of how


students of color experienced visual counter-storytelling and artistic
programming as pedagogical approaches. Both studies required mixed
method approaches including interviews, documentary analysis,
document analysis (artist statements, reflections), and group dialogues
or focus groups. I did not engage in a reading of the art itself as one
might in Visual Discourse Analysis (Albers, 2007) but focused rather
on the student experiences while creating visual counter-stories. I
focused on racial/ethnic identity navigation for three communities of
color (Latina/o, American Indian/Native American, and Pacific
Islander) because of their growing percentages within the total
population of our university service region.

Overview of Two Studies

Study 1 Hidden Voices: Graffiti.

Context and participant selection. Graffiti or street writing, as


an art form, has traditionally been performed in the shadows as a
means of challenging the accepted aesthetic of society and can often
be difficult to distinguish from graffiti vandalism (Gomez, 1993).
According to Sliwa and Cairns (2007), in urban communities, street art
in all its varieties is performed by an overrepresentation of young men
of color (predominantly African American, Latino, Asian, and Pacific
Islander). In predominantly white communities, young men of color
see too few role models or leaders (educational or otherwise) who look
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like them. The educational spaces they enter often do not value the
sense of identity authenticity such young men hope to hold on to and
too many educators view such young men through deficit lenses;
almost hoping they return to the shadows.

The first study of analysis was focused on a college-


preparation-through-graffiti program. This program, designed as an
intentional example of culturally relevant pedagogy (Ladson-Billings,
1995) and culturally responsive teaching (Gay, 2000), challenged the
campus and community to talk about spaces of authenticity,
acceptability, and validation for young street artists of color who have
historically been underserved, underrepresented, and ignored in
traditionally white institutions of higher learning.

The researcher and members of two local gang prevention task


forces invited 14 students, who had been identified as graffiti artists,
graffers, or taggers with records in the local juvenile justice system, to
participate in a 10-month college entrance program that resulted in
showcasing their street artwork in a university museum exhibit. Out
of the initial 14 who attended the introductory meeting, eight decided
to participate in the program and the study (with parent/guardian
approval). All eight students self-identified as Latino males. Four of
the eight artists had dropped out of high school but were still under the
age of 18. Two artists were high school seniors who were not on track
to graduate at alternative high schools. One artist was in his senior
year of a traditional high school and one artist was not in school but
working. All participants were minors. At the first meeting, only one
artist expressed interest in pursuing some form of higher education.

Once they opted to participate in the program and study, artists


were mentored by Art faculty from the university as well as graduate
students in Masters of Fine Arts programs at nearby institutions. The
artists and mentors met almost weekly for four months to participate in
art sessions (Figures 1a and 1b). While such art sessions took place,
mentors discussed a number of college preparation topics including
financial aid, college majors, GED support, packets for credit make-
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up, and developmental courses. Throughout the ten months leading up


to the exhibit opening night, the artists decided to create specific
pieces around the theme of Hidden Voices. They each worked with
their mentors to create artist statements declaring who they were and
who they wanted to be as artists (Figure 1c). For the final exhibit each
artist1 created a large piece for display in the museum.

a. b. c.

Figures 1a-c. Students working with mentors on art sessions, artistic


voice sessions, and artist statements.

The participants planned, designed, prepped, painted, and


displayed their artwork in coordination with the universitys museum
curator (Figures 2a-d). The artists also filmed, edited and displayed a
documentary (titled Why Do You Write) about the process as part of
the museum exhibit (Figure 2e). For the opening night of the exhibit,
nearly 550 family members, friends, community members, officers
and their families, donors, and university officials joined the artists to
listen to their stories and artistic journeys (Figure 2f). That evening, in
front of family members and friends, each of the artists was presented
with an acceptance letter to the university and two artists received

1
To protect the identities of the artists, I chose to crop photos in such a way that
would not reveal the faces of the artists. If faces are ever shown, it is a photo that
presents enough ambiguity about the difference between the artists and other people
involved in the process.
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scholarships from the President of the institution and admission to the


Honors program. Throughout the six weeks of the exhibit, over 2,400
people visited the museum and engaged in the Hidden Voices: Graffiti
exhibit. During the six weeks of display, the artists returned to do art
nights with the community. Seven of the eight artists enrolled at the
university the following fall semester.

a. b. c.

d. e. f.

Figures 2a-f. Hidden voices: Graffiti exhibit on opening night.

Data sources and analysis. All eight artists were interviewed


and audio recorded three times during the program (for 30 minutes
each time). Interviews included questions about their artwork,
identities, goals, perceptions of school, and their place in society.
These interviews were transcribed and analyzed according to a Critical
Race Methodological Framework (Parker & Lynn, 2002) with the
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following questions guiding the analysis:

(1) How did participants locate their racial and other


identity(ies) in reference to their artwork;
(2) What societal spaces, processes, and people validated or
rejected participants identities and why;
(3) How did participants perceptions of self influence
decision-making related to education; and
(4) What were key pedagogical/delivery processes that led to
students reporting positive messages?

The primary data sources for this study included: transcriptions of


three interviews with each student (total of 24 interviews), drafts and
final products of artist statements, and video documentary.

Study 2 Shoe Art: Walking in Multiple Worlds.

Context and participant selection. The second study was


influenced by a tribal leadership summit hosted at the university for
leaders of eight tribes and nations as well as their education deputies.
One question that generated a powerful discussion asked, What do
you hope for the youth of your community? Nearly all of the leaders
expressed some desire for their youth to walk successfully in multiple
worlds. One leader said,

I want my kids to get as many opportunities as they can


because, you knowthere are some opportunities back at
home but not as many as they can find if they go off to college.
But, we need them to remember what it means to be Indian and
to return as much as they can.

This sentiment followed a long discussion about Native


American/American Indian youth from their tribes and nations
becoming increasingly disconnected from their cultural heritages as
evidenced by a number of traditions being lost: language,
understanding of origin stories, understanding of the land, music,
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dance and performance, and ceremonial traditions. Tribal leaders and


elders expressed concern about youth finding greater connections with
modern youth cultural movements reported as Skater, Emo,
Goth, Hip Hop, and Heavy Metal more so than their own Native
cultures. These leaders expressed the desire to find a way to bridge
this cultural divide for their youth and coming generations.

A few months later, my university invited artist, educator,


entrepreneur and activist, Louie Gong, to conduct a workshop as part
of a K-16 Native American program partnership. Louies multi-racial
(Nooksack, Chinese, French, and Scottish), mixed heritage and
approach to empowering youth to tell their stories through shoe art
became a platform that resonated with Native American and First
Nations youth. I attended a number of Louies workshops and saw
students open up and express themselves in ways that their teachers
had never seen before. I wanted to know whether Louies approach
was replicable and more importantly, whether or not his approach was
effective in helping students navigate identity. I was granted
permission by Louie to use his curriculum and resources to conduct
similar workshops.

This launched my second study and over a period of four


months I conducted three artistic voice portfolio workshops with a
group of middle and high school students. The students who
participated in the workshops self-identified as Native
American/American Indian, Pacific Islander/Polynesian, and/or
Latina/o.2 These student populations were selected for two primary
reasons: (1) because of the common desires of elders (and leaders)
from these communities of color for their youth to remember their
native cultures while still embracing new opportunities for growth and
achievement, and (2) the natural partnerships with entities providing

2
Participants in the shoe art workshops self-identified broadly as Native
American/American Indian, Pacific Islander or Polynesian, and Latina/o. Within
these racial/ethnic groups, participants specifically self-identified as: Navajo (Din),
Ute, Native Hawaiian, Tongan, Samoan, Maori, Mexican American and Peruvian.
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services specifically for these communities. There were a total of 19


participants in this study (8 middle school and 11 high school
students). Each workshop lasted three hours and was conducted
according to the following outline:

Session 1: Identity Mapping

Introductions & Background Discussion of art, identity,


and cultural connections.
Identity Mapping Map identities on three levels: realms
or broad categories of identities (e.g. education, family,
culture/heritage, language, interests/hobbies, etc.); roles
and responsibilities within each of the realms; and any
other words or connections students could make in terms of
ways they self- identify. These identity maps were then
shared in pairs.
Symbol Research Students used their electronic devices
or those provided in the classroom to research symbols,
patterns, pictures, and artistic representations of the words
on their identity maps. These images became their artistic
resource material as they shifted to drawing/representing
their stories on shoes.
Homework Before the next session, students had to
continue gathering source materials and select 4-6 images
that they wanted to weave together to tell their stories.

Session 2: Visual Storytelling

Story Transfer Students drew visual representations of


stories on shoe design worksheets.
Shoe Transfer Students then transferred the designs from
their worksheets to a pair of washable art shoes (created by
Louie Gong). This allowed students to begin the process of
seeing their stories and designs in 3-D.
Group Story Exercise In groups of 4-5, students shared
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the stories from their shoes verbally and then the group
repeated back what they heard. This process allowed
students to recognize whether or not they communicating
their stories accurately (both verbally and visually).
During the conversations, ideas were shared about how
people could effectively communicate their stories.
Visual Counter-Stories Group discussion about which
and whose stories get told in school and the need for the
stories of students and communities of color to be told.
Homework Before the final session, students needed to
transfer their designs from the mock up shoes (or
redesigns) to a pair of shoes (purchased through a grant)
their size. Demonstrations of various marker media were
shared to help students understand application to canvas
shoes.

Session 3: Artistic Voice & Counter-Storytelling

Final product share Students brought in their shoe


projects and were given time to finalize them.
Group Share Each student shared the refined visual story
(ies) from their final shoe projects.
Artistic Voice Statement Development Students then
worked on a 200-word artistic voice statement telling the
story on their shoes.
What did you learn? Focus Group Group dialogue
about what students learned about themselves through the
research and about their peers through the sharing. This
was a video recorded focus group.3

Data sources & analysis. The data sources for this study
included video-recorded discussion sessions during the workshops,
artistic voice statements, and photos of the cultural symbols
3
Photos of the workshops and activities are not included in this article because they
all showed some form of student identifiers.
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brainstorming activity. These sources were also analyzed through a


Critical Race Theoretical lens with the following questions to guide
the analysis:

(1) How did participants locate their racial and other


identity(ies) in reference to their artwork;
(2) In what ways did participants perceptions about identity
shift throughout the art workshop processes; and
(3) What were key pedagogical/delivery processes that led to
students reporting positive messages?

Findings

Three significant themes emerged from these studies. Through


the two artistic voice programs outlined in this article, students
reported feeling: (1) validated in their racial, cultural, linguistic, and
artistic identities, (2) empowered by the relevancy of the learning
process, and (3) supported by a network of peers and mentors who
looked like them and understood their backgrounds. It is important to
note that although this study focused on navigation of identity and
belonging for students, the findings suggest educators have a critical
role in facilitating and empowering that navigation process.

Authenticity: Students Crave Validation of Identity (ies) in School


Spaces

Participants reported feeling a sense of authenticity in an


educational space for the first time. Students in the Hidden Voices:
Graffiti (HVG) study discussed feeling educationally empowered,
proud of their artistic talents, and constantly excited to tell their
families about their activities (all for the first time). Participants
appreciated but were surprised by the treatment they received from
educators. One participant commented, I felt real for the first time.
Everyone made me feel like they got meyou knowlike they
actually knew what I was about. Students and faculty mentors spoke
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in English and Spanish interchangeably throughout the 10-month


process. One student spoke of this linguistic freedom: I cant speak
Spanish at school unless its lunch timethe teachers get nervous, but,
sometimes I do it just to make them nervous. When asked how many
of the students had teachers who spoke Spanish, most reported that
they had maybe one or two. One student said, None. I dont know
if they could, you know, speak.but they, no one ever did to me.
HVG students talked about usually having to hide their most
comfortable form of expression, visual art, when in school.

Students who participated in the shoe art workshops expressed


appreciation for the opportunity to learn about their own cultural
artistic connections. They referred to finding out new stories about
their cultures and heritages by researching colors, patterns, symbols,
and images. One student, in reference to learning about Pacific
Islander patterns said,

I always saw these patterns on tattooswith the tribals, but I


didnt realize they all meant something. I told my mom about it
when I was finishing my shoes, and then she went offtelling
me all this stuff. [laughing] I was like, why have you never
told me this before? It was cool. It was weird but cool.

Students also expressed positive feelings when other students


praised them for their art and cultural awareness. I observed that as
students saw each others work, they would make slight changes to
their own designs incorporating more cultural elements in their own
work. Cultural elements and designs included: flags from various
Latin American, Pacific Islander, and Native American countries, and
indigenous tribes and nations; words in various languages, family
surnames, cultural patterns found on carvings, tapestries, and other
artifacts connected to student heritages; animals that were sacred and
meaningful to certain cultures; and colors that represented specific
country or cultural connections. Native American and Pacific Islander
students lamented the lack of representation of their cultures in
mainstream society although some noted seeing a greater volume of
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Native American and Pacific Islander (or Polynesian) patterns


emerging as trends.

The artists statements in both studies were also powerful


indicators of students desires to make cultural connections. Nearly all
statements declared some form of pride in their heritage, culture or
country of origin, or language. The majority of artist statements
contained expressions of desire to make a difference in their cultural
communities. Students also felt validated in their artistic identities. A
portion of one artist statement read, I have never been a good writer,
but I have always been a good artist. I love using my art to say what I
cant say sometimes in words.

The findings clearly reveal that students of color craved and


were excited about experiencing cultural identity validation in a
schooling environment; and for the first time for many. Their
expressions of feeling real, or that educators got them was
expressed in shock suggesting that such experiences at school are not
the norm for them. Students responses, reflections, and art all
suggested a desire for more educational experiences where they could
be their authentic selves or have some congruency between their
cultural narratives and the school culture.

Relevance: Students Feel Empowered When Content and Delivery


are Relevant to Their Narratives

Hidden Voices: Graffiti (HVG) participants were engaged in


activities that made sense to their world and they made connections
between hard work and an end goal. Many reported that college
attendance and completion was something that finally made sense.
One participant shared, I don't know if I want to go to college, but, I
definitely dont want to be in jail. I didnt know you could draw in
college. I thought it was only for math or writing. Another participant
said,
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I loved when Ricky4 told me that I could make money with my


art. I didnt believe him. I told him, yah, I bet its $20 or
something. And then he was all, No way. Im talking about
hundreds or even thousands of dollars. And he was serious. I
dont know if he is for real but it got me thinking.

Students expressed being surprised by the trust placed in them to do


everything for the museum exhibit. One participant talked about being
used to being in charge at home, but at school, he wasnt trusted to
do anything. Another student shared, I never had a teacher ask me to
be in charge of anything. I didnt believe wed actually get stuff for
free. I kept thinking, whats up? What do they want from me? But
wow, they were real. It took a bit of time for the artists to get used to
the idea of planning their own exhibit and developing their own
documentary but once they did, they embraced the responsibilities
with enthusiasm. Participants developed the following ideas that
became part of the exhibit: a wall to discuss the expenses related to
graffiti removal, a corner section called A Global Culture
highlighting the phenomenon of street art around the world, a test wall
for visitors to use sugar-based indoor spray paints and graffiti markers
to practice their own styles, a wall describing to visitors the process of
developing large scale murals, and a magnetic response wall with
magnets and post-its for people to respond to the question, Is Graffiti
Art?

Students in the three shoe art workshops were able to see and
wear products they had created. Students expressed excitement about
walking with their stories and learning and sharing more about who
they are. This connection between art, learning, and a tangible product
they could walk with was powerful for many. During one of the
dialogues where students shared the stories of their shoes, one student
said, Everywhere I go now, I look at peoples shoes [group laughter]
and I wonder what stories they would put on their shoes. Students
shared enthusiasm for wanting to take their stories to other practical,

4
Any names of participants used in this article are pseudonyms.
100 NATIONAL FORUM OF EDUCATIONAL ADMINISTRATION AND SUPERVISION JOURNAL

everyday objects like backpacks, t-shirts, and hats. Other comments


indicated an excitement about art as a powerful and effective form of
communication. After one lesson on the patterns, symbols, and images
around us, students discussed their frustration that their cultures were
not well represented in mainstream culture. One student then asked, as
part of one small group discussion, If we dont tell our stories, who
is? Students in these workshops expressed a feeling of ownership of
their artistic representations that were well-researched, and powerfully
articulated. One student, when responding to the final What did you
learn? question of the third session said, I learned there is no right
answer, or right way to share your story. You just have to know why
youre sharing it and what parts of your story you want to share.

Overall, student responses indicated an appreciation for


learning processes that were meaningful to them. Students reported
feeling a greater desire to go to college to learn new ways to take
ownership of their stories and introduce their stories into mainstream
culture. One student asked, Why cant school always be like this?
When pressed to specify what was meant by like this, the student
responded, I dont knowlike all of thisIm actually learning
stuff, and I want to learn more.

Connection: Students Confidence and Navigational Capital


Grows Through Connections, Networks, and Mentors

The third significant theme that emerged from student


responses indicated that the most significant influencers of change for
their outlook on life and perspective of college were the connections
made with faculty, peers, and college mentors. Students reported
feeling comfortable sharing stories, questions, and feedback with peers
and educators because of cultural connections, humor, and
engagement. School (and college) was no longer a threatening space
because student artists felt connections with educator mentors who
looked and talked like them. One HVG student shared the following
about his peers and mentors:
REYES 101

Theyre like my brothers now. I wasnt sure about David at


first cuz I thought he was pretty toy buthes funny. The ones
I really liked though was Ricky and Diego. I dont
knowtheyre like mebut they have jobs and are successful
and shit. I wish I had friends like them before.

Students also felt like they would be more successful in school and life
because they finally had friends who were real but also wanted to be
somebody. Nearly all HVG students discussed greater optimism in
the future because of their new friends, mentors, and network.
Students shared that their desires to participate in activities, share
goals and feelings, and participate in class discussions had grown
throughout the program because: (1) everyone else was sharing, (2)
no one judged them, and (3) people liked their ideas. One faculty
mentor in the HVG study observed,

It was pretty amazing to watch this group come together from


our very first meeting, remember that? I didn't think any of
them liked each other. Now, I just hope they can keep each
other going as they come to [our university]. I feel like Ive
connected with a few of them really well but I think theyll
succeed here more if they support one another.

Students who participated in the shoe art workshops also


expressed feeling a connection to workshop presenters, faculty
mentors, and peers. Students felt that the educators cared about them,
understood them and wanted them to succeed. They appreciated the art
examples that were shared in the workshops and loved how much the
examples reflected their cultures. Students also indicated that they
participated more in the group dialogues than they are used to doing in
school. When asked why, one student said, Sometimes I make a
comment in class and feel like I have to explain myself because,
people just dont get where Im coming from. Almost everybody here
gets where Im coming from.
102 NATIONAL FORUM OF EDUCATIONAL ADMINISTRATION AND SUPERVISION JOURNAL

In both studies, students reported feeling a sense of belonging


and place. The primary reason for these feelings was the meaningful
connections and friendships that developed with peers and educators.
Students expressed disappointment when both programs were over and
asked if the group could keep something going. In both cases, we
decided to have follow-up activities and touch points that are not part
of these studies.

Implications for Research and Practice

These findings present a number of implications for


educational research and practice. First, the findings from these studies
suggest that K-12 (and higher education) educators need to pay greater
attention to the ways art and art education can improve the
navigational experiences of students of color. The programs
highlighted in this article, demonstrate that art and art education are
powerful approaches to create the conditions for students to explore
their sense of identity, belonging, and place in educational settings. In
addition, hiring teachers, mentors, tutors, and administrators of color
who can connect with students of color help students in the navigation
process. Specifically, visual counter-stories, in various forms, warrant
further exploration and should be considered in changes across the
curriculum, not just art-based classes. Examination of the art itself as
text, rather than the process for creating the art, has tremendous value
and a robust lens for analysis in Visual Discourse Analysis (Albers,
2007; Albers, Fredrick, & Cowan, 2009). Arts-based pedagogy also
needs further analysis as a form of operationalizing Culturally
Relevant Pedagogy (Morrison, Robbins, & Rose, 2008).

Second, through a Critical Race Theoretical lens, these


findings have even greater significance. The three primary findings or
themes speak directly to a disconnect between school systems that are
bound by traditions of Western, white America and the learning
experiences of students whose identities are underrepresented,
underserved, and devalued. Participants reported feeling validated in
their identities for the first time in their schooling experiences. This
REYES 103

is not surprising considering their teachers and administrators,


textbooks and curriculum, and the majority of their peers dont share
their racial, ethnic, cultural, or linguistic identities and do not
understand what they might be going through. The presence of these
conditions created opportunities for participants to take ownership and
authorship of their learninga powerful outcome for so many who
have been historically marginalized and without power.

Third, while these studies were not focused on educators and


educational leaders, the findings have already had great impact on
educational leadership dialogues and workshops. The experiences of
educators of color are not unlike the experiences of students of color:
feelings of isolation; cultural, linguistic, racial disconnects from
institutional culture; lack of support networks; and lack of mentors
who share racial/ethnic identities (Herbert, 1974; Jackson &
OCallaghan, 2009; Lynn, 2002; Valverde, 2003). Similar art identity
workshops have been and are being conducted with educators and
educational leaders but more attention is needed to the ways art can be
used as professional development for educators and leaders to find
their sense of place and belonging in the professional setting as well as
develop critical sensitivities to issues of equity, social justice, and
empowerment of underserved communities through visual counters-
storytelling.

Conclusions

This article sought to explore how educators can amplify the


voices of those who suffer marginalization in new artistic ways. By
focusing on empowering students to tell their stories through various
forms of art (including street art and cultural art), these art approaches
center the process of connecting images, symbols, patterns, and colors
to student narratives and stories. Such projects become visual counter-
stories or counter-narratives that disrupt the acceptance and normalcy
of mainstream or traditional stories as singular truths.
104 NATIONAL FORUM OF EDUCATIONAL ADMINISTRATION AND SUPERVISION JOURNAL

A students capacity to succeed in higher education is strongly


influenced by her/his ability to make sense of her/his place, purpose,
and relationships within the institution. Furthermore, a students
capacity to succeed in the classroom is influenced by her/his ability to
make connections with the classroom environment, content, and
people. Educators need to approach student learning in the context of
Authenticity of identity, Relevance of curriculum and material, and
interpersonal Connections. If students of color are to successfully
navigate the spaces in-between (Anzalda, 1987, Mora 1993), the
converging paths (Meyers Bahr, 2003), and the liminality of their
identities (Turner, 2002), educators must first acknowledge the ways
traditional schooling spaces, practices, and systems have devalued and
silenced the voices of communities of color, and aggressively work to
counter such habits.

Art and art education needs greater attention not only as a core
discipline but as a means of connecting students powerfully to
elements of the educational process often not measured but important
for student success: ability to navigate school culture, grounding in
ones identity leading to greater confidence in ones own voice,
development of comfort with communities of learners, and desires to
express oneself in creative ways.
REYES 105

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Author Bio

Dr. Kyle A. Reyes serves as Special Assistant to the President for


Inclusion at Utah Valley University (UVU). In his current role as
UVUs Chief Diversity Officer, Dr. Reyes leads UVUs Strategic
Inclusion plan comprised of nearly 40 initiatives focused on making
UVU a more inclusive and equitable campus. Dr. Reyes is also an
Assistant Professor of Education at UVU and teaches courses in
Multicultural Education, Arts Integration Methods, and Family &
Community Partnerships. His research focuses on conditions for
underrepresented student success throughout P-20 educational
institutions. Kyle serves on the Board of Asian Pacific Americans in
Higher Education. He is also the President of the Utah Chapter of the
National Association of Multicultural Education. Dr. Reyes has
received a number of awards including the Exemplary Educator for
Diversity Award for the state of Utah from the National Association of
Multicultural Education (NAME). Kyle received his PhD in
Educational Leadership and Policy from the University of Utah.

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