Anna Stengel Dissertation

The conceptualization and writing of the second article was completed in collaboration with co-author Marie-France Berard based on our individually conducted Table of Contents Abstract ........................................................................................................................................Lay Summary...............................................................................................................................Preface.............................................................................................................................................v Table of Contents .........................................................................................................................List of Figures .............................................................................................................................List of Abbreviations .................................................................................................................Acknowledgements ...................................................................................................................Dedication ....................................................................................................................................Chapter 1: Introduction ................................................................................................................11.1 Research Questions, Goals, and Methodology ...................................................................11.2 What are Responsive Participatory Art Museum Practices?..............................................51.3 How Did I Arrive at this Topic and Why Does It Matter?TOWARD RESPONSIVE PARTICIPATORY ART MUSEUM PRACTICESby Elizabeth (Elsa) Lenz Kothe B. A., The University of Arizona, 2005A THESIS SUBMITTED IN PARTIAL FULFILLMENT OFTHE REQUIREMENTS FOR THE DEGREE OFDOCTOR OF PHILOSOPHYin THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES(Curriculum Studies)THE UNIVERSITY OF BRITISH COLUMBIA(Vancouver)April 2019© Elizabeth (Elsa) Lenz Kothe, 2019ii The following individuals certify that they have read, and recommend to the Faculty of Graduate and Postdoctoral Studies for acceptance, the dissertation entitled: Toward Responsive Participatory Art Museum Practicessubmitted by Elizabeth (Elsa) Lenz Kothe in partial fulfillment of the requirements forthe degree of Ph. Dónal O’Donoghue, Curriculum & Pedagogy Supervisor Dr.

Anna Stengel Dissertation-13Anna Stengel Dissertation-8

This methodology was developed as I responded to research questions and data in production, and as I thought closely with scholars and their writings, especially Elizabeth Ellsworth’s (2005) Places of Learning: Media, Architecture, Pedagogy.....74Chapter 3: What Questions and Commitments Did I Bring to the Data?.............................763.1 How Do I Understand the Relationship between Participatory Art Museum Practices and Museum Educational Transfer Models?...............................................101.4 Where I Focus and Why ...................................................................................................151.5 Overview of Chapters .......................................................................................................20Chapter 2: A Responsive Research Methodology.....................................................................212.1 Designing Responsive Research.......................................................................................212.1.1 How does my research methodology draw on, parallel, and inform participatory art museum practices and socially engaged art practices?.........................312.2.1.4 Museum sites not included .................................................................................322.2.2 Research conversations..............................................................................................332.2.3 Walking research .......................................................................................................352.2.3.1 Walking as place-making ...................................................................................352.2.3.2 Walking as a relational practice..........................................................................462.2.4 Mapping.....................................................................................................................542.2.5 Response data ............................................................................................................612.2.6 Documents .................................................................................................................632.3 Data Analysis alongside Data Production ........................................................................632.3.1 Analyzing data from walking conversations .............................................................642.3.2 Research conversation transcription ..........................................................................652.3.3 Data analysis during transcription .............................................................................672.3.4 Subsequent rounds of data analysis and production ..................................................692.3.5 What questions did I ask of the data and what questions did the data ask of me?Two additional publications informed my methodology and the content of this study, in particular sections 2.2.4 and 4.2: Lenz Kothe, E. Mapping invitations to participate: An investigation in museum interpretation. International Journal of Education & the Arts, 14(SI 1.12).International Journal of Art & Design Education, 35(1), 86–106; and Lenz Kothe, E., & Berard, M.-F. I completed all of the research for and writing of the first article.Mapping of my ongoing understanding of responsive participatory art museum practices. Photo courtesy of the Santa Cruz Museum..........................................................................30Figure 2.3...........................................................................................................................................6Figure 1.2. Walking path at Maywood Environmental Park, taken with Ann Brusky, September 2015.Methods used to address my research questions included research conversations—some of which took place while walking—arts-based mapping, and narrative writing.Drawing on art, education, and museum scholarship, my understanding is that responsive participatory art museum practices embrace multiple commitments, including: sharing the authority of questions, interactions, and knowledge production between museum staff, collaborators, public audiences, and participants; sharing spaces and collections within museums and with the communities in which museums exist; and committing to ongoing, respectful collaborations and relationships with community members and collaborating organizations and individuals.

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