“…Moreover, ‘When reaction becomes action is when the greatest creativity emerges’ (Turner, 2019, 95). We suggest that this action should be driven by question posing – and this is what art and design educators do: problematise (Baldacchino 2019). However, the right kind of questions need to be asked. ‘We would argue that education’s current dis(re)pair has been brought about by the wrong kind of attention: attention focused on what education should do (its instrumental purpose) without regard for what education, itself, actually is (as a kind of entity or being in its own right)’ (Osberg & Biesta 2020, 2).…”
Aesthoecology can be described as an ‘onto‐epistemology’ which fuses a theory of being with a theory of knowledge and deals with the affective, connected and temporal aspects of education. Where the aesthetic aspect of aesthoecology – appearance and feelings/ sensation – concerns the affective domain, the ecological aspect – spaces, places and relationships – concerns connectedness. In our title, ‘foundations’ refers both to the foundations of aesthoecology and the foundations of art and design education. We highlight the implications of aesthoecology for the art and design education of young children, as elsewhere we consider its implications for higher education. Below, we explain aesthoecology in detail; identify some of aesthoecology’s implications for art and design education; and apply these to an examination of current English early years education policy. There is much room for improvement here, thus, in the spirit of Rancière, we invite aesthoecologically informed dissensus.
“…Moreover, ‘When reaction becomes action is when the greatest creativity emerges’ (Turner, 2019, 95). We suggest that this action should be driven by question posing – and this is what art and design educators do: problematise (Baldacchino 2019). However, the right kind of questions need to be asked. ‘We would argue that education’s current dis(re)pair has been brought about by the wrong kind of attention: attention focused on what education should do (its instrumental purpose) without regard for what education, itself, actually is (as a kind of entity or being in its own right)’ (Osberg & Biesta 2020, 2).…”
Aesthoecology can be described as an ‘onto‐epistemology’ which fuses a theory of being with a theory of knowledge and deals with the affective, connected and temporal aspects of education. Where the aesthetic aspect of aesthoecology – appearance and feelings/ sensation – concerns the affective domain, the ecological aspect – spaces, places and relationships – concerns connectedness. In our title, ‘foundations’ refers both to the foundations of aesthoecology and the foundations of art and design education. We highlight the implications of aesthoecology for the art and design education of young children, as elsewhere we consider its implications for higher education. Below, we explain aesthoecology in detail; identify some of aesthoecology’s implications for art and design education; and apply these to an examination of current English early years education policy. There is much room for improvement here, thus, in the spirit of Rancière, we invite aesthoecologically informed dissensus.
“…While Whess Harman visited an art teacher education class, Jocelyne Robinson, 11 a member of the Algonquin Timiskaming First Nation in Abitibi region of Quebec, visited a graduate class in arts education focused on a/r/tography. Robinson (2015 , 2019) came to share her dissertation research that spanned Indigenous storytelling ( Archibald, 2008 ) and a/r/tography ( Springgay et al, 2008 ), detailing perspectives gathered from three Indigenous and three non-Indigenous scientists as well as three Elders from her community, as she created a dynamic learning framework that brought together Indigenous and Western science, elevating ecological concerns. Robinson shared stories of her relations with Elders across her lifetime.…”
Section: Embodied Reflexivity In the Classroom: Love Land And Learningmentioning
confidence: 99%
“…Braiding Indigenous storywork ( Archibald, 2008 ) with a/r/tography ( Irwin & Springgay, 2008 ), Robinson’s dissertation research was called the Algonquin Ekwânamo Matrix Project (AEMP) and while a number of themes were developed, one stands out for our discussion here on embodied reflexivity and relational ethics through the flesh. The AEMP drew upon the metaphor of breath, or as she called it, “subtle energies” ( Robinson, 2019 , p. 3), that transforms across time to weave through and with physical, emotional, and spiritual ways of being. Stories detail this and other metaphors, expanding our ways of coming into knowing and being as embodied humans living with ecology, and with a living-breathing Mother Earth.…”
Section: Embodied Reflexivity In the Classroom: Love Land And Learningmentioning
confidence: 99%
“…Appreciating this holistic perspective pervades her work and underscores a relational ethics that is essential to Indigenous storytelling ( Archibald, 2008 ) as well as a/r/tography ( Springgay et al, 2008 ). For her, learning in a good way “means different things in different contexts; however, it most importantly refers to learning with an ethical responsibility for all that is living” ( Robinson, 2019 , p. 2). Stories and art became complementary ways of learning that reach across both methodologies in fair and evocative ways.…”
Section: Embodied Reflexivity In the Classroom: Love Land And Learningmentioning
In this article, we reflect on our teaching practices that include the development of an artist-in-residency program in one teacher education course and one graduate course in the Fall of 2022 at The University of British Columbia. During these residencies, Carrier Wit’at artist and printmaker Whess Harman and Indigenous scholar and a/r/tographer Jocelyne Robinson of the Algonquin Timiskaming First Nation demonstrate through their art practices how love and land are central tenets to relational ethics. We engage with Cherrie Moraga and Gloria Anzaldua’s theory in the flesh alongside the artists-in-residencies as we consider an anti-colonial future in art education. We propose the concept of relational ethics through the flesh as a reflexive, embodied, social justice–oriented way of being in the world.
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