Partnership for arts integration : exploring the experiences of teachers and artists working with integrated arts programs

This research acknowledges the difficulties experienced by teachers presenting integrated arts curricula. Instructional support is offered by arts organizations that provide arts partnerships with local schools boards. The study focuses on the experiences of 8 teachers from a Catholic school board in southern Ontario who participated in integrated arts programs offered by The Royal Conservatory of Music's Learning Through the Arts™ (LTTATM) program and a local art gallery's Art Based Integrated Learning (ABIL) program and examines their responses to the programs and their perception of personal and professional development through this association. Additionally, questions were posed to the . "aftisfs"from-tneSe]Jfograrrrs;-and"they liiscus·sed·how"participating in-collaboration with teachers in the development of in-school programs enabled them to experience personal and professional development as well. Seven themes emerged from the data. These themes included: teachers' feelings of a lack of preparedness to teach the arts; the value of the arts and arts partnerships in schools; the role of the artists in the education of teachers; professional development for both teachers and artists; the development of collegiality; perceptions of student engagement; and the benefits and obstacles of integrating the arts into the curriculum. This document highlights the benefits to both teachers and artists of arts partnerships between schools and outside arts organizations.

Sinister creativity: a phenomenological exploration of some of the experiences and perceptions of six lefthanded visual artists

Six lefthanded artist-educators were interviewed to attempt to discover any patterns t6 their perceptions and experiences. Artists have their own culture and priorities. According to the literature, lefthanded people appear more likely to suffer from dyslexia, allergies, asthma and other auto-immune diseases as well as machinery and equipment injuries. Patterns emerging suggested that lefthanded people indeed suffer more from dyslexia. More startling was the distinct possibility that many artists have traumatic childhood histories. This would commonly include negative school experiences, and for a significant number sexual assault, perceived or actual abandonment by parents, and/or consistently low selfesteem. The researcher discovered possible reasons why creative people frequently have problems at school, why they tend to be rebellious and anti-establishment oriented, how many of them perceive societal rules, and why they are more likely to be lefthanded. These characteristics all have significant implications for art school administrators.

A Home at School: Building Stronger Indigenous People through Cultural Resurgence in an Urban Ontario Public School Context.

In this thesis, I work through the educational narratives of young Aboriginal women and men as I explore the relationship between cultural programming and student engagement. My analysis is structured through a collaborative Indigenous research project. My overarching task is to explore how a cultural support program, the Native Youth Advancement with Education Hamilton (NYA WEH) Program, offered at Sir John A. Macdonald Secondary School, located in Hamilton, Ontario, Canada, attempts to re-imagine Aboriginal education in ways that directly challenge the residential school legacy. In particular, I work to illuminate how particular forms of Aboriginal education are connected to the graduation rates of Aboriginal youth. I argue that the ways in which the NYA WEH Program navigates Native Studies curriculum, relationships, and notions of culture and tradition are significant to the engagement of Aboriginal youth. This research develops theoretical connections between the contemporary experience of Aboriginal social inequality and educational initiatives which attempt to reverse that legacy. By placing the NYA WEH Program narratives side-by-side with literature supporting Aboriginal education for Self-determination, I work to learn how to best support and encourage Aboriginal student engagement in secondary schools across Ontario.

Indigenous Language Reclamation: The Learners Perspective

ABSTRACT This study explored the link between learning an Indigenous language and the meanings second language learners attach to their language recovery experiences. The study delves into the factors that motivate, enhance and serve as barriers to individual language revitalization efforts. With the goal of reasserting an Indigenous world view, the traditional teachings of the Ojibwe medicine wheel were combined with the lessons of the seven Grandfathers to provide a methodological basis for conducting ethical research with and for the benefit of First Nations people. Within the context of our relationships with self, community, spirit and environment, the pairing of Indigenous theory with the practical community experiences of Indigenous second language learners, demonstrates how Indigenous systems of thought and ontology lend themselves well to the critical understanding necessary to enhance the recovery our own endangered languages. These research findings indicate that there is a definite link between ancestral language reclamation and increased levels of self-esteem, a sense of grounded cultural identity and resilience, an overall sense of healing and the social responsibility that comes with receiving the gift of language. The barriers associated with learning an ancestral language intersect on multiple and often simultaneous levels making it difficult for the language learners to discover their origin.This research found that it was important for language learners to identify that they often carry a collective sense of shame associated with an internalized attachment to the modality of Indigeneity. Once the origin of this shame was acknowledged – as resulting from settler/assimilation logics, it was often possible for people to move forward in their language recovery journeys, while at the same time considering more broadly the structural barriers that make individual learning so difficult.

Artists Rendering of Isobel Price

Artist’s rendering in colour of Isobel Price in an oval frame with a hook at the top and a section at the back which contains a lock of hair. This painting was done by Gerald Sinclair Hayward who was a renowned artist whose work was displayed at an exhibition in New York in 1899. He painted Theodore Roosevelt, William K. Vanderbilt and members of the ruling families of Britain, Germany and Russia. The frame is enclosed in a folding case lined with velvet and silk. The silk is quite worn. The outside of the case appears to be leather and has a stand for setting it upright. It closes with a metal latch. This is accompanied by a note by R. Band.