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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
81
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Art as Counter-Story
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
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.
a. b. c.
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.
REYES 91
a. b. c.
d. e. f.
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.
94 NATIONAL FORUM OF EDUCATIONAL ADMINISTRATION AND SUPERVISION JOURNAL
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.
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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Findings
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.
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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,
Conclusions
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
References
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Author Bio