Lifelong Ethnography as Decolonizing Practice With Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez

• In Event: 35.067 - Rethinking Ethnography in the Posthuman Turn

Abstract

Objectives and Theoretical perspective
How might we interrogate our own positions as ethnographers to re-orient what the ethnographic field has historically been – an engine of European and colonialist enterprise that has harmed Indigenous communities? In this presentation, I consider the future prospects of ethnography as a vital force in educational research that is self-reflective and connective, rather than invasive and exploitative. This presentation examines collaborative ethnography through the lens of videotaped mentored painting lessons guided by Guatemalan Maya artists Pedro Rafael González Chavajay and Paula Nicho Cúmez that tightly interweave Indigenous research practices with the collaborative teaching of painting. The twofold purpose of the presentation is to extend and refine my research methodology based on the suggestions of Smith (2012) and Eldridge (2008), first, by offering new ways to conceptualize the presentation of relational experience in collaborative ethnographic work in academia, and second, by examining what it means for art educators to work with communities over an extended period of time. I include myself as a participant and mentored student through videotaped painting lessons. Because the research process and the mentoring model are intrinsically intertwined, using video in this way lets the viewer enter the research arena to witness guided artistic collaboration as it unfolds. Thus, the reporting of the collaborative research process becomes relational rather than journalistic.

Mode of Inquiry
Indigenous scholars Eldridge (2008), Tuhiwai Smith (2012), and Wilson (2008) focus on the importance of the relational in Indigenous research methodologies. In Research is Ceremony Wilson (2008) observes that forming relationships is the key to understanding an Indigenous research paradigm, which “must hold true to its principles of relationality and relational accountability” (p. 6). Wilson notes that Indigenous research is based on “relationships [that] do not merely shape reality, they are reality” (p. 7). He asks that the shared aspects of relationality and relational accountability govern the choice of research topic, data collection methods, form of analysis, and presentation. Therefore, this presentation focuses on decolonizing methods: collaborative painting, visual field notes, conversations, collaborative reflection, and analysis of the research data as evidence of the importance of the relational in research methodologies, and most importantly for this presentation, the relational representation of the mentoring experience as governed by two Maya artists.

Significance: Tuhiwai Smith (2012) requests that non-Indigenous researchers establish lifelong relationships and that the authoritative Indigenous person guide the research process. Smith also recommends that all ethnographers use protocols such as reciprocating respectful behaviors. An ethical and respectful attitude and approach include explicitly building such factors into research, discussing them as part of the final results, and relaying results in culturally appropriate ways and understandable language to the people involved. Drawing on the work of Smith (2012) and other scholars, Eldridge (2008) has developed six guidelines for an Indigenous research methodology in art education emphasizing interconnectedness. This collaborative painting project reflects the interconnectedness of Indigenous research and pedagogy and its relational representation.

Author

• Kryssi Staikidis, Northern Illinois University