Applying the Great Wheel Model to Articulate the Quality and Merits of "Chicago Butoh"

• In Event: Problematizing Assessment of and Through Performance: Three Frames of Reference

Abstract

We begin by acknowledging Paula Underwood, whose grandfather’s grandmother was Oneida, who developed “an approach to sharing from this ancient tradition that is appropriate for those with a Western education” (p. xiii). Her book, “The Great Hoop of Life”, “is another way of sharing some of these learnings even further” (p. xiii). Citing (Author 4, 2011) Toulouse (2013) also acknowledges the importance of “Sharing our gifts” for “positive self-esteem and cultural pride” (p. 20).

We acknowledge that an assessment often reveals as much about the e(valu)ator as it does about those under scrutiny. We ‘value’ based upon how we learned to read the world (Merleau-Ponty, 1962). Objectivity does not exist, only point of view. At the playwright’s request, we employ “The Great Wheel…” (Author 4, 2011) to examine an archival video of “Chicago Butoh”, an ethnodrama (Saldaña, 2011), based upon a first-year teacher’s interview.

The model “is divided in four quadrants. Replacing the cardinal directions with pedagogy, poiesis, politics, and public positioning, the idea is that these can be moving simultaneously in the same direction instead of separately” (Law, p. 40-41). “…to provide a holistic approach in designing and assessing arts-based projects” (Author 4, 2011, p. 1), we use the quadrants to discuss the play.

Pedagogy

Searching for themes can determine a piece’s pedagogical intent. We ask, “To what degree is the teaching stance didactic/dialogic? Is it designed for follow-up workshops? Embedded themes of teacher assumptions of students’ personal lives, tyranny of standardization, intimidation of honors classes, and perfectionism, among others, indicate the possibility of pedagogical discussions. No evidence of a workshop reduces its pedagogical emphasis.

Poiesis

A white teacher (stage left) reads a first-person narrative. A black student (stage right) mimes a variety of student reactions. It remains visually static throughout. Using seats changes for characterization is awkward and one quickly forgets who is who. While a hat is used, four distinct costume changes could assist in characterization. The choice of keeping verbatim scripts is problematic. Preston (2009) discusses the “Tension between the artist and issues of voice… (p. 66) and in this case, the playwright erred with too much telling and too little showing. While not all are always necessary, the script, blocking, acting, costumes, set, and prop could be examined.

Political

Overlapping with pedagogical themes, the play contains political overtones, Teacher transience, who controls time, and prescriptive curricula all inhibit authentic teacher/student relationships. Race relations is a major implicit theme in need of greater exploration, especially now.

Public Positioning

Knowing the intended audience is crucial for assessing this genre. The play’s target audience, like Duffy’s (2019) ethnodrama for preservice and inservice teachers, is small. We believe that “Chicago Butoh” could be useful with teacher education audiences. Integrating with pedagogy, we would recommend a forum theatre.

In keeping with the concept, “good enough”, (Zack and Reid, 2003), we conclude that “Chicago Butoh” was good enough. Its interplay of these holistic features could evoke meaningful discussions and that the Great Wheel can serve as a holistic approach in assessing arts-based research.

Authors

• Joe Norris, Brock University

• Nadia Ganesh, Brock University

• Michael M. Metz, Brock University

• Kevin Hobbs, Brock University