This dissertation examines the idea that the identity of Indian artist educators and consequently Indian art education is an assemblage of socio-cultural and ideological experience and influence, and of disciplinary transgressions into pedagogical borderlands. The primary source for the concept of assemblage as employed in this study is the writing of Deleuze and Guattari.
I identify and analyze three assemblages of identity, namely: a) postcolonial self-consciousness, b) disciplinary organization, and c) social organization, to consider how art education might be approached 'other'wise in theory and practice. This analysis is based on narratives of learning, teaching and ideology that emerge in engaging composite voices of urban Indian art educators on their practice, with articulations of policy and curriculum voices.
I employ a conceptual framework of ontological hybridity that folds Indian Vedanta philosophy onto concepts of Deleuze and Guattari, such as assemblage, rhizome, and space. I do so in context of developments in curriculum and pedagogy in art education on disciplinary and social levels. I place my dissertation within the discourse of postcolonial globalization theory, exploring the concept of ambivalence in relation to identity. I employ a methodology located in the borderlands of narrative inquiry and grounded theory.
|Commitee:||Ballengee-Morris, Christine, Smith-Shank, Deborah, Walker, Sydney|
|School:||The Ohio State University|
|School Location:||United States -- Ohio|
|Source:||DAI-A 78/11(E), Dissertation Abstracts International|
|Subjects:||Art education, Multicultural Education, Pedagogy, Teacher education, South Asian Studies, Education philosophy|
|Keywords:||Art education, Assemblage, Deleuze and guattari, Hybridity, Teacher identity, Vedanta|
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