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Jill Strauss' Powerpoint


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Dr. Jill Strauss shares about her dissertation project in Northern Ireland.

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Jill Strauss' Powerpoint

  1. 1. Communities of Interest project participants at the Millennium Court Arts Centre Portadown, Northern Ireland
  2. 2. Interdisciplinarity •“[T]o develop the artistic and storytelling side of her practice as an ethnographer” Barbara Myerhoff invented the term the third voice to describe the collaborative outcomes of the examination of one life from two different view points (Kaminsky, 1992). •Oral historian Luisa Passerini uses the term intersubjectivity to describe the unique relationship of the narrator and the interviewer each bringing his/her history and experience to the research (2002). •In 1995 curator and art critic Nicolas Bourriaud writes about intersubjectivity in his book Relational Aesthetics (1998). •Art historian/critic Grant Kester uses the term dialogical aesthetic to describe art practice in which “conversation [is] an integral part of the work itself…“collaborative, consultative approach [that is] an active, generative process” (2005). In Peace and Conflict Theory the term worldview describes all that makes us who we are and how we understand the world. When our worldviews clash there is conflict.
  3. 3. Peace and Conflict Resolution Education Visual Thinking Strategies Storytelling and Art Making Self-Reflection Memory and Imagination Walking in the Other’s Shoes Multiple Perspective Taking Listening and Paraphrasing Empathy and Validation Digging Deeper “Mutually invisible” (Portelli 2011) becomes mutually visible
  4. 4. Can I see another's woe, and not be in sorrow too? (William Blake, Songs of Innocence: On Another’s Sorrow, 1789) Research Questions 1. When parties in conflict are too hurt, positional, or traumatized to hear the other’s story can they see it and even feel empathy? I wanted to find out whether interpreting visually someone else’s story would be like walking in the other’s shoes for the artist participants and validating for the older participants to have their stories visualized in an empathetic way by another. 2. When one party in the conflict acknowledges the other’s narrative or experience as valid is it easier for the other in turn, to accept the legitimacy of the first party’s narrative or experience? If portrayals of both/all sides of a conflict are exhibited in the same place thereby validating at an institutional level all the truths, will it be easier for the parties involved to accept the other’s experience as valid as their own?
  5. 5. (OH) Life History = (CR) Timeline Activity Concentric Circles - Listening and Paraphrasing Mirroring Activity
  6. 6. Micro-Lab Activity – (OH) Deep Listening = (CR) Active Listening
  7. 7. Empathic Perceptions by Nuala Gallagher
  8. 8. Love and Loss in the Milky Way by Fred Wilson, 2005
  9. 9. “Whenever the name Portadown came before my eyes it was nearly always bad news.” from Two Lands on One Soil by Frank Wright
  10. 10. Banner of Hope by Gillian Davidson
  11. 11. Third of May 1808 Francisco de Goya Kigsmill Massacre Gillian Davidson Yesterday Today Internally Displaced Peruvian Women Third of May After Goya Robert Ballagh Slaughter of the Innocents I: Execution at Szydlowiec, 1942 Meyer Kirshenblat
  12. 12. Us and Them by Emma Buckley
  13. 13. + + = St. George's Cross St. Andrew's Cross St. Patrick's Cross British Union Flag The Four Provinces of Ireland Ulster, Munster, Connaught and Leinster
  14. 14. Hoping for a Sunny Day by Catherine McKenny
  15. 15. You Can’t Put Your Arms Around a Memory by Steve Lally with Sadie Hamill Like an old house at night with all the lamps lit and ancestors whispering inside… to understand history we have to go inside and listen to what they're saying and look at the books and the pictures on the wall and smell the smells The God of Small Things, Roy, 1997
  16. 16. Making Memories Matter project by the European Reminiscence Network
  17. 17. Border Incident by Willie Doherty, 1994