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THE SEARCH FOR ME, THEM, AND US:
A JOURNEY INTO SELF AND CULTURE

By

ASHLEY STERLING MAYABB

A CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS OF THE
UNIVERSITY OF FLORIDA IN PARTIAL FULLFILLMENT
OF THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS

UNIVERSITY OF FLORIDA

August 2014

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!2014 Ashley Sterling Mayabb

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Acknowledgments
I would like to take a moment to thank my wonderful father, for always encouraging me
to do my best and for showing me the importance of both my education and my talents. Without
your love and support, I would not be the successful woman I am today. I would also like to
thank my husband who has been by side through every late night crying session for two years.
Your continued support and encouragement kept me going, even in the darkest of times when I
felt I would not be able to continue. And finally, I would like to thank Elizabeth Delacruz and
Craig Roland for being a compassionate team in assisting me both in and out of the classroom,
through my capstone experience, and for being incredible leaders in the field of art education. I
thank you all from the bottom of my heart.

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ABSTRACT OF CAPSTONE PROJECT PRESENTED TO THE COLLEGE OF FINE ARTS
OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS.

THE SEARCH FOR ME, THEM, AND US:
A JOURNEY INTO SELF AND CULTURE

By

Ashley Sterling Mayabb

August 2014

Chair: Elizabeth Delacruz
Committee Member: Craig Roland
Major: Art Education
Abstract

The purpose of this research was to examine how students' sense of self is constructed through
facets of culture that could include social, global, and personal dimensions; what affects the
formation of a student's sense of self; and how students utilize artistic practices to explore their
individual identity and narrate their personal story. The study took the form of a six-week
cultural identity unit spanning six weeks at a small middle school in the suburbs of north
Georgia. Over 30 eighth grade students of varying ethnic, racial, and economic backgrounds
were studied for this project. The unit being delivered engaged students in a variety of informal
conversations, writing options, art-making opportunities directed around concepts of culture and
identity, and culminated in the creation of Artist Trading Cards and Culture Collages. The
research found that participants were eager to engage in critical dialogue when given the
opportunity to engage subject matter that was personally relevant and art making opportunities
that allowed for exploration and experimentation. Contained within this capstone paper are my

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research, findings, and recommendations for the future. I begin by introducing the details of my
study; then I summarized significant literature in the field; and finally I shared my methodologies
and findings of my research. The end product of my capstone study is a website containing my
resources, plans, and examples of student work that other educators in and out of the field might
find useful in their curriculum planning. The website can be accessed at
www.ashleymayabb.com.

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Table of Contents
Title Page ......................................................................................................................................... 1
UF Copyright Page .......................................................................................................................... 2
Acknowledgements ......................................................................................................................... 3
UF Formatted Abstract .................................................................................................................... 4
Table of Contents ............................................................................................................................ 6
Introduction ..................................................................................................................................... 8
Statement of the Problem .................................................................................................... 9
Purpose of the Study ............................................................................................................ 9
Research Questions ........................................................................................................... 10
Significance of the Study ................................................................................................... 10
Assumptions ...................................................................................................................... 11
Study Limitations .............................................................................................................. 11
Literature Review .......................................................................................................................... 12
Definition of Terms ........................................................................................................... 12
Methodology .................................................................................................................................. 20
Subject Selection, Site, and Description ............................................................................ 21
Data Collection Procedures ............................................................................................... 22
Data Analysis ..................................................................................................................... 23
Findings ......................................................................................................................................... 23
Open Dialogue Is the Window To the Soul ....................................................................... 24
Its All About Me, Them, and Us ...................................................................................... 26

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Experimentation and Exploration Lead to Ah Ha! Moments ............................................ 29
Discussion and Conclusion ............................................................................................................ 32
Interpretation of Findings .................................................................................................. 35
Recommendations ............................................................................................................. 39
Conclusion ......................................................................................................................... 41
References ..................................................................................................................................... 43
List of Figures and Figure Captions .............................................................................................. 46
Author Biography .......................................................................................................................... 47

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Forming Self

As an adolescent, I found myself preoccupied with notions of what made me unique,
what made me important not only to myself, but to others around me. I knew I was white,
female, heavy-set, and enjoyed Anime and playing softball. I had a grandfather who emigrated
from Holland and that made me one-quarter Dutch while I knew nothing of my father's lineage,
only that my granddad was in World War II, which immediately gave me a sense of pride in the
military. I didn't particularly fit in anywhere, but the television ads with the latest fashion trends
and even the magazines about children from third world countries who were starving imparted
their beliefs of who and what I should be. I turned to art as a means of exploring how all of these
small puzzle pieces made up the great picture of my identity and even my culture.
Recalling such experiences influenced my decision to pursue research on how
adolescents form a sense of self and how culture plays a role in this process. Utilizing art as a
means of comprehending and cataloguing the worlds impact on my formation of self was yet
another factor in my decision to develop and implement a curricular unit based on such a
journey. After designing, employing, and reflecting on how this unit impacted my students
understanding of their own cultural identity, I also came to the realization that such a unit is a
reflection of how my own classroom should run, that is, with the students at the forefront of
discovery. With this in mind, I have shared my unit on my website so that other art and core
teachers alike may use some of my ideas to discover the complexities and talents of their own
study body. This website can be found by clicking on the following link:
http://selfandculture.weebly.com.

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Statement of the Problem
With our world increasing in diversity and complexity, we find ourselves attempting to
understand the intricacies of what makes us unique or even a part of a particular group or
subculture. Sometimes we prod deeply for something that will make us stand out from the crowd
while other times we simply wish to be treated as equals to our peers. We wake up in the
morning with a sense of who we might be and end it wishing it could be different. We look to
our friends, neighbors, billboards, magazines, and even transient groups from across the globe to
assist us in understanding who we are. Our jobs, the businesses around us, our neighbors, and
even our unborn children are eventually influenced by who we intend to be as both cultural and
distinct individuals. This myriad of possibilities is what sparked the purpose of my study, which
was to understand what my students considered valuable to their sense of self and how artistic
practices could help shape their understanding. Such information is valuable not only to art
educators, but to general education teachers interested in providing their students with an
educational experience that is personal and relevant to their individual lives, rather than one
shaped by assumptions, prejudices, and stereotypes.
Purpose of the Study
The goals of my study were to investigate the factors that inform my students'
understanding of their identities so that I may in turn develop sound art lessons that encourage
the development of a sense of self. I began my investigation into these various factors through
historic and contemporary research on identity formation, the connection between art and the
formation of self, as well as various practices utilized across the globe that are similar to my own
unit. Throughout the unit, I conducted various informal interviews with my students about what
they believed was integral to their understanding of self and how art played a role in this

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perception. Throughout the unit, students participated in various art-making activities that
resulted in the production of Artist Trading Cards and Culture Collages. These art products
contained various pictures, symbols, and media that illustrated what informed each students
understanding of their cultural identity. The end result of my study was not only my curricular
unit that encouraged students to investigate, recognize, and appreciate the variety of differences
and similarities found within the classroom, but a website full of examples of student work,
responses, and resources for other educators in the field to utilize.
Research Questions
In order to ensure that my research was as authentic as possible and directed towards the
goal of understanding how students develop their sense of self and how artistic practices can
assist them in doing so, I utilized the following questions to guide my study:
1. What curricular strategies and resources are best suited to engage middle
school students in developing a sense of cultural identity?
2. In what ways do students display insights about how their identity is shaped
through personal, social, and global culture?
Rationale and Significance of the Study
I find this study to be of great importance because of its significance to our goal as
educators, which is to provide the most relevant and meaningful instruction to our students as
possible. By utilizing lessons and projects that focus on the student and their individual
characteristics and interests, we are creating experiences that the students can become personally
invested in and thus carry with them into the future. These lessons also create an atmosphere of
trust and compassion between participants so that each may create and explore without fear of

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persecution. Overall, this study is of importance because it focuses on the heart of the classroom
and its needs: our students.
Assumptions
As I developed my study, I made several assumptions. I assumed that students would be
eager to take part in an art-based unit about their sense of self and their cultural identity. This, in
turn, lead me to assume that they would be open and receptive to the written reflections,
conversations, and assignments that were presented during the unit and that they would be
willing to answer questions regarding what is personal to them. I also assumed that my students
would be truthful and genuine when answering my questions and would put forth the effort to
take part in my unit. Finally, I also assumed that every student would be able to participate in my
study unless administrative or parental concerns arise.
Limitations
As well as having had assumptions about my study, I was equally aware of the
limitations. First and foremost was the time frame in which I had to deliver the unit. I only had
six weeks in which to work with my students because of scheduling and curriculum constraints.
This was also assuming that it was six weeks of uninterrupted class time, which is rare in my
situation. Another limitation was the study body in which I was working with. I was not only
working with a small number of students but a group of student that I had only seen for three
weeks prior. Lastly, I also had a number of language barriers to overcome that were challenging
for transmission of information. Several of my students were English language learners and were
still overcoming the hurdle of adapting to a new dialect. On several occasions, a student who was
bilingual was translating for these students and it was difficult to insure that the information is
being transmitted accurately.

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Literature Review
The notions of culture and identity-or what can be considered as sense of self-pose two
unique yet comparable models that can be expanded upon within the art classroom. Each of these
concepts can be used to benefit both the student and the greater classroom community.
Researchers and educators alike have placed great importance on valuing the formation of -self-
in youth and adolescents and have sought to catalogue their explorations and understandings
through contemporary research studies. By relying on such literature to guide and enhance
instruction, teachers can begin to "explore the difficult task of teaching art wisely, sensitively,
with great regard for the grand multicultural experiment that is America (Delacruz, 2012, p. 3).
The following literature review seeks to explore the concepts of self, culture, and their
interrelatedness by addressing the writings of contemporary researchers including Dr. Elizabeth
Delacruz, Dr. Susan Bliss, and Professor Cora Marshall. Each author imparts their own
distinctive understanding of how every concept is a complex, multi-layered, and ever-changing
social and individual construct.
Definition of Terms
Identity is thought to be a complex construction of individual, social, and
global characteristics including gender, ethnicity, class, age, disability and
sexualityeducation, urban or rural residency, cultural background, access to
transportation or communication (Gauntlett, 2008, p. 15) as well as many other facets of
human life.
Culture can be considered as the way of life of a group of people and includes,
but is not limited to, their customs, attitudes, beliefs, traditions, and rituals (Kidd &
Teagle, 2012, p. 6).

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Intercultural Education is a responsive instructional framework that places
students at the center of teaching and learning. Teachers nurture students intellectual,
social, emotional, and political identities while encouraging and facilitating cross-
cultural integration that help students articulate their cultural assumptions and values
(Vinz, 2009, p. 3)
Big Ideas Informing this Study: Self-Identity and Culture
Identity or More Appropriately, Self. To begin the quest into self and identity, one
must first understand what identity actually signifies. While these terms have saturated the
dialogue of students and teachers for decades, Ferron (1999) notes that a true discernible
definition has yet to be developed that can encompass all aspects of the word and its multiple
meanings. As humans are complex beings, so too are their actions as well as the explanations for
them. What one person appreciates and values within a particular context might seem trite and
inconsequential to another. To entertain some semblance of a definition, researchers Lavoie
(1994) and Ferron (1999) have concluded that signifiers of personal identity and self might
consist of "a set of attributes, beliefs, desires, or principles of action that a person thinks
distinguishes him/her in socially relevant ways and that the person takes a special pride in"
(Ferror, 1999, p. 11). These include appearances, beliefs, traditions, opinions, attitudes, skills,
and lineage. Researchers believe that such characteristics reveal what is valuable, important, and
worthy in one's life; what may necessitate a sense of pride, dignity, and accomplishment to the
individual (Lavoie, 1994). These are aspects of our being that are essential to our individuality,
our self-esteem, and to organizing and evaluating our interests (Ferron, 1999).
Identity, especially in regards to an individual's idea of self and individuality, is also
often used as a social category to define a group through ideas of "race, ethnicity, religion,

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language, and culture" (Ferron, 1999, p.4). Often times, these constructs involve understanding
the group in relation to others and the interactions that take place. This signifier places great
importance on identity as a means to attain social belonging (Stewart & Walker, 2005). Delacruz
and Ferron agree that some identifying characteristics are forced upon the group or individual
and in some cases these marks are irreversible as in the instance with many stereotypes (Ferron,
1999). These researchers also concur that an understanding of self could be judged as a
continuously evolving system where various social conventions play heavily on its development.
This type of flexibility allows for continuous growth and reevaluation of one's personal and
social identity.
Culture. Much like identity, trying to deduce an accurate definition that encompasses all
aspects of the term culture is challenging to say the least. Several researchers like Marshall
(2007) and Delacruz (2012) have accepted the challenge and regard culture "as those shared
beliefs, behaviors, practices, and values created by ethnic groups to foster a sense of communal
identity and cohesiveness through a variety of social interactions, arrangements, communications
and artifacts" (Delacruz, 2012, p. 7). Such an understanding has its roots in the very founding of
our nation and the travels of indigenous people long before. Historians of the time, such as
Gordon S. Wood, held firm in the belief that the American Revolution was the original
birthplace of our modern postulations on culture (Hoffman & Howard, 2013). Marshall (2007)
concludes that it is because of the fragile interaction of the various peoples and cultures that our
nation is the breeding ground for diversity as well as similarity.
Culture can also be addressed in relation to "language, race, ethnic background, country
or region of origin, dress, religion and associated practices, social and community
responsibilities, sexuality, disability, and family and political views" (Bliss, 2010, p.1). The

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spread of such diversity among characteristics can be attributed to the constant migration of
peoples across the globe and the transmission of knowledge that goes along with it. Allemann-
Ghionda (2012) asserts that culture and communication are specifically linked to each other and
that one of the greatest factors in the spread of cultural knowledge is language. Such knowledge
includes "not only the arts and letters, but also modes of life, the fundamental rights of the
human being, value systems, traditions, and beliefs" (Bliss, 2010, p. 1). Contemporarily
speaking, language now takes the form of TV, video games, social media, and the Internet so that
cultural information is now being transmitted at a faster pace. Through these researchers, it
becomes clear that culture possesses many different aspects of the human experience and is also
shaped by the experience itself.
How Culture and Self are Intertwined
It is easy to see how the notions of culture and identity, or self, can become intertwined.
Each provides us with a sense of fitting in, of having rights and ownership to a personal brand.
People look to these concepts to experience a sense of belonging as well as a source of
motivation and direction in their personal lives (Jones, 2005). Race, beliefs, values, class, and
interests are all housed within the expressions of both culture and identity. Each of these plays a
role in how we define our awareness of self and of others. Those around us inevitably inform our
understandings of self and culture, specifically by family members, friends, and community
members (Marshall, 2007). Through these influences, especially those revolving around the
ethnic and cultural aspects of our lives, we begin to develop the realization of our existence as a
small piece to a larger puzzle. We adapt our views and our behaviors in response to positive and
negative stimuli from "political, economic, educational, and social experiences" (Jones, 2005, p.
1).

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A sense of self in relation to one's culture is also synthesized in respect to what Jones
(2005) declares as the "12 attributes of culture: ethnicity/nationality, social class, sex/gender,
health, age, geographic region, sexuality, religion, social status, language, ability/disability, and
race" (Jones, 2005, p.2). These concepts are central in both the child's understanding of personal
and social culture as well as a sense of self. It must also be noted that children and adolescents
alike are constantly in the midst of changing identities because "notions of self are frequently
negotiated through contact with different locations, circumstances, and people" (Demeo, Smith,
& Widmann, 2011, p. 188). The visual culture, media culture, and school culture also play a role
in the overlapping between culture and identity through their presentation of symbols, graphic
representations, and even stereotypes. Now more than ever, children are battling to discover
who they truly are and what constitutes their individuality.
Art for Identity's Sake
A large part of understanding the intricacy of self is the act of unearthing the myriad of
pieces that make up the whole of the individual. This can be achieved by looking to the arts as a
tool for investigation, release, and expression. The fine arts can be utilized as a means to assist
"students understanding of self, one's own culture, and being open to the cultures of others"
(Bliss, 2010, p.1). For millennia art has provided us with methods to organize, enjoy, and capture
the world in which we live. These historical and personal experiences have been passed down
from generation to generation to create the vast repertoire of traditions that we often taken for
granted. Being able to express, articulate, and explore one's identity through various cultural
opportunities can be capitalized on through artistic avenues. In this sense, art can be approached
as a variety of subjects that can be viewed aesthetically and that can eventually evoke a sense of
passion and movement from the student (Wilson, 1984). Creating, understanding, and enjoying

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art by utilizing art materials and practices gives students a unique avenue in which they can
explore both personal and social identity, learn and connect to their own cultural heritage, as well
as the heritage of those around them (Bliss, 2010).
"The act of emancipating what is inside by giving it a physical form and then putting it
out into the world, announces as well as reinforces cultural identities" (Marshall, 2007, p. 7).
The student becomes invested in the process as a means of self-discovery and actualization.
Creating art allows students to reflect life experiences, values, and ideals that may have
otherwise been ignored and may eventually move others to confront larger social issues
(Hossman & Howard, 2013). Because of this, teachers should develop thoughtful and
compassionate assignments that acknowledge the varied experiences of children (Delacruz,
2012). Such curriculums should encourage creative freedom, collaboration between students, and
dialogue about artwork from varied cultures, places, and historical time frames. These lessons
could revolve around investigations of border-crossing identities, how one's identity is multi-
layered, how particular values change under varying circumstances, how we treat one another, as
well as inviting students to tell their own stories (Delacruz, 2012).
Wrapping it Up
Developing a sense of self and understanding of one's culture are directly linked through
the various aspects of what we consider as a part of each notion. While each is a multi-layered,
often ambiguous and an ever-changing part of the greater concept of the human being, we are
constantly looking for ways in which to display and comprehend their value in our lives.
Whether through personal investigation or through developing works of art, identity and culture
can be examined and appreciated by individuals who consider themselves unique to the greater
global sphere.

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Applications to Contemporary Research in Art Education
How Does It Apply? The research of both the past and present encourages the notion
that one's culture and sense of self should be both nourished and developed, even at a young age.
There are a multitude of different approaches to nurturing a creative and culturally understanding
classroom community. Some revolve around the artistic freedom of the creator to express their
individuality (Bliss, 2010) while others harness the power of critical and cultural dialogue to
inform and reform assumptions of the global culture (Alleman-Ghionda, 2012). Each involves an
understanding between the teacher and students as well as the students as a whole. The reason
for such a focus within the classroom is that the contemporary student body represents a range of
lifestyles that contribute to the atmosphere of the classroom as a whole. As Delacruz (2012)
points out, more children are coming from families of foreign-born immigrants, unmarried
parents, include refugees, or have a multiracial lineage. These children face unparalleled
challenges involving identity and culture confusion and well as acceptance within and outside of
the school sphere (Delacruz, 2012). With this in mind, the goal for teachers is to "empower
students to succeed by providing them with a learning environment that respects culture,
embraces their diversity, and celebrates their differences" (Jones, 2005, p. 3).
Connecting to the Classroom. One such approach to assisting students in their journey
towards cultural understanding and appreciating individual identity is intercultural education.
The basis for this particular approach revolves around encouraging rather than neglecting the
interaction of cultures within a particular location, the sense of belonging that occurs through this
interaction, as well as the resulting sociocultural difference and diversity that is formed
(Allemann-Ghionda, 2012). An intercultural framework promotes tolerance, acceptance, and
appreciation for the diversity of lifestyles that exist within our communities and classrooms.

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Here, democracy is supported and collaboration is vital to academic success. Students engage in
critical dialogue about cross-cultural experiences and expectations with no fear of persecution or
stereotyping. This type of program promotes high self-esteem, encourages a sense of communal
identity, develops tolerance of the views and lives of others, instills empathy within the student,
and finally, can assist them in developing their "own sense of identity and belonging which are
fundamental to personal well-being and the achievements of a flourishing and cohesive society"
(Bliss, 2010, p. 3).
What is Left? While research in the fields of cultural studies and the development of self
continue to mature, examinations into how the arts expand children's understanding of cultural
identity seem to be few and far between. It is vital that researchers and educators alike continue
to investigate topics of identity and culture in order to continue providing the most authentic
opportunities for their students. By focusing on such issues, teachers can "assist students through
culturally relevant teaching, using the cultural knowledge, prior experiences, frames of reference,
and performance styles of ethnically diverse students to make learning encounters more relevant
to and effective for them" (Jones, 2005, p. 2). Without contemporary research on these subjects,
teachers are left to assume, and in some circumstances "dramatize some student's sense of
inadequacy and family circumstance over which these children have no control and spotlight
their inability to recreate desired cultural narratives" (Delacruz, 2012, p. 5). While this may seem
extreme, is does not discount the need for further research in all areas of culture, identity, and
construction of the two through the arts.
After conducting my initial research, I am left to wonder what the implications are for the
future of our global culture, both indigenous and large scale. Will globalization take hold of
every corner of our sphere? With "about 70 per cent of the world's 7,000 languages being

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endangered with no children speakers" (Bliss, 2010, p. 39), what does that mean for cultural
heritage that is orally shared from generation to generation? As technology and the rapid pace of
modern society encroach on the very fabric of our being, I am left to wonder what will come of
those cultures that have given us so much, but are left behind. Will these cultures be around long
enough for their grandchildren to know their ancestry? Do these children even care or want to
know?
These are questions that I feel will remain unanswered. However, I am hoping that with
further research I can assist my own students in their personal journey towards self-discovery
and actualization. I hope that my findings will provide me with the knowledge I need to develop
wholesome and authentic experiences for my students to grow and develop as both independents
and culturally sound individuals. It is through cultural studies, the pursuit of individual identity,
and the creative attributes of the arts that such a step can be made, and that a better future is
provided for my students.
Methodology

In order to obtain authentic answers to how and why students develop a sense of self
through a variety of cultural factors, I utilized critical action research. This helped me become
familiar with and understand the experience my students undergo in forming a sense of self and
helped me improve my related curriculum. Both Lodico (2006) and Gardner (1994) concur that
as a qualitative approach to inquiry, action research provides a chance for the teacher-
investigator to develop "an adequate knowledge base for improving one's curriculum" (Garner,
1994, p. 15). Such efforts can be further employed to better the experiences of the student body
involved.

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Through critical action research, I examined one unique group of eighth graders from a
variety of ethnic, cultural, educational, and economic backgrounds and may or may not have
experienced an art class before. They took part in the study for six weeks at 55 minutes a day of
the last quarter of the 2013 to 2014 school year. The actual date of the unit was from April 18
th
to
May 22
nd
. The art classroom at my current middle school located in suburban north Georgia was
the main area of instruction and location of study.
Subjects
The subjects of my study were a group of 32 eighth grade students, each of which had
been attending my art class for three weeks prior to the study. All participants were between the
ages of 13 and 15 with 60 per cent being female and 40 per cent being male. The majority of the
group was from middle to lower income backgrounds with 65 per cent being white, 13 per cent
being Hispanic, and each of the African American and Asian Americans being in the 13

per cent
range. Most of the student had been attending their current Title I middle school for the bulk of
their experience and were expected to graduate to the local high school. While several students
commented on being born to non-native parents of the United States, the remaining participating
group was from native families.
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Research Site
The site in which the study took place was my art classroom at a suburban middle school
in the heart of north Georgia, one of nine in the surrounding county. The space itself was a large,
well-lit room capable of housing over eight student tables as well as a plethora of storage and
adjoining kiln and stock room. The classroom was equipped with a four-machine computer
station with printing and scanning capabilities and also contained a Promethean projection screen

1
Whlle my research was conducLed wlLh real sLudenLs, l wlll be uslng pseudo-names Lo proLecL
boLh Lhelr ldenLlLy and Lhe confldenLlallLy of Lhls sLudy.

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for use in the delivery of the lesson. The room also housed a large dry-erase board as well as
several display tables for students to utilize as required. Students were free to maneuver about
the classroom, as they needed to either work with others or to gather supplies for their various
activities.
Data Collection Procedures and Instrumentation
The purpose of this study was three-fold: to assess the ways students displayed insights
about how their sense of self is shaped through the various facets of culture that could include
social, global, and personal dimensions; to identify and field test teaching and learning methods
that engage students' inquiries about cultural identity; and to ascertain the effects of such
curricular intervention. The data itself was in the form of verbal, written, and artistic reflections
of personal and group experiences that assist in identity formation. They were collected through
a variety of structured and semi-structured interviews conducted with students, through
observations and keeping field notes, and through surveys, photographic documentation of
student art, and a culminating questionnaire. The culminating questionnaire contained reflection
questions that followed the unit required students to indicate several points: what contemporary
artists from the lesson made an impact on their understanding of their cultural background, how
they depicted how they celebrate their own cultural traditions in their artwork, and what project
they felt best allowed them to tell their personal stories. In total, the length of time it will take for
data collection to take place will be approximately six weeks.
The culminating activities for the unit took the form of multi-media Artist Trading Cards,
and final larger scale collages that were constructed via materials, images, and symbols that
represent each aspect of their sense of self. Students also engaged in a final critique of the
learning and artistic process that probed how they utilized artistic strategies and motifs (or

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symbolizations) to express their cultural understanding of self. The artwork was then cross-
examined with data from the culminating reflective questions addressing more specific areas of
identity formation, such as how visual culture and technology impacted the student's work. All
forms of data collection, both written and photographed, were catalogued into word processing
documents and stored on a digital drive on my computer for easy access.
Data Analysis
The goal in collecting data through a variety of qualitative measures was to analyze and
assess the ways that students constructed identity through personal, social, and cultural means. I
organized the information I collected using a structure similar to that discussed in the writing of
Professor Margaret LeCompte (2000). To begin, I catalogued my findings into various groups,
looking for areas of similarity as well as difference and trying to decipher why such
correspondence and discrepancies existed. I reflected on and interpreted these findings to seek
out some type of pattern or structure that would be useful in understanding how my student's
build on concepts of identity. As LeCompte (2000) points out, it was imperative that I sift
through this information to look for topics of frequency, omission, and declaration so that I may
begin to formulate the necessary organizational structures that gave way to the answers to my
research questions (LeCompte, 2000). By working through these organizational stages, my data
was cohesively assembled into a workable framework that was beneficial in answering my
research questions.
Findings
The main purpose of my research was to unearth the myriad of possibilities in how
students' sense of self is impacted by the multilayered notion of culture as well as how students
discover their understandings through the use of artistic practices. What I realized was not only

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that our contemporary student is a complex being full of inherent and unexpected elements, but
that creating units based on what is central to them as individuals brings out the best in my own
classroom practices. Students became engaged in critical dialogue that spanned not just from
student to student, but from student to teacher and beyond. I also found that when subject matter
is addressed that directly relates to the interests of the students, then their productivity,
communication, and understanding evolve into mature experiences that the student becomes
whole-heartedly involved in. Lastly, I discovered that when students are given the opportunity to
explore and experiment as they pursue subject matter that is personally relevant, they make vital
connections between themselves and the world around them and harness the power of the visual
to tell their personal stories. Overall, my research revealed that keeping the student central to my
classroom instruction and goals is what I should always keep in mind when designing practical
and applicable units of study for my art classes. The following discussion further elaborates on
these findings.
Open Dialogue is the Window to the Soul
One of the major findings I came across during the span of my research was that creating
units of study that are based upon the concerns and interests of the students produce much
needed, critical dialogue within the classroom. The unit presented to the students revolved
around two major concepts: culture and identity. At several different points during the lesson,
students were asked to share their insights and beliefs about what constitutes each of these
complex concepts and how the two might overlap. (See Figure 1) For example, in the middle of
one of the preliminary discussions, Brandon eagerly raised his hand to proclaim Its like our
culture is our identity! Students were also introduced to contemporary artist Peter Lewis and
were given the opportunity to illustrate ways in which he, as an artist, utilized symbolism and

23

common themes found in daily life to exemplify his culture and world. Many students found
themselves getting out of their seats to visit the board to look at the multitude of images within
his work. When addressing Lewis Battle Kittens, several students remarked about how we often
associate kittens with innocence and purity because of the way they are portrayed in the media
and in our personal lives, however in this composition, they take on a new role as menace simply
by altering the size and placing them in a battle situation. Because these ideas were very
subjective, students found themselves immersed in discussions with their peers and with the
teacher about how such notions are formed and where they might have originated.

"#$%&' () *+%,'-+. ,#./%..#-$ +0'#& #-+'&1&'+2+#3-. 34 /%5+%&' 2-, #,'-+#+67
Students who were not normally active within the art classroom were having passionate
discussions with their classmates about their views. For example, when discussing religion and
how it affects our views of one another, two students shared their experiences about being
Atheist and how others often judged them as being nave or ignorant. They revealed how hurtful
the comments were and how their religious choices should not be a reflection of their
intelligence. The other students in the classroom listened intently and agreed. This scenario was
also similar to that of some of my Hispanic students. They were very vocal about their beliefs

26

and freely shared their customs and traditions with the class, in some cases, spurring even further
and more detailed dialogue than originally intended. It was a remarkable and heart-warming
experience to witness such cultural responsiveness. Students were also eager to share their
perceptions of delicate subjects such as sex, gender roles, gangs, and drugs and how these often
influence their identities and how they are very much a part of their contemporary culture. I
found that students were more often synced with their beliefs about each subject rather than
separated which, in the end, proved fruitful to the final classroom discussion. Overall, the
dialogue exchanged between all participants was abundant and critical to each students
understanding of their cultural identity.
Its All About Me, Them, and Us
One of the driving questions behind my research involved looking at a variety of
curricular and instructional strategies that could be suited to engage middle school students in
developing an awareness of their sense of self. What I discovered was that not only do these
teaching strategies themselves matter, but also being able to provide students with learning
experiences that are pertinent to their lives matters greatly. While this may seem obvious, I
realized that so much of what I was teaching was assumed (by me) to be relevant to my student
body instead of proven to be. In my new unit, created for this study, when my students were
presented with questions and prompts to discuss and create based on their individual pursuits,
interests, and personalities, the entire atmosphere of the classroom changed. Students were
intrinsically motivated to share and explore their individual differences and commonalities. At
one point, the classroom was divided into sections of discussions because students had so many
ideas to share. One group was chatting about Starbucks and how they have capitalized on the
market not only for their good coffee, but also because of a blend of high culture, high prices,

27

and great marketing strategies. Another was focused on music and how people are often judged
based on their music tastes such a grunge metal and the Goth style. This conversation eventually
morphed into a heated debate about fashion choices and the link between fashion and bullying.
Students were also asked to discuss and analyze how contemporary cultures and
subcultures, such as pop and political culture, immediately affected their sense of self. In effect,
students were asked to think about and talk about themselves, and things in their world that
impacted their self-identity. Many revelations were had during this aspect of the unit. Students
made connections between their choices and the choices of their family members. For example,
several students were very aware of alcohol abuse within their families and were determined not
to follow the same path as their relatives. One of my Salvadorian students discussed how he felt
like she was a part of a translator culture because he is constantly interpreting for those around
him who do not speak English. He spoke of the challenges of feeling used and exasperated at
having to be a middle man when all he wanted to be was himself. Another conversation that
took place was based on friendships and having multiple personas to fit the different
relationships within students lives. One student commented that for every friend and family
there is an accompanying identity with that person or group. She said that she acts one way at
school, one way at home, and one way with her friends. The conclusion for this is grounded in an
air of trust and comfort. Jessica said that she does not have a fear of being left by her parents but
there is a constantly threat of being left by friends, and that is why there is a constant need to
conform and change the way she acts, dresses, and even talks. With these discussions and stories,
it became very apparent that so much of ones identity is constructed through social experiences.
The students involved in the study also considered how commonly found sources such as
magazines, the Internet, and newspapers and the content within these sources impacted their

28

understanding of themselves and their world. When working on the culture collage, many
students used popular brands such as Cover Girl, Nike, Apple, and Beats to reveal not only their
interests, but how many of these companies target consumers their age. One student commented
that she loved wearing make-up because it made her feel beautiful and she conferred that, since
all of the women in the make-up ads are the standard of beauty, wearing make up must mean she
will be or is already beautiful.
Alongside contemporary media, students also viewed the work of Hispanic artist Frida
Kahlo and addressed how she displayed what was occurring during her time in her artwork
through imagery and symbolism. They discussed how, even though her life was filled with
torment and grief, she still managed to produce incredible work that illustrated so much of her
identity. Delilah commented that she felt a connection with Kahlo in that she too, found art to be
a means of telling a personal story in a visual way so that others can in turn, create their own
stories from the work. Other students utilized this knowledge to assemble their cultural collages,
visually identifying areas of their social and global culture that directly shape their world and
impact their understanding of how they fit into it. (See Figure 2.) For example, several students
cut out images of popular trends that they see on a daily basis including Facebook, Hollywood,
Justin Timberlake, Sephora, and Canon. Other students sought to tell a story through their
imagery such as Brenda, a native to Russia, who created a collage out of places she has been and
places she wants to go that she found in popular magazines such as National Geographic and
Better Homes and Gardens. Through exploration of such subject matter, I was able to see that
our modern student body is much more aware of how their surroundings, peers, and self-identity
are intertwined than I previously understood. The fact that they are very willing to discuss and
defend their views if asked was particularly informative. For example, Kennedy created a

29

collage utilizing only black and white imagery including some of her own personal poetry and an
image drawn by a friend. She proceeded to share with me that the black and white represents her
split identity-happy on the outside and sad on the inside- and how she is currently seeking
therapy for depression. Her poetry, she concluded, was a way for her to deal with her struggles
and the image she included in her work, was created by a friend who had recently committed
suicide. Kennedys story is just one of many examples of the intricacies of students
understanding of their sense of self.

Figure 2: Students looking for imagery of contemporary culture to add to their collages.
Experimentation and Exploration Lead to Ah Ha! Moments
Another force behind my research was looking at how students convey their insights
about their cultural identities in their artworks. Students were given the opportunity to explore
and experiment with a range of mediums and techniques in a variety of ways. Some of these
mediums included scrapbook paper, buttons, puzzle pieces, tempera paint, and ink. Students
were able to decoupage with glue, create duck tape transfers with some of their favorite images,
and use tempera washes to create overlays over wallpaper. One project included the production

30

of Artist Trading Cards, which are small, three inch pieces of cardstock that can be treated with a
variety of media on the front and back of the card and are then traded with anyone. In creating
their own Artists Trading Cards, the objective for students was to create three unique cards that
displayed an array of symbols and imagery that related to the individual students cultural
identity. Once completed, students selected a card to trade and were able to keep the other two.
The result was a vast collection of exceptional, miniature art pieces adorned with innumerable
amounts of two-dimensional and three-dimensional media. What was truly astonishing were the
range of symbols used by students to convey their understanding of their self and culture. One
student utilized puzzle pieces painted in a variety of colors to represent his autistic brothers,
whom of which play a very integral role in his life. Another student created a mask for her ATC
out of packing tape and sharpie to represent her struggle with always trying to put on a happy
face for her friends when in reality she is always stressed and upset. Images of ivy leaves were
used in one ATC to represent the creators love for nature and goal to eventually work for the
Department of Natural Resources. Some even developed miniature booklets illustrating aspects
of their home life that were integral to their identity. (See Figure 3.)

31

Figure 3: Students collaborate on how different mediums can be layered to create unique
effects.
With over twenty different options to choose from for their Artist Trading Cards, students
had a plethora of opportunities to experiment with how they could illustrate their individuality
and their identity. For example, several students utilized shells to represent memories of family
gatherings at the beach while others incorporated camouflage wallpaper into their composition to
show the military influence in their family hierarchy. (See Figure 4.) On several occasions,
students expressed their excitement at having so much to select from and that having such a
buffet of choices allowed them to truly explore how they could represent different aspects of
their cultural identity. When asked whether they preferred the two-dimensional or three-
dimensional media, most students responded that they enjoyed both and were more surprised that
many of the choices could even be considered mediums in the first place. They discovered that
having a large range of possibilities also meant making artistic and aesthetic choices that would
impact and eventually influence their overall composition. It was almost mesmerizing to watch
my students as they gathered their choices of media and then picked through the ones that were

32

most significant to their cards; similar to the way a jeweler selects the most precious of stones in
their lot.

Figure 4: Students utilized a variety of media and symbolism in their ATCs.
Discussion
After addressing these findings in correlation with the research questions on the best
practices to engage middle school students about their cultural identity and how they display this
awareness, I discovered several commonalities. First, dialogue, collaboration, and group work
are all very powerful tools for students on a social, emotional, and mental level. Students utilize
these practices to share insights, debate on differences, and eventually converge on their
thoughts, opinions, and stories. By doing so, an atmosphere of trust and support is crafted and

33

fostered through positive reinforcement. Secondly, when addressing issues as ambiguous as
culture and identity, having contemporary exemplars such as modern artists helps structure,
guide, and reaffirm students understandings of their own personal and universal world. Students
were able to verbally and visually appreciate how these professionals reveal that art serves
multiple purposes; as a career, a staple, as a means to share ones heritage and personal story,
and as a way of communally and visually discussing identity and culture. Thirdly, it was
determined that having a variety of contemporary images and the use of technology played a
vital role in students ability to explore the abundance of issues surrounding their cultural
identity. Students explored areas of popular culture and urban culture through magazines and
newspapers, pursued the World Wide Web as a source for global issues, and even used their cell
phones as a means to capture images of their every day life. Lastly, it came to fruition that
students enjoyed being able to utilized collage and assemblage as a means to explore their
culture and identity, especially because of the variety of media and techniques that were at their
disposal. (See Figure 5.) These provided an outlet through which students could explore
symbolism, new techniques, composition, and the experience of mediums that are not normally
utilized in classroom lessons.

34

Figure 5: After experimenting with an acrylic wash, this student then wrote a piece of
poetry on her ATC.

The original goals of this research were to decipher what educational approaches and
resources were best suited to engage middle school students in developing a sense of their
cultural identity and how these individuals display such insights through the use of artistic
practices. Even though the notions of identity and culture are often indefinite and overlapping,
contemporary researchers and educators alike place great emphasis on the impact of both in
adolescents, especially when considering the modern world is a melting pot of different
ethnicities, religions, languages, and traditions. Through artistic avenues, students can discover
and then refine their understandings of social and global experiences, giving them a sense of
empowerment and redefining their importance within their world. With this in mind, I developed
a unit a study focusing on culture, identity, and their impact on a student body of over 30 eighth

33

grade students. The participants were introduced to several contemporary artists and their
practices, as well as a variety of media and techniques, which resulted in the production of artist
trading cards and culture collages. What I discovered was that students were very attuned to their
surroundings, and that through critical dialogue, collaboration, and experimentation students
were able to assess what they already knew about their cultural identity and what they still had to
learn. I also realized that students were very open to exploring a variety of media and techniques
and enjoyed sharing their personal stories with others in an effort to build an atmosphere of trust
and rapport. What I will attempt to achieve in the remainder of this capstone paper is to interpret
my findings, discuss the significance of what I found, access the implications for my discoveries,
and then make further recommendations for the future.
Interpretation of Findings
After sifting through and analyzing copious amounts of notes and photographs, I came to
realize that this study was more than just a look into educational practices, resources, and
methods that students found useful in illustrating their cultural identity. My research was a
classroom and career altering experience. At the heart of what I was trying to accomplish was
putting the student back into the frontline of my curriculum, looking at what matters most to
them, and giving them the opportunity to explore through artistic means how their world has
shaped who they have become. I fell in love with teaching over seven years ago and managed to
slowly loose sight of my aims, however through my research-through dialogue, through relevant
subject matter, and through exploration-my students and I again met at a happy medium over a
unit on culture and identity.
Our students are social creatures, easily influenced by their family and peers, by
television commercials, ads in magazines, and even by politics. So much of who they are seems

36

to be hidden behind a barricade that teachers are often incapable of breaking through. However,
as I discovered, when open lines of communication are established in an environment that is
safe, accessible, and free from persecution, our once impenetrable students become open-books,
willing to impart their knowledge onto those willing to learn. My research also revealed that my
students genuinely crave for someone to listen, to hear them and to appreciate what they have to
say, whether it is about their family tragedies, violence they witnessed across their neighborhood,
or the self-esteem issues they battle on a daily basis. As illustrated in Figure 6, the students
enjoyed collaborating and working with others who value what they have to say, even if it was
for a short moment in the class period, they were able to be apart of the critical dialogue that
could change the way others see them. Dialogue was the super highway through which we
learned about one another and in some cases, took precedence over working on artwork in a
given day.

Figure 6: A group of students eagerly discuss their thoughts on what constitutes culture
and identity.

37

While dialogue was a major factor in the success of my unit, the subject matter in which
the students were discussing was the very foundation. Since the students and their individual
characteristics and preferences were at the forefront of the study, everything was immediately
relevant and therefor, the possibilities for expansion were endless. Students were exploring all
areas of their multifaceted, cultural experience including examining the dynamics of their social
relationships with others, how the media plays a role in their understanding of global issues, and
how enjoying a Waffle Taco from Taco Bell makes up a major part of their personal culture.
Some students, who would not normally be associated with having conversations with one
another were engaged in friendly camaraderie. Both males and females were taking an equal
stand in discussions aimed at gender roles, self-awareness, and confidence, ideas that normally
have divisions but in this instance were notions of resolution. Topics of interest in the most
fervent of discussions included family heritage, passions and hobbies, individuality, music, and
personas, each of which can be related to by all participants. Overall, the excitement produced by
the students at being able to focus on themselves was enough to last the length of the school
year.
One of the highlights of being an art educator is witnessing the transformation of a
students confidence level because of her/his ability to freely experiment and explore meaningful
subject matter with artistic mediums and techniques. For me personally and for many of the
students involved in the study, the production aspect of the artist trading cards and culture
collages were the most exciting elements of the unit. What I found was that the participants
enjoyed being able to select from a plethora of artistic mediums and the opportunity to
investigate how they could be combined and altered to create unique compositions that conveyed
ideas that were about them, their lives, their personalities. Many students developed their own

38

language and symbolism with the various mediums and thus were able to tell their own personal
stories. For example, Brett created an artist trading card depicting how he feels he has an
unknown aspect to his identity because he is adopted and has no knowledge of his real father. On
his card, he cut out a section of black construction paper and used a white colored pencil to draw
a generic smile. Underneath the face, he wrote the word unknown. As with the case of Bretts
card, some mediums were used in a more correspondent manner so that students were able to
relate with one another based on their imagery and experiences. For example, many students
placed flags in their work to represent their country of origin; some utilized music notes and
staffs to show either their ability to play an instrument or their appreciation of music; several
participants used puzzle pieces to associate the idea of pieces to the whole, as in their identity;
and others chose to simply split their composition to illustrate the idea of two separate personas.
(See Figure 7.) While there were some gender differences, such as the male students relying
more on sports and automobiles and the female students focusing on fashion and their feline
counterparts, the majority of the work and the symbols within it were very individual. In the end,
I found that students became very attached to their compositions and were proud and even
empowered to reveal their cultural identity to their peers.

39

Figure 7: This student illustrates her love for photography with a small camera constructed
from scratchboard, a button, and thread.

Recommendations
So what does this mean? For educators, it is finding the balance in our classrooms
between guidance and self-discovery, between structure and freedom, and between direct
teaching and a student-centered approach. It is taking all of the contemporary research and
modern practices and looking back to the history of our profession to build a synthetic blend of
new and old. What I have here in my study is a method to building the types of authentic
relationships with students that are based on much needed dialogue in the classroom, relevant
subject matter, and individual and group exploration of which leads to the communal and
cultural responsiveness that this world needs to function towards a more receptive paradigm. I
truly believe that if educators and researchers alike continue to focus on the modern social and

40

global cultures and subcultures that immediately impact our up-and-coming youth, we will be
more likely to produce the type of creative, inventive, and independent citizens our society so
desperately needs.
With this in mind, I feel that this particular curriculum unit and my accompanying
research might be interesting for a variety of people; from the sociology intern to the fifth grade
teacher concerned with how to reach out to his or her students. While the art projects discussed
within this capstone project specifically pertain to the art classroom, I believe the content could
be applied to a multitude of subjects from social studies to language arts and even science. The
core values are centered in students needs and interests which are what we, as educators,
researchers, and child enthusiasts, are called to work for. Lastly, if I were to make further
recommendations to my fellow teachers in the field of art education, it would be that we must
continue to update and evolve our understanding of our student body, just as they continue to
evolve and mature themselves. We must be realistic with what we expect them to know and what
we expect of them in general. Our students are living in a world that is hyper-saturated with
imagery, violence, and broken family structures. (See Figure 8.) We must be truthful about what
we assume our students to know and we must also be sympathetic to their often times chaotic
world. That is not to say that we abandon all discipline, just that we be more aware. As I stated
before, it is finding the balance between structure and freedom, but not loosing sight of the fact
that the student is what called us to our professions and to eventually read this paper in the first
place.

41

Figure 8: Student culture collage illustrating the magnitude of advertisements and images
students are exposed to on a daily basis.
Why I Do What I Do The Way I Do It
As a concluding note and reflection, this capstone unit has been more than a project for
my students and I; it has revolutionized both my classroom practices and the relationships that I
carry with my students. It has broken boundaries and opened hearts; it has shattered assumptions
and built respect; and most importantly, it has proven to be the culmination to two years of
graduate work that I could have ever imagined. My hope is that other educators and researchers
will benefit from my unit and my research which can be found on my website under Masters
Coursework at www.ashleymayabb.com. In the near future, I plan to completely revamp my
current curriculum based on my experiences with my capstone unit. My goal is to develop an art
program that puts students at the center of every venture so that every child can see the power of
dialogue, relevant content, and exploration in the arts. While none of this is certain, it is obvious

42

that I am on the right path and that this capstone and program have been the forbearers of change
in both my personal and professional identity. (See Figure 9)

"#$%&' 8) !"# %"& '&() *+ ,- 9%5+#:',#27 ;<(=

43

References

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46

List of Figures with Figure Captions

Figure 1: SLudenLs dlscusslng Lhelr lnLerpreLaLlons of culLure and ldenLlLy.

Figure 2: Students looking for imagery of contemporary culture to add to their collages.

Figure 3: Students collaborate on how different mediums can be layered to create unique effects.

Figure 4: Students utilized a variety of media and symbolism in their ATCs.

Figure 5: After experimenting with an acrylic wash, this student then wrote a piece of poetry on
her ATC.
Figure 6: A group of students eagerly discuss their thoughts on what constitutes culture and
identity.
Figure 7: This student illustrates her love for photography with a small camera constructed from
scratchboard, a button, and thread.
Figure 8: Student culture collage illustrating the magnitude of advertisements and images
students are exposed to on a daily basis.
Figure 9: Who The Heck Am I? Multimedia. 2013.

47

Author Biography
My name is Ashley Sterling Mayabb and I am an art educator who has been in the field
for over seven years, landing myself at a Title I middle school in the suburbs of North Georgia. I
began my career straight out of college teaching visual arts I, ceramics, and advanced ceramics at
a local high school. It was an amazing adventure that gave me the opportunity to hone my
practice as an artist and an educator. I was also able to meet some of the most influential teachers
and mentors of my career and it is because of them that I have gained strength in my position as
an art educator and advocate.
One of the concepts about art making that fascinates me the most, and I believe
immediately impacts my practice, is that you can create with almost anything. For that reason, I
find myself working in as many different mediums as I can get my hands on. I enjoy doing the
same with my students! I also share my love for art history, random knowledge, and play with
them through energetic songs in the classroom and lessons that have them thinking about why
color impacts how we spend money. I host an art club once a month and enjoy tutoring students
in the mornings and after school, even if it is just how to color in a coloring book. For me, art
offers everything and can cure almost anything. It has given me life and it has given me a way to
cope with death.
As an end note, I hope to graduate the University of Florida's Masters of Art Education
program in the Fall of 2014 so that I may continue my pursuit to provide my students with the
most authentic and engaging art experience of their young lives.

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