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Settler Colonial Misrecognition in Story Collection Socially Engaged Art.

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Title: Settler Colonial Misrecognition in Story Collection Socially Engaged Art.
Authors: Rowe, Allison1 allison-v-rowe@uiowa.edu
Source: Studies in Art Education. 2025, Vol. 66 Issue 3, p349-364. 16p.
Subject Terms: *Art education, *Storytelling, *Artists, *Educators, Social practice (Art), Settler colonialism, Indigenous peoples, Ethnographic analysis
Abstract: Story collection—the practice of generating art or research by gathering participant narratives and combining them into a single product—is a popular method used by socially engaged artists and art education researchers. This ethnographic case study germinated with the examination of a story collection artwork executed at a gallery in a co-governed Indigenous–settler community in northern Canada. It expanded to consider how both my ethnographic methods and social practice art enact extractive, settler colonial approaches to knowledge. Working from Indigenous studies scholarship, particularly Sean Glen Coulthard (Yellowknife Dene), I show how repeated misrecognition of what Indigenous (and even settler) residents valued contributed to a local phenomenon of storytelling fatigue. This is a form of exhaustion brought on by excessive requests from outsiders to contribute to a project or artwork. These findings signal the need for artists, galleries, educators, and researchers to scrutinize how their undertakings are informed by the settler colonial politics of recognition. [ABSTRACT FROM AUTHOR]
Copyright of Studies in Art Education is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)
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  Data: Settler Colonial Misrecognition in Story Collection Socially Engaged Art.
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  Data: Story collection—the practice of generating art or research by gathering participant narratives and combining them into a single product—is a popular method used by socially engaged artists and art education researchers. This ethnographic case study germinated with the examination of a story collection artwork executed at a gallery in a co-governed Indigenous–settler community in northern Canada. It expanded to consider how both my ethnographic methods and social practice art enact extractive, settler colonial approaches to knowledge. Working from Indigenous studies scholarship, particularly Sean Glen Coulthard (Yellowknife Dene), I show how repeated misrecognition of what Indigenous (and even settler) residents valued contributed to a local phenomenon of storytelling fatigue. This is a form of exhaustion brought on by excessive requests from outsiders to contribute to a project or artwork. These findings signal the need for artists, galleries, educators, and researchers to scrutinize how their undertakings are informed by the settler colonial politics of recognition. [ABSTRACT FROM AUTHOR]
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  Data: <i>Copyright of Studies in Art Education is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract.</i> (Copyright applies to all Abstracts.)
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        Value: 10.1080/00393541.2025.2507537
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        Text: English
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      – SubjectFull: Art education
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      – SubjectFull: Artists
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              Text: 2025
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