Abstract
This chapter takes as its metaphorical lens the painterly concept of pentimento, which operates materially, conceptually and aesthetically in and through the ‘writing’. The pentimento functions as a means to explore visual modalities of portrayal of the theoretical dispositions as well as of the theoretical dispositions themselves. The dispositions are framed by an arts-based educational inquiry that utilised a complex poetic in order to represent and interrogate notions of self and other as they pertain to ethnic identity in the second-generation. The processes of belonging are a journey of impermanent moments and interactions and as such, the conditions and spaces of belonging are not singular constructs, rather they are ecological, transitional, collaborative – and contingent on time, movement and language. However, pentimento is also symbolic of a language conceptuality in flux, a tension between the concealing and revealing of the written word in dialogue with visual imagery. It is posited that the potential of the visual as languages of theory and criticality are not singular constructs but rather like Wittgenstein’s concept of family resemblances. Image and word may operate conditionally or separately or in synergy. It is this very architecture of engagement that is at the heart of the expression of the theoretical discursives of belonging as exposed in the inquiry.
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- 1.
The use of the capital signifier in Art, Arts etc. is an act of political defiance that operates against the marginalization of the Arts in education.
- 2.
Eisner (2011).
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Lasczik Cutcher, A. (2018). Pentimento: An Ethnic Identity Revealed, Concealed, Revealed. In: Knight, L., Lasczik Cutcher, A. (eds) Arts-Research-Education. Studies in Arts-Based Educational Research, vol 1. Springer, Cham. https://doi.org/10.1007/978-3-319-61560-8_5
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