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- Genre: Art--Psychological aspects.
- Genre: Fiction--Authorship.
- Creators: Arizona State University
Description
Art is a form of spiritual expression that is thriving in many Indigenous cultures. It can take many forms, meanings and have a multitude of emotional, mental, physical and spiritual effects on its creator as well as its audience. Amongst American Indians, art has been a method for maintaining holistic well-being intended to heal and cope with traumatic experiences. In this thesis, I examine the western societal and cultural influences that have led to the loss of cultural identity and examine approaches and practices that aim to re-establish a resilient connection to identity and well-being using art as a spiritual catalyst. Literary research and articles were reviewed related to the issue of art as a form of spiritual expression in Indigenous cultures. An autoethnography was conducted with the intent to record and reflect on the well-being of the researcher in relation to her artistic expression. Journaling and vlogging were used as research methods and painting, sketching, and beading was used as artistic methods. Over the course of six months, over 50 videos with 30 hours of raw footage were recorded; averaging 2 hours per day. The results are reflected in the researchers free-flowing and emotionally driven reflection of experiences that have driven her artwork. This thesis supports the establishment of art as a form of spiritual expression for transforming the current western focused health care paradigm to one that recognizes, values and employs Indigenous insight, methodologies, worldviews, culture and spirituality.
ContributorsRobbins, Marlena (Author) / Romero-Little, Eunice (Thesis advisor) / Marley, Tennille L (Committee member) / Meders, Jacob (Committee member) / Arizona State University (Publisher)
Created2018
Description
This essay is an exploration of Michael Holladay's interests in style and influence related to his writing and overall writing process. I've chosen a selection of books that both reflect my interests as a writer, books that I've loved and have informed me in the past which continue to inform and inspire on each re-read (Battleborn by Claire Vaye Watkins, A Visit from the Goon Squad by Jennifer Egan, for example) and also books I hadn't read and needed to in order to challenge myself with writing I haven't been exposed to yet so I can continue to grow (I hadn't, for instance, read Jesus' Son by Denis Johnson or Reasons to Live by Amy Hempel before preparation for this essay.) The fiction I've chosen to discuss strikes a balance between favorites that have formed me up to this point and new work to "fill in the gaps" of books I needed to read. Additionally, I've chosen a selection of books on craft to provide a lens for thinking about writing. Finally, I've also included work in other genres that inform my fiction (Ryan van Meter's creative nonfiction essays, If You Knew Then What I Know Now and Andrew Haigh's film, Weekend.)
I've intentionally chosen work that is diverse in both form and content. I have more linear fiction represented (William Trevor, for example) matched with work that's fragmentary and language focused (Christine Schutt's Nightwork among others) since I'm interested in how linear form and fragmentation can intersect, and I've been experimenting with both during my time in the program. And in terms of content, the majority of the work speaks to my interest in how region, specifically the South, impresses itself on sexuality and gender, specifically queer or decentered sexuality and gender. So I have books with a heavy focus on region (Daddy's by Lindsay Hunter and Girl Trouble by Holly Goddard Jones) and work that explores the complexities of sexuality and identity (Michael Cunningham, Edmund White, Alexander Chee, and I'll mention Haigh's film Weekend again because it's always worth mentioning again.) These works will help synthesize and bring together my interests in style, language, structure, and form, and in content.
I've intentionally chosen work that is diverse in both form and content. I have more linear fiction represented (William Trevor, for example) matched with work that's fragmentary and language focused (Christine Schutt's Nightwork among others) since I'm interested in how linear form and fragmentation can intersect, and I've been experimenting with both during my time in the program. And in terms of content, the majority of the work speaks to my interest in how region, specifically the South, impresses itself on sexuality and gender, specifically queer or decentered sexuality and gender. So I have books with a heavy focus on region (Daddy's by Lindsay Hunter and Girl Trouble by Holly Goddard Jones) and work that explores the complexities of sexuality and identity (Michael Cunningham, Edmund White, Alexander Chee, and I'll mention Haigh's film Weekend again because it's always worth mentioning again.) These works will help synthesize and bring together my interests in style, language, structure, and form, and in content.
ContributorsHolladay, Michael (Author) / Ison, Tara (Thesis advisor) / Pritchard, Melissa (Committee member) / Bell, Matt (Committee member) / Arizona State University (Publisher)
Created2016