Selected Poets’ Lived Experience of the Seventh Avenue Streetscape Project: A Phenomenological Study of Meaning and Essence addresses a specific public art project. Public art has a long history of eluding a definition of consensus, and it continues to do so. There is very little in the way of accountability for its effect, and most of what is available is anecdotal. The Seventh Avenue Streetscape (SAS) is no exception in that no follow-ups were ever asked of the community, even though the Melrose Neighborhood District has been revitalized and rescued from its decline with the inception of SAS. It brought residents and business owners together in coordination with the City of Phoenix and Arizona State University to create the unique infrastructure of SAS that presents itself as a sheltered bus stop/outdoor gallery displaying art and poetry on large platform panels to the delight of the citizenry. The purpose of this study was to explore, describe, and interpret the meaning given to the Seventh Avenue Streetscape by poets who participated in that project. The central question guiding the research was “What is the essential meaning and understanding of the lived experience given by poets who participated in the Seventh Avenue Streetscape project and its creation?” The study was conducted through the qualitative research tradition, guided specifically by the theoretical base known as phenomenology. Phenomenology lends itself particularly well to the study of phenomena such as SAS as its focus is finding the essential in the “everyday” through the expression of lived experience. My primary data source were the poets themselves, those whose poems had been selected to be publicly presented. Once cleared by the Institutional Review Board, my method of data collection involved one-on-one recorded interviews. The interviews were then transcribed and subjected to various methods of data reduction, including coding and themeing the data from the thick description given by the poet-participants. The data revealed patterns among the poets which could be divided into six essential themes, confirming a plausible description and interpretation of SAS. Recommendations included conducting the same study again with the remaining qualifying SAS poets and comparing the results.

For fifty years, inquiry has attempted to capture how groups of people experience microaggression phenomena through multiple methodological and analytic applications grounded in psychology-influenced frameworks. Yet, despite theoretical advancements, the phenomenon has met criticisms trivializing its existence, falsifiability, and social significance. Unpacking possible interactive factors of a microaggressive moment invites a revisitation of the known and unknown pragmatic conditions that may produce and influence its discomforting situational “content.” This study employs an intentional, game-theoretic methodology based on brief, publicly-recorded, everyday conversation segments. Conversation segments of social interactions provide a means to conduct a mathematically-solid, computationally-tractable analysis of explaining what is happening during encounters where disability microaggressions are likely the result of partial (non)cooperation between communicators. Such analysis extends the microaggression research program (MRP) by: (1) proposing theoretical consequences for conversational repair phenomena, algorithmic programming, and experimental designs in negotiation research; and (2) outlining practical approaches for preventing microaggressions with new communication pedagogy, anti-oppression/de-escalation training programs, and calculable, focus-oriented psychotherapy. It concludes with an invitation for scholars to “be” in ambiguity so that they may speculate possible trajectories for the study of microaggressions as a communicative phenomenon.

How is sauerkraut like a poem? As human understanding of microbes deepen, humans find themselves embedded in a microbial matrix. I extend privileging this ecocultural embeddedness with microbes and the deep ecological process of fermentation by microbes to explore creative inquiry. This work offers two primary outcomes. First, I offer an articulation of proposed methods for use within a posthumanism as research methodology, including methods for working with nonhuman research participants, especially microbial ones. These proposed methods include touching grass, eco-listening, and guthinking as well as expansions of qualitative research methods to encompass nonhuman participants, especially in interviewing and ontological shifts. Second, I present a creative fermented framework for understanding creative inquiry as embedded in understandings of a microbial matrix and metaphorical fermentation practices. Creative fermented framework concepts include incubation, environmental input, and composting, with specific proposed methods ranging from creative procrastination to feeding the starter to composting turds. As a whole, I offer the fermentation orientation, which is a worldview of attending to microbes and fermentation processes as they relate to processes of inquiry, epistemology, and methodology.

In this dissertation, I explore the researched and lived potential afforded by the principle of interrelationality from the culturally situated Asian approach espoused in Yoshitaka Miike’s (2008, 2012, 2013, 2017) metatheory of Asiacentricity and Kuan-Hsing Chen’s (2010) Asia as method. This work addresses the limitations of binary logics as a Eurocentric modern tool and proposes an Asiacentric dynamic orientation to research. I draw on Asiacentricity’s principles of harmony, interrelatedness, feelings, and flux to guide an ongoing experimentation to find meaning in relation to others in a Western context. I turn to Asia as method as an additional point of inspiration to transform knowledge production by looking to Asiacentric social ontologies to inform my methodology. Inspired by Chinese medicinal dynamic theories of practice rooted in Asian philosophy, I propose an ethico-onto-epistemological approach to research where researchers approach work through equal measures of theoretical absorption, observation of theory in practice, and an active personal exploration of theoretical application, treating one’s data with inherent energetic potential. This work found that orientations of complementarity and interdependent poiesis are crucial to engage in Asiacentric relationality, and that an Asiacentric methodology is guided by tenets of living one’s research, engaging the dynamism of the world and oneself as researcher, and embracing connectedness through an acceptance of incompletion.

The aim of this research was to better understand the experience of bereaved individuals following their return to work, and the ways in which they communicatively negotiate their relationships at work and at home. One of the most salient facts of life is that everyone will all experience the death of a loved one. The amount, frequency, type, and recovery response for the bereaved may be vastly different, but inevitably everyone has to cope with death. Even though it is an integral part of life, the bereavement experience often is acknowledged as one of the most traumatic and stressful processes that occurs in individuals’ lives (McHorney & Mor, 1988; Miller & McGowan, 1997). In fact, roughly 5% of the workforce is affected by the passing of a close family member each year, and this number excludes those who experience the deaths of close friends (Wojcik, 2000). Evidence suggests that bereavement affects the physical and mental health of survivors, many of whom are in the workforce (Bauer & Murray, 2018; Hazen, 2003, 2008, 2009; Wilson, Punjani, Song, & Low, 2019). In order to explore how work-life roles are integrated into the lives of bereaved individuals, this dissertation qualitatively analyzed 36 interviews with bereaved employees (12), cohabitants (12), and coworkers (12). Through the use of procedural coding (Saldaña, 2009) and emergent codes, this dissertation answered the five posited research questions and their sub-questions. The results of this analysis have numerous implications for social support, emotion at work, grief, and bereavement leave policy. The following dissertation delineates the significance of this research, the literature review providing rationale for study of bereaved employees, qualitative methodological design, analysis of the data, and conclusions about bereavement and work-life relationships.

This study provides insights into expanding the concepts of community arts in general and more specifically community-based art practices (CAP); highlights the participatory characteristics in the processes of CAP, and seeks to discern the mechanism that contributes to the formation of community collective identity. Revolving around Bhattacharyya’s (1995, 2004) conceptualization of community development, this study found it essential for exploring the fundamental concept of community in relation to community identity. To examine the concept of community identity, this research anchors the inquiry by studying how community-based art practice contributes to community identification and seeks to discover the connection between identity process and social change. The research also discusses the emergent concepts that serve as influential factors to the formation of community identity and proposes an alternative identification mechanism, ‘jen-tung’ process, which provides a needed new dimension to the existing theories of social identity formation and community efficacy development.

This paper examines creative process and performance as a method of research for understanding self-in-context through the lens of my own artistic research for “Dress in Something Plain and Dark,” a project exploring my relationship as a woman to Mennonite religious and cultural identity, spirituality, and dance. Situating my artistic work in relationship to the fields of creative autoethnography, queer and transborder performance art, and somatic dance practice, I discuss the distinctions and commonalities of approach, methods, and practice of artists working in these fields, and the shared challenges of marginalization, translation, and contextualization. In response to these challenges, and the inadequacy of linear, Western, individualistic and mechanistic frameworks to address them, I draw from the ethnographic work of de la Garza, (formerly González, 2000) to seek a “creation-centered” ontological framework that the artist-researcher-performer may use to understand and contextualize their work. I offer the tree as an ontology to understand the organic, emergent nature of creative process, the stages of growth and seasonal cycles, and the structural parts that make up the creative and performative processes, and illustrate this model through a discussion of the growth of “Dress in Something Plain and Dark,” as it has emerged over two cyclical “seasons” of maturation.

Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other’s solo pieces and co-producers of Negotiations, in which we share these pieces alongside each other. Negotiations is not a showcase of three individual works, but a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents here, and we encourage readers to view the performance of Negotiations in its entirety.
Thesis documents cross-referenced:
French Vanilla: An Exploration of Biracial Identity Through Narrative Performance, by Carly Bates
Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities, by Raji Ganesan
Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through “Dress in Something Plain and Dark,” by Allyson Yoder

"French Vanilla" is a collection of written narratives drawn from lived experiences which serve as the vehicle storytelling that I use to examine larger themes related to the intersections of race and gender. Themes include: binaries, legitimacy, intersectionality, biracial identity development (border identity construction), whiteness, shame, and crisis. While the narratives are situated within theoretical discourse, the narratives present a representation of the lived experience. These pieces engage members of my family as well as a number of figures, including Rachel Dolezal, President Barack Obama, Alicia Keys, and a stranger on a tram in an airport. My relationship with these people present the grounds for an interrogation of identity. This project asks the question: How does one negotiate biracial identity with herself and others through narrative performance? It engages theories, such as critical race theory, black feminist theory, and standpoint theory, which informed my understanding of the discourse of race and contextualized my commentary on race. These theories present a framework within which to situate my understanding and analysis of race through lived experience. Narrative performance, the formal methodology for this work, provides a structure for the performance itself: the ultimate end product. Note: This work of creative scholarship is rooted in collaboration between three female artist-scholars: Carly Bates, Raji Ganesan, and Allyson Yoder. Working from a common intersectional, feminist framework, we served as artistic co-directors of each other's solo pieces and co-producers of Negotiations, in which we share these pieces in relationship to each other. Thus, Negotiations is not a showcase of three individual works, but rather a conversation among three voices. As collaborators, we have been uncompromising in the pursuit of our own unique inquiries and voices, and each of our works of creative scholarship stand alone. However, we believe that all of the parts are best understood in relationship to each other and to the whole. For this reason, we have chosen to cross-reference our thesis documents: French Vanilla: An Exploration of Biracial Identity Through Narrative Performance by Carly Bates; Deep roots, shared fruits: Emergent creative process and the ecology of solo performance through "Dress in Something Plain and Dark" by Allyson Yoder; and Bhairavi: A Performance-Investigation of Belonging and Dis-Belonging in Diaspora Communities by Raji Ganesan.