Overview of the Research Proposal A Cultural Mural Arts Program: Enhancing positive social development in Native American communities. Morning Rae Ferris Email: mferris1@uoregon.edu Cellular: 970.769.0841 November 12, 2008 Abstract This Master’s Project will be conducted in partial fulfillment of the requirements for a Master of Arts Degree in Arts & Administration from the University of Oregon. The purpose of this study is to explore and understand the social and cultural contexts of the Wind River Indian Reservation in Wyoming. The Wind River Indian Reservation consists of three main tribal communities. These three communities are separated by boundaries of geography and many times the residents seem to resemble different autonomous entities. The barriers constrain each tribe from working together socially, environmentally, politically and culturally. After I have examined this phenomenon, I will then propose a cultural mural arts program for elementary youth by focusing on the need for cultural diversity and acceptance between tribal communities. This cultural mural arts program will address the issues of positive youth development and social change. Keywords Cultural Mural Arts Program The Arts Positive Youth Development Positive Social Change Community Building After-School Programs Summer Arts Programs Arts Education Cultural Policy Historical Trauma 1 Introduction: Statement of the problem Within the borders of the Wind River Indian Reservation there remain two Native American tribes (Northern Arapaho and Eastern Shoshone) and three main communities (Fort Washakie, Ethete, and Arapahoe). In the community of Fort Washakie reside the majority of the Eastern Shoshone tribal members. In Ethete live the “upper” Northern Arapaho tribal members. The community of Arapahoe consists of “lower” Northern Arapaho tribal members. Although Ethete and Arapahoe embody the same tribal affiliation, they are very much separated. They are so separated that many times the residents of Ethete and Arapahoe seem to resemble two autonomous entities. The Arapaho and Shoshone tribal members are aware of invisible boundaries, but they do not exchange dialog on how the invisible boundaries came to be or how to break down these barriers. There are also the physical boundaries that exist in each area that divide the communities even further apart. The non-interaction forces each community to become isolated and communities are unable to positively change socially, environmentally, politically and culturally. Very limited resources are available that contain research on Native American communities and less research has been compiled on the Wind River Indian Reservation. Additional research would fill this crucial gap and also may provide a solution to other communities with similar circumstances. This research will address the issues of division on the Wind River Indian Reservation and use them as a tool to build communities. The importance of community building is required for the formulation of “community-based art education” programs (Ulbricht, 2005). The most efficient way to reach youth is to 2 provide after-school and summer arts programs that are geared towards community building; bringing the youth out of “their comfort zone” (Russell-Bowie, 2005). Conceptual Framework The three main elements of the conceptual framework (See Appendix A: Conceptual Framework Schematic) are the historical contexts, the elements of a cultural mural arts program, and the program outcomes. The historical context is extremely vital to the research, “it can teach us where political systems and cultural values come from and how they evolve. More generally, it is invaluable for learning how to understand the significance of a primary source” (Kammen, as cited by Cornell Chronicle, 2001, p. 1). Recognizing the historical contexts is “essential to any understanding of present-day issues” (Clifton, 2006, p. 291). Included in historical contexts are the sections of Native American history, Wind River Indian Reservation history, and the history of tribal communities. Investigating tribal communities will also include the topics of tribal government, Federal Government goals for the creation of the Wind River Indian Reservation, and historical trauma of the Eastern Shoshone and Northern Arapaho tribes. In order to propose a cultural mural arts program, certain elements will need to be further considered such as arts education, cultural policy, culturally relevant pedagogy for Native American children, the benefits of art, after-school programming, summer arts programming, Wind River Indian Reservation education, significance of sports in Native American communities, community readiness to change, and cultures of the Wind River Indian Reservation. The key to understanding other cultures is to first understand their own cultural background. After understanding their own heritage, individuals are more likely to accept 3 other diverse cultures (Ballengee-Morris 2001; Stuhr 2001, p. 6). Cultural diversity brings about change when the whole community is involved; “communities of people who are connected, caring and committed” (The National Clearinghouse on Families & Youth, 1996, p.11). Research will address the contexts of cultural policy at a national, regional, state, and tribal government level. Since there is not a specific single law for cultural policy in the United States, it is essential to discover arts policies that will effect the creation of a cultural mural arts program on the Wind River Indian Reservation. Institutions and Federal Laws that will be covered at a National level are the Smithsonian Institution, Native American Graves Protection and Repatriation Act (NAGPRA), and the American Indian Religious Freedom Act. Further understanding of these contexts will define limitations and boundaries of creating a program. The proposed cultural arts program will have three goals. The first goal is to provide a safe place where children are encouraged to explore the arts. The second goal is to provide positive youth development to elementary children by teaching them the importance of cultural diversity. The third goal is to direct the positive youth development into positive social change. The importance of community building is required for the formulation of “community-based art education” programs (Ulbricht, 2005, p.7). According to the National Clearinghouse on Families & Youth (1996), youth are resources that strengthen the community and build “strong communities for the future” (p. 2). The youth are less likely to care about the community if they grow up feeling like they are not a part of the community. The youth like to be seen as “valued contributors” of the community (p. 4). 4 Having the status of a “valued contributor” gives the youth a sense of accountability, security and competence (p. 3). During the research process, I intend to find that athletics is central component of why the communities do not exchange positive relationships. Sports, being the main outlet for youth to participate in creates a rivalry between communities. This rivalry usually begins at the fourth grade elementary level when youth are eligible to participate in competitive sports. The competition remains in the athletes’ lives until after graduation but the community competition continues. Also, I am intending to discover unexpected findings during the research process. The unexpected findings may help shape the outcome of my final document or may raise questions that maybe investigated at a later date. To substantiate the findings, literature reviews will be conducted on the historical contexts; proposed cultural arts program elements, and the program outcomes. Future research will need to be conducted on who is qualified to teach diverse cultures and what training will need to be provided to those who teach. Also, additional research will need to be conducted on the impact of the proposed cultural arts program. It is my expectation that I will discover other avenues of research that will spark my interest and aid in the validation of my research. 5 Appendix A: Conceptual Framework Schematic Native American History Creation of Wind River Indian Reservation Historical Contexts Divided Tribal Communities Tribal Issues Program Outcome Govmt Goals Historical Trauma The Need for Cultural Acceptance Between Tribal Communities Positive Youth Development Positive Social Progression Cultural Mural Arts Program Community Readiness to change Program Arts Ed/Visual Arts Cultural Policy Culturally Relevant Pedagogy for Native American children After-School/Summer Programming Wind River Reservation Cultures Wind River Indian Reservation Education Significance of sports in Native American communities 6 References Ballengee-Morris, C., & Stuhr, P. (2001). Multicultural arts and visual cultural education in a changing world. Art Education, 54(4), 6-12. Clifton, C., & Serlin, R.C. (2006). The SAGE handbook for research in education: Engaging in ideas and enriching inquiry. Retrieved June 5, 2008, from http://books.google.com/books?id=Nxk0IbYlOZAC&pg=PA291&lpg=PA29 1&dq=the+importance+of+historical+inquiry+from+sage&source=web&ots =8zjyiVre-j&sig=FVY3NKnysquRTvPIPhK0PXBBtA8&hl=en Cornell Chronicle. (2001). A discussion of the importance – and joys – of historical inquiry. Retrieved June 5, 2008, from the Cornell University Web site: http://www.news.cornell.edu/chronicle/01/12.6.01/KammenQ-A.html The National Clearinghouse on Families & Youth. (1996). Reconnecting youth & community: A youth development approach. U.S. Department of Health and Human Services, (1996, July), 1-14. Russell-Bowie, D. (2005). Community harmony project: Real-life integrated creative arts project. The Journal of Strength-based interventions: Reclaiming Children and Youth, 14(1), 13-15. Ulbricht, J. (2005). What is community-based art education? Art Education, 58(2), 6-12. 7