dc.contributor.advisor |
Mercier, Ocean |
|
dc.contributor.author |
Franco, William |
|
dc.date.accessioned |
2019-08-27T23:27:22Z |
|
dc.date.available |
2019-08-27T23:27:22Z |
|
dc.date.copyright |
2019 |
|
dc.date.issued |
2019 |
|
dc.identifier.uri |
http://researcharchive.vuw.ac.nz/handle/10063/8264 |
|
dc.description.abstract |
What is Chicano Border Methodology? In my thesis I am answering this question by showing that this is a key part of my practice, and revisiting my past work and experiences to re-construct the development of this methodology. Chicano Border Methodology is a living methodology based on lived experience that is constantly in praxis, and not just theoretical. It is rooted in a knowledge space that is specific to a locality, La Frontera/US-Mexico border. I began to assemble the methodology using epistemological pluralism as the framework and modified this framework to produce a decolonising epistemological pluralism. Using the colonial matrix of power, this position questions the assumption of epistemic privilege of western knowledge production.
Using a personal narrative structure, I start the re-construction process by describing the beginnings of my decolonising process with the re-discovery of my Chicano identity. I then describe the knowledge space developed along La Frontera/US-Mexico Border and how it shows up in my art practice. Looking at the concepts of decolonisation process, practice-led research, performative research and Kaupapa Māori, I contrast and analyse the position of my Chicano Border Methodology, highlighting the differences that make my Chicano Border Methodology unique. I go on to describe and analyse how I applied this methodology to the production of The Illustrated Chicano, an art installation that looks at issues of place, home and immigration in Aotearoa New Zealand. The Illustrated Chicano, as a practical application of the Chicano Border Methodology, revealed that this methodology is robust and can be modified by Chicanos to match the specific needs of research areas, where a decolonising approach is required or beneficial to the outcome. I also explore how the community reacted to my installation built through the Chicano Border Methodology lens by documenting and analysing the community’s reaction to this work. I conclude with a discussion of the significance of local knowledge spaces, the value of different methodological models, and the flexibility of a decolonising epistemological pluralism framework, such as the Chicano Border Methodology. |
en_NZ |
dc.language.iso |
en_NZ |
|
dc.publisher |
Victoria University of Wellington |
en_NZ |
dc.rights.uri |
http://creativecommons.org/licenses/by-nc-nd/3.0/nz/ |
|
dc.subject |
Chicano |
en_NZ |
dc.subject |
Indigenous |
en_NZ |
dc.subject |
Art |
en_NZ |
dc.subject |
Decolonisation |
en_NZ |
dc.subject |
Installation art |
en_NZ |
dc.subject |
Borders |
en_NZ |
dc.subject |
Mestizo |
en_NZ |
dc.subject |
Native American |
en_NZ |
dc.title |
The Illustrated Chicano: Chicano Border Methodology in Practice |
en_NZ |
dc.type |
text |
en_NZ |
vuwschema.contributor.unit |
School of Maori Studies : Te Kawa a Māui |
en_NZ |
vuwschema.type.vuw |
Awarded Doctoral Thesis |
en_NZ |
thesis.degree.discipline |
Maori Studies |
en_NZ |
thesis.degree.grantor |
Victoria University of Wellington |
en_NZ |
thesis.degree.level |
Doctoral |
en_NZ |
thesis.degree.name |
Doctor of Philosophy |
en_NZ |
dc.rights.license |
Creative Commons GNU GPL |
en_NZ |
dc.date.updated |
2019-08-23T04:23:52Z |
|
vuwschema.subject.anzsrcfor |
190199 Art Theory and Criticism not elsewhere classified |
en_NZ |
vuwschema.subject.anzsrcseo |
970119 Expanding Knowledge through Studies of the Creative Arts and Writing |
en_NZ |
vuwschema.subject.anzsrctoa |
1 PURE BASIC RESEARCH |
en_NZ |