{"id":{"repo_id":"brock","oai_identifier":"oai:brocku.scholaris.ca:10464/18694"},"canonical_url":"https://search.dev.ndltd.org/etd/brock/oai:brocku.scholaris.ca:10464/18694","repository":{"repo_id":"brock","name":"Brock University","base_url":"https://brocku.scholaris.ca/server/oai/request"},"display":{"title":"Representations of Black Female Bodies in Contemporary Caribbean Art: A Model for Responding to Art","abstract":"Drawing on critical race theory, intersectionality, and gender, I examine representations of Black female bodies in contemporary Caribbean art by examining three paintings by Barbadian artist Sheena Rose: (a) Black Beauty, (b) Anxiety, and (c) Mental Illness, Don’t Laugh!!! It Isn’t Funny!! Shouted the Angry Artist. I aim to encourage students and educators to consider their perceptions on issues such as race, gender, and mental health when viewing art by Black female artists. Due to the tension between observation in formal analysis and the focus on lived experiences and feelings in phenomenology, I created a Self-Reflective Model for Art Criticism Featuring a Pedagogy of Identity Exploration, resulting in a teaching unit for visual arts by Black female artists using Sheena Rose’s artwork. Due to the current and historical racialized, sexualized representations of Black Female bodies, my research is significant because of its relevance to art history, pedagogy, and studio art settings beyond Trinidad and Tobago and Canada. It also allows students to gain a deeper understanding and appreciation for diversity and cultural knowledge in high school classrooms and other art settings.","abstract_html":"Drawing on critical race theory, intersectionality, and gender, I examine representations of Black female bodies in contemporary Caribbean art by examining three paintings by Barbadian artist Sheena Rose: (a) Black Beauty, (b) Anxiety, and (c) Mental Illness, Don’t Laugh!!! It Isn’t Funny!! Shouted the Angry Artist. I aim to encourage students and educators to consider their perceptions on issues such as race, gender, and mental health when viewing art by Black female artists. Due to the tension between observation in formal analysis and the focus on lived experiences and feelings in phenomenology, I created a Self-Reflective Model for Art Criticism Featuring a Pedagogy of Identity Exploration, resulting in a teaching unit for visual arts by Black female artists using Sheena Rose’s artwork. Due to the current and historical racialized, sexualized representations of Black Female bodies, my research is significant because of its relevance to art history, pedagogy, and studio art settings beyond Trinidad and Tobago and Canada. It also allows students to gain a deeper understanding and appreciation for diversity and cultural knowledge in high school classrooms and other art settings.","abstract_has_math":false,"creators":["Strachan, Sophia"],"institution":"Brock University","degree_name":"Master of Education","degree_level":"Masters","degree_discipline":"Faculty of Education","degree_department":"Department of Graduate and Undergraduate Studies in Education","school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024-08-19T12:42:11Z","date_published":"2024-08-19T12:42:11Z","updated_at":"2026-07-24T01:23:02Z","subjects":["Mental Health","Visual Arts Pedagogy Practices","Art Criticism","Black Caribbean Christian Female Idenitity","Contemporary Caribbean Art"],"languages":["eng"],"rights":["Attribution-NonCommercial-NoDerivatives 4.0 International"],"rights_urls":["http://creativecommons.org/licenses/by-nc-nd/4.0/"],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/10464/18694","outbound_label":"Handle","outbound_source":"dc:identifier.uri"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor.department","label":"Department","values":["Department of Graduate and Undergraduate Studies in Education"]},{"key":"dc:creator","label":"Author","values":["Strachan, Sophia"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date.accessioned","label":"Dc Date Accessioned","values":["2024-08-19T12:42:11Z"]},{"key":"dc:date.available","label":"Dc Date Available","values":["2024-08-19T12:42:11Z"]},{"key":"dc:date.issued","label":"Date","values":["2024-08-19T12:42:11Z"]},{"key":"dc:type","label":"Dc Type","values":["Electronic Thesis or Dissertation"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Faculty of Education"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Masters"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Education"]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["Brock University"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Mental Health","Visual Arts Pedagogy Practices","Art Criticism","Black Caribbean Christian Female Idenitity","Contemporary Caribbean Art"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language.iso","label":"Language (ISO)","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["Attribution-NonCommercial-NoDerivatives 4.0 International"]},{"key":"dc:rights.uri","label":"Rights URI","values":["http://creativecommons.org/licenses/by-nc-nd/4.0/"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier.uri","label":"Identifier URI","values":["http://hdl.handle.net/10464/18694"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Drawing on critical race theory, intersectionality, and gender, I examine representations of Black female bodies in contemporary Caribbean art by examining three paintings by Barbadian artist Sheena Rose: (a) Black Beauty, (b) Anxiety, and (c) Mental Illness, Don’t Laugh!!! It Isn’t Funny!! Shouted the Angry Artist. I aim to encourage students and educators to consider their perceptions on issues such as race, gender, and mental health when viewing art by Black female artists. Due to the tension between observation in formal analysis and the focus on lived experiences and feelings in phenomenology, I created a Self-Reflective Model for Art Criticism Featuring a Pedagogy of Identity Exploration, resulting in a teaching unit for visual arts by Black female artists using Sheena Rose’s artwork. Due to the current and historical racialized, sexualized representations of Black Female bodies, my research is significant because of its relevance to art history, pedagogy, and studio art settings beyond Trinidad and Tobago and Canada. It also allows students to gain a deeper understanding and appreciation for diversity and cultural knowledge in high school classrooms and other art settings."]},{"key":"dc:title","label":"Title","values":["Representations of Black Female Bodies in Contemporary Caribbean Art: A Model for Responding to Art"]}]}],"canonical_facts":{"dc:contributor.department":["Department of Graduate and Undergraduate Studies in Education"],"dc:creator":["Strachan, Sophia"],"dc:date.accessioned":["2024-08-19T12:42:11Z"],"dc:date.available":["2024-08-19T12:42:11Z"],"dc:date.issued":["2024-08-19T12:42:11Z"],"dc:description.abstract":["Drawing on critical race theory, intersectionality, and gender, I examine representations of Black female bodies in contemporary Caribbean art by examining three paintings by Barbadian artist Sheena Rose: (a) Black Beauty, (b) Anxiety, and (c) Mental Illness, Don’t Laugh!!! It Isn’t Funny!! Shouted the Angry Artist. I aim to encourage students and educators to consider their perceptions on issues such as race, gender, and mental health when viewing art by Black female artists. Due to the tension between observation in formal analysis and the focus on lived experiences and feelings in phenomenology, I created a Self-Reflective Model for Art Criticism Featuring a Pedagogy of Identity Exploration, resulting in a teaching unit for visual arts by Black female artists using Sheena Rose’s artwork. Due to the current and historical racialized, sexualized representations of Black Female bodies, my research is significant because of its relevance to art history, pedagogy, and studio art settings beyond Trinidad and Tobago and Canada. It also allows students to gain a deeper understanding and appreciation for diversity and cultural knowledge in high school classrooms and other art settings."],"dc:identifier.uri":["http://hdl.handle.net/10464/18694"],"dc:language.iso":["eng"],"dc:rights":["Attribution-NonCommercial-NoDerivatives 4.0 International"],"dc:rights.uri":["http://creativecommons.org/licenses/by-nc-nd/4.0/"],"dc:subject":["Mental Health","Visual Arts Pedagogy Practices","Art Criticism","Black Caribbean Christian Female Idenitity","Contemporary Caribbean Art"],"dc:title":["Representations of Black Female Bodies in Contemporary Caribbean Art: A Model for Responding to Art"],"dc:type":["Electronic Thesis or Dissertation"],"thesis:degree_discipline":["Faculty of Education"],"thesis:degree_level":["Masters"],"thesis:degree_name":["Master of Education"],"thesis:institution_name":["Brock University"]},"updated_at":"2026-07-24T01:23:02Z"}