Addressing Gender Equity through Artistic Process

On our society, girls and women face unique physical and psychic dangers. There is insufficient support for respectful surfacing and articulation of voice, neither are there sufficient tools with which to combat the socio-environmental phenomena of “hitting the wall” and “going underground.” (Gilligan 1983). While the creative process is full of risk taking and challenge for all, it presents additional problems for girls and women. This thesis identifies and explores the ideas and factors that influence female voicing, with a focus on artistic process as a voicing too. The reader is offered a selective review of the literature on gender equity issues in education and literature on critical and creative thinking in the theatre arts. Drawn upon are the works of Elizabeth DeBold, Peg Orenstein, Mary Pipher, Judith Logan, Richard Paul, Dr. Delores Gallo, Karen Warren, Suzanne Langer, Uta Hagen, and Viola Spolin among others. Also presented is an original performance piece, “Rosa Mystica.” Following the performance piece is an analysis of its evolution in relation to described conceptual models, including a scene which models the performance of a writing/theatre studio group. The central focus of the piece is on the mother/daughter relationship. The text of the play offers perspective on issues of gender equity in relation to creative performance. The paper concludes with a brief look at Irondale, an effective, existing arts in education program based on values I share. And finally, I offer a model of the essential frame of the writing/theatre studios, an integrated arts in education program for fostering artistic process, which offers a forum for developing critical and creative thinking skills, writing skills, a sense of best performance and a sense of vitality and community for all participants