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Instructing students during the Covid 19 pandemic has created many new challenges and upended normative pedagogical practices in learning spaces. Teaching in the arts, a traditionally hands-on process, represents a particularly unique set of challenges. Studio art faculty have long been asked to perform with limited resources, particularly those in the domestic arts where practitioners are largely women, people of color, and folks from marginalized populations. In this poster presentation, I will discuss how historically, in times of war, and now a pandemic, domestic work or matriculture, is revisited by societies at large. One needs only to look at the proliferation of bread making advice across social platforms; an intense return to cooking, and the sharing of recipes for meals that are comforting; renewed interest in growing plants and gardening to recognize the need to prioritize domestic activities as high priorities during this time. It is noteworthy to acknowledge that these same domestic activities function as productive distractions from trauma, and offer meditative practices, while providing individuals and their families with activities and outcomes that commonly bring about feelings of comfort, and security. Accordingly, I will discuss how these domestic skills can be applied to experimental learning and how students can draw on these practices with rigor for more personal resilience, innovation and imagination in their studio arts practice.To access a PDF of the "Matricultural Practices in Studio Art Courses" poster, click here.
Description of the Poster 
Matricultural Practices in Studio Art Courses 
Rebecca E. Schuiling Apparel and Textile Design Art, Art, History and Design Michigan State University 
Introduction 
Studio environment, now that we are online, happens in the home. Students are making studios of their kitchen table, twin bed, and basement floors. Creative projects that would have been executed on industry standard machines and equipment are now being created from discarded items in the family garage, recycle bin, and the junk drawer. While creative spaces, commonly known professionally as studios, have always had direct connections to matricultural underpinnings, at this time, studio practices and matricultural practices commingle.  
Students and professors alike take for granted the matricultural items and spaces around them, because they commonly exist in patriarchal spaces such as drawing studios with rigid standing tables, fluorescent lighting, cell structure classrooms with concrete floors. The pandemic forced them to examine their surroundings with a critical eye to discover new approaches and materials for creative outcomes. This returned everyone to a matricultural ethos, where materials and approaches reflect the Hestian sphere. Materials that were readily available commonly were found in the natural environment and in the home, which lead to a new appreciation for  sustainable media and materials readily available when viewed through a lens of multiplicity. 
In my studio courses; Knitwear, Advanced Knitwear, and Explorations in Apparel and Textile Design, I employ matricultural pedagogical strategies. The following are a few highlights as to the use and success of Matriculture as a pedagogy. 
Matriculture as Pedagogy 
In the introduction to her book, Cassandra Speaks 2020, Elizabeth Lesser notes that the stories a culture tells, become the culture. Stories with terms coded as feminine, “the home, the hearth, the “womanly arts” of empathy and care” are erased in favor of stories of warriors and violence (Lesser 2020:11). In this way, matriculture embraces practices commonly considered domestic arts, crafts, and even women’s work, because it offers sustainable practices and compassionate community based outcomes. 
In ReMembering Matricultures: Historiography of Subjugated Knowledges, Irene Wiens-Friesen Wolfstone imagines a future where curricula and syllabi are developed through the conceptual and theoretical framework of Matricultures. Her working definition of Matriculture is mother-centered societies founded on maternal values of care-taking and meeting needs, which become ethical principles for men and women, mothers and not-mothers. Matricultures are socially egalitarian and governed by consensus (2018: 5)  
During the Coronavirus pandemic, many returned to matricultural spaces, materials, and approaches for creative studios without fully realizing the connection. Given these factors, professors commonly asked students to use what is around them for creative outcomes in their studios, such as garden mud and dough used for ceramics; a pile of pots and pans for still life drawing; and onions and beets used for fabric dyes.  
Matriculture Pedagogical Case Study Examples 
Students were asked to be highly resourceful for space and materials while taking creative studios online. Closets of parents and peers were raided so as to locate appropriate materials that can be upcycled or repurposed. Furry family companions and stuffed animals within the home, are now models for knitted items such as scarves, blankets, mittens and hand warmers. 
Reconnecting with Matricutural Relationships 
A student in my Advanced Knitwear class could not afford new yarn or notions for the class. She reached out to her family, and her grandmother was gifted her a stash of materials including yarns. Her grandmother was thrilled that her granddaughter was learning to knit and that the materials she had collected over the years would finally be utilized for a creative outcome. The student had lots of materials for her projects that would not impinge on her affording other supplies. (Studio majors commonly spend more than $500 per course per semester). 
Reconnecting to Matricultural Spaces 
Due to the fact that many students are working in tiny spaces, as they are sharing their homes with extended family members, or are limited to small apartments or dorm rooms. Space is at a premium in the pandemic, especially for students. Students negotiate with family or roommates for space at the kitchen table or for a bedroom to become a studio for the semester. Storing supplies requires communication and innovative thinking to prevent children or pets from inadvertently ruining paints, markers, fabrics, and other creative materials. In return, the students will offer gifts of their time to make roommates dinner or even some of their creative outcomes. 
Reconnecting to Matricultural Resources 
Students in fashion illustration courses are using tea or coffee to paint their croquis figures. Orange peels and strawberry hulls now build the silhouettes to create texture and line for garment illustrations. Collage items are created as students forage around the house collecting and collating mail, paper goods, and other household items. Everyday household objects take on a new life in still lifes created in the home, frequently with family members critiquing and contributing. 
Analysis 
Wolfstone notes that Foucault’s methodology of historiography exposes how knowledge construction is influenced by colonialism, patriarchy and capitalism. Wolfstone posits that this is a useful framework “for exploring questions such as: How did we get to this place where patriarchy is presented as the only viable social order? How can we remember the subjugated knowledge of matricultures?” ((Wolfstone 2018: 7). In a patriarchal society, crafts are coded as feminine and amateur. They do not carry hegemonic institutional accreditations. Furthermore, crafting is often discounted as medium as it is typically associated with clothing and, therefore, considered superficial or surface. The Covid-19 Pandemic has forced a societal reckoning with this prioritization. The anxiety, fear, and unknown of living through a contagion, coupled with societal and economic unrest and institutionalized disparities; has led us back to the familiar; to home; to matriculture. To the domestic work that sustains life. 
By employing Matriculture as a pedagogical method in my creative studios, students are encouraged through their studio practice and design processes to simultaneously reconnect to family, reconnect to resources, and reconnecting to spaces in their own lives and creative practices. Thus, moving away from a traditional patriarchal lens of institutionalized learning to an authentic, sustainable, and community based matricultural practice. 
Summary 
In times of crisis, the domestic or matriculture is revisited. In my studio pedagogy, I employed matricultural practices, materials, and approaches because many students were isolated in home environments, where they were also engaged with domestic activities that were applicable to experiential learning and creative outcomes. Students reconnected with family, the home, and resources found in the home. Students draw on these practices with rigor for more personal resilience, innovation, and imagination in their studio practice and creative outcomes. 
Bibliography 
Foucault, M. (1984). Nietzsche, genealogy, history. In P. Rabinow (Ed.) The Foucault reader (pp. 76-100). New York: Pantheon Books. 
Kimmerer, R. W. (2015). Braiding sweetgrass. Milkweed Editions. 
Lesser, E. (2020). Cassandra Speaks. Harper Wave. 
Wolfstone I.W.F (2018).  ReMembering Matricultures: Historiography of Subjugated Knowledges. Accessed April 19, 2021: https://www.academia.edu/37336416/ReMembering_Matricultures_Historiography_of_Subjugated_Knowledges 
In her book, Robin Wall Kimmerer notes that “cosmologies are a source of identity and orientation to the world. They tell us who we are. We are inevitably shaped by them no matter how distant they may be from our consciousness…..On one side of the world were people whose relationship with the living world was shaped by Skywoman, who created a garden for the well-being of all. On the other side was another woman with a garden and a tree. But for tasting its fruit, she was banished. And then they met- the offspring of Skywoman and the children of Eve- and the land bears the scars of that meeting, the echoes of their stories” (Kimmerer 2015: 6-7).  
Wolfstone continues, “Matricultures do not presume the subordination of men, and thus are not the reverse of patriarchy. Matricultures assume a reciprocal relationality between land and culture” 
My research is an exploration of the material culture of dress and appearances, specifically knitted dress. I draw from disciplines including but not limited to Dress, Cultural Studies, Sociology, and Visual Culture in order to build qualitative methodological frameworks, studies, and analyses that allow for better understanding of the rituals of craft. My research and scholarship reveal how crafting practices and rituals of handcraft are vehicles of empowerment.  

Michigan State University was an early leader adopter of an integrative studies approach to undergraduate general education. Unfortunately, this program has experienced structural changes that resulted in a significant increase in class sizes for ISS classes in particular. As a result, instruction in these classes has become largely didactic, and in many classes, student assessment is primarily measured through high-stakes, multiple-choice exams. For so many MSU students, this passive pedagogical approach leaves them disengaged and disinterested. The question remains: How can ISS faculty facilitate engaged and project-based interdisciplinary curriculum with the current scale of their large-format classes? It is in this context and around these challenges that this project takes shape, and with the support of a Hub Faculty Fellowship in 2020-2021, we set out to bring innovation to ISS. Over the course of three semesters and amidst mandated remote online learning, our instructional team designed and implemented a meaningful, engaged, interdisciplinary, and team-based research project into an ISS general education course (with enrollments of 300 students) on the broad topic of Material Culture Studies. For the course project, students were required to explore a complex integrative research topic of their choice related to Material Culture Studies. Their research developed within weekly benchmark steps and culminated in the production of a short documentary film over their chosen topic. All student films were then showcased in an end-of-semester virtual student film festival. The course project design and the student outcomes and experiences with this project are the focus of our presentation. Our research proposal team includes the ISS professor of the class, two teaching assistants (both who completed the film project as students in SS20), and three participant students (all who created films in FS20). Together with our various positionalities, we propose to present the findings of this innovative ISS pedagogical research in the form of an academic poster—a common format to present preliminary findings of a research project that is still in progress. Additionally, we will embed into our poster a link to our team-produced short film that documents this guiding course project in engaged digital storytelling within an ISS general education course. We hope this film will demonstrate that we are pedagogically practicing what we preach to our students.To access a PDF of the "ISS Innovation: Documentary Storytelling as Engaged Learning in General Education" poster, click here. Please note: This poster contains embedded videos that are accessible via the PDF or below. 
The title of this poster is:  ISS Innovation:  Documentary Storytelling as Engaged Learning in General Education. 
This poster contains several sections. The first section outlines the research problem and purpose and provides a brief literature review on the topic. This section ends with the articulation of the guiding research question. 
The second section is a table that describes the research methods and data collection choices for the project. This is followed by the third section that provides a detailed iconic logic model of the data analysis scheme for the research project. 
The fourth section presents selected findings from the project. There are three major findings presented, and accompanying each of the findings is a short YouTube video/film that was produced by the research team to give the viewers a comprehensive picture of the guiding course ISS project that this pedagogical research investigates.  
ISS Innovation: Active and Engaged Learning
Culturally Responsive CurriculumMotivating Creative Risk Taking
There are links to the associated film festival that showcases the documentary films that MSU students in the ISS class produced as their guiding course projects. The poster has a brief conclusion section and a references section. 

Dr. Crystal Eustice (Department of Community Sustainability Studies Assistant Professor of Practice, Academic Advisor, Internship Coordinator) & Jackie Martin (MSU Extension Leadership & Civic Engagement Educator, 4-H Program Supervisor)
 
The Thank an Educator Initiative was born out of the #iteachmsu Commons project, an effort to recognize the great practices of individuals on campus who contribute to student success by supporting MSU’s teaching and learning mission. On such a large decentralized campus, it can be difficult to fully recognize and leverage the expertise of educators. The #iteachmsu Commons' current focus has been to develop and launch a web platform for educators across campus to share their expertise and experience, connect with others, and grow in their practice.
 
You’ll notice that we’ve specifically chosen to denote the audience of this platform as “educators” which the #iteachmsu Commons’ founding units (the Hub for Innovation in Learning and Technology, the Academic Advancement Network, and the Graduate School) define in the broadest sense – anyone who contributes to MSU’s teaching and learning mission. This includes but is not limited to faculty, academic advisors, librarians, coaches, graduate teaching assistants, undergraduate learning assistants, infrastructure planning and facilities, learning designers, IT, planning and budget, staff, etc.
 
We (the #iteachmsu Commons team) have had unwavering enthusiasm for the platform, which is now live at iteach.msu.edu, but we weren’t sure that the Spartan community would identify with the goals of the project (despite the platform’s for educators – by educators development). As a part of my 2018-19 Hub Graduate Student Fellowship, I was able to further observe and investigate how individuals on our campus qualified their work (as it related to the mission and vision) and how they identified with the role of educator. While I found overwhelming support for the type of platform we were building, many of the individuals I spoke with did not personally identify as an educator despite their work contributing to teaching and learning at State. Thus Thank an Educator was born.
 
I designed and launched the inaugural year of Thank and Educator as a part of my Hub fellowship last year as a way to celebrate all the individuals who contribute every day to helping MSU be the institution of higher learning that it is today. By intentionally launching the initiative across the MSU community and asking for individuals to share stories of the positive impacts made by MSU educators, we were able to not only recognize the great efforts of invaluable Spartan community members but also showcase the diverse roles and ways in which people take up being educators on our campus. 80 Educators were nominated by fellow Spartans and were recognized at the first annual #iteachmsu Educator Awards during last year’s Spring Conference on Student Learning and Success. This initiative wouldn’t be possible without the support of Dr. Jeff Grabill (Associate Provost for Teaching, Learning, and Technology) and the Provost’s office, and I am excited to say that it is continuing in this 2019-20 academic year.
 
I have been at Michigan State for the entirety of my postsecondary experience. I came here in 2008 for my B.S., finished a M.S., and plan to complete my doctoral degree by the end of this academic year. Throughout my time as a Spartan, I have encountered countless individuals who were invaluable to my experience but weren’t limited to those who stood at the front of my classes. Thank an Educator gives me the opportunity to recognize those people who made a difference in my MSU experience (as both a learner and a colleague), and for that I am thrilled. I have received correspondence from individuals directly, saw posts featuring educator awards on Twitter, and have even seen award certificates hanging in offices or by desks. I am deeply honored by the idea that I have played a small part in amplifying the work educators do at MSU, and reinforcing the value of that work through this initiative and community.
 
Anyone can recognize a Spartan educator who has made an impact in their lives by clicking “Thank an Educator” in the left panel of this site! You can also read about educators who have been recognized in our "Featured Educator" posts!
 

Vivek Vellanki (College of Education Doctoral Student) & Terry Edwards (Assistant to the Chair, Department of Teacher Education)
 
https://msutoday.msu.edu/news/2019/honoring-msus-educators/ 

Work with us to create a unique teaching and learning experience at CMERC.
You are invited to incorporate nature into courses and create learner‐centered experiences at CMERC (pronounced ‘see‐merk’), the Corey Marsh Ecological Research Center. CMERC is a 350‐acre ecological research center located 20 minutes from MSU campus in Bath Township, Michigan. It is a place for making scientific discoveries and integrating the arts and sciences in a collaborative, interdisciplinary, and inclusive space. CMERC welcomes educators, researchers, and citizens across MSU to explore, co‐create, facilitate and grow experiential courses for students.
CMERC seeks faculty and academic staff collaborators to develop learning experiences that will bring together educators, students, and community members to explore and learn from this vibrant ecological field site. MSU faculty and staff from across campus interested in this funded opportunity to join a SoTL Fellowship in land-based learning can connect with Jeno Rivera, Center Educational Program Development Leader at jeno@msu.edu.What is Corey Marsh (CMERC)?
CMERC is more than a physical place. It is a space that offers meaningful place-based experiences.CMERC was once MSU’s Muck Soils Research Center and operated from 1941 – 2012. In 2018, Fisheries and Wildlife associate professor Jen Owen, with the support of MSU AgBioResearch, led the reimagined CMERC into a place for integrating ecosystem science research with student learning and community engagement. In addition to training MSU undergraduate students in field‐based research and science  communication, the center aims to promote better land stewardship practices and the relevance of science to society. While still early in its development as an AgBioResearch site, CMERC has been engaging in a people-centered approach to the planning, design and management of the space. CMERC foresees a collaborative process transforming the space to a place that engages a diverse community – internal and external to the university in scientific discovery.Location of Corey Marsh Ecological Research Center in Bath TownshipHow can I contribute?
Given the unique opportunity CMERC provides to enhance student learning, we want to make sure that it serves a diverse student community that spans disciplines and units. We want educators in our SoTL Fellowship in land-based learning to reflect that diversity and help develop curriculum that will foster collaboration among students and serve to integrate arts and humanities with sciences.  Consider these examples of possible learning experiences at CMERC:

Edible and Medicinal Plants – for humans and wildlife. What is good for humans vs. wildlife?  What grows in muck soils? How can ecological restoration efforts incorporate edible plants? What is missing that was likely at CMERC in the past? 
Trails – People – Nature – Wildlife: How does trail design enhance natural experiences and maintain integrity of the ecosystem? What informs the development of a trail?
Land Grant or Land Grab?: Who was here before us? How did this land become a part of the land-grant system? How can this land honor those who used it in the past, present, and the future? 
Agriculture and Natural Resources – how can we document and understand how historic land-use affects ecosystem integrity now and in the future?

CMERC actively seeks MSU faculty and staff interested in designing and facilitating an interdisciplinary, learner-centered, sense-making experience built on the resources of CMERC. This curricular/co-curricular programming will be titled Lessons from Nature: Stories from CMERC. We envision that the learning inquiries would be co-created by faculty and students together. More specifically, the lessons will be shaped as a studio experience that is akin to Liberty Hyde Bailey Scholars (BSP) integrated learning/self-directed courses or modular programming. These experiences would be facilitated by a faculty member, but inquiry and assessment are student led. Alternatively, you can develop learning experiences to enhance an existing course or curriculum. You may also be interested in giving your students the opportunity to facilitate place-based informal learning for youth in the local community.Next Steps: Have Fun. Explore Nature. Get to Know Us!
We invite your ideas and input for designing meaningful experiences at CMERC. Collaborators who are selected for our Fall 2022 cohort will receive $2,000 to support their participation. To explore how you can partner with CMERC, contact Jeno Rivera, Center Educational Program Development Leader at jeno@msu.edu  
Deadline to apply: June 15th, 2022.