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In the context of global concerns about plastics, this paper sets out and exemplifies a research agenda for articulating children's encounters with plastics. The paper analyses data co-produced with 11–15 year-olds through interviews, app-based research and experimental/arts-led workshops. It moves beyond scholarship in health and environmental sciences, and in environmental education research, to outline a far richer range of ways to conceptualise children's encounters with plastics, based in children's everyday, embodied and emotive interactions with plastics. [ABSTRACT FROM AUTHOR]

Background: Digital storytelling is an arts-informed approach that engages short, first-person videos, typically three to five minutes in length, to communicate a personal narrative. Prior to the pandemic, digital storytelling initiatives in health services research were often conducted during face-to-face workshops scheduled over multiple days. However, throughout the COVID-19 lockdowns where social distancing requirements needed to be maintained, many digital storytelling projects were adapted to online platforms. Methods: As part of a research project aiming to explore the day surgery treatment and recovery experiences of women with breast cancer in Peel region, we decided to pivot our digital storytelling process to an online format. During the process, we observed that the online digital storytelling format had multiple opportunities and challenges to implementation. Results: This paper outlines our promising practices and lessons learned when designing and implementing an online digital storytelling project including pre-production, production and post-production considerations. Conclusions: We provide lessons learned for future teams intending to conduct an online digital storytelling project. Plain English Summary: Digital storytelling uses pictures, video clips and audio to create a short, first-person video, to share a person's story. Before the pandemic, digital storytelling workshops were often held in-person over multiple days to help members of the community create their own digital stories. However, throughout COVID-19, many digital storytelling workshops were held online instead. This paper outlines our lessons learned when hosting an online digital storytelling workshop series to capture women's experiences with breast cancer in our local community. We hope our lessons learned are helpful for other teams who are considering using online digital storytelling workshops for their own research projects. [ABSTRACT FROM AUTHOR]

This paper analyses the process of co-producing an animated film about the migration journeys of Colombian women resident in Antofagasta, Chile. It first establishes the relationship between feminist epistemologies and arts-based methodologies, which hinges on embodiment. It then turns to a detailed discussion of using film co-production as a research method for accessing and expressing embodied experiences of migration. This discussion highlights how moments of discomfort (Gokariksel, Hawkins, Neubert, and Smith, 2021) experienced by the researcher motivated the search for a more collaborative methodological approach that was better attuned to lived experience. This included striving towards more inclusive practices with respect to recruitment, anonymity, and confidentiality. Moments of discomfort also revealed how care and caring responsibilities are entangled with research, and how they gender possibilities of participation and production for community co-producers and artists, as well as for researchers. Finally, through discomfort, lessons were learned about the politics of representing experiences of migration, violence, and endurance, as well as joy. The paper concludes that, whilst by no means a panacea, collaborative arts-based research methods can offer an innovative toolset for exploring embodied experience and for navigating the relational and representational complexities attendant to research. [ABSTRACT FROM AUTHOR]

Conducting research with young participants presents numerous challenges, particularly in terms of representation as the researcher endeavours to listen to children's voices in order to understand and portray their perspectives accurately. Since the 1989 United Nations Convention on the Rights of a Child established children have the right to express their views and have these taken seriously in matters that affect them, researchers have developed a variety of multimodal methods to capture the children's perspectives. The aim of this paper is to describe an innovative methodological approach to recording ethnographic observations of young children (aged four to six) through a visual mode: the cartoon. The article describes the methodology of a specific research project that explored young children's communicative practices in a super-diverse environment. Adopting a flexible approach to research and putting children's suggestions into practice led to the co-production cartoons that used the participants' self-portraits to visually portray the researcher's written observations of the children. The paper presents vignettes, evidencing how the use of self-portraits meant the cartoons were more engaging, held greater personal significance and opened up spaces for dialogue, leading the researcher to uncover deeper insights. This has important implications for any research that endeavours to listen to the participants' perspectives, but where verbal or written forms of communication are impeded. [ABSTRACT FROM AUTHOR]

Within the context of a (post-)COVID-19 pandemic world, there is an urgent need to critically explore how bicycle-related activities may contribute to an environmentally sustainable and equitable world for vulnerable populations. In recent years, mutual aid projects have surged globally, with scholars pointing to the COVID-19 pandemic as a key driver of communities being forced to respond to the unfolding social and environmental crises, alongside state abandonment. In this paper, we discuss how cycling has been taken up by communities disproportionately harmed by colonial systems. Using a decolonial feminist participatory action research approach, the authors collaborated with The Bike Brigade, a non-profit bicycle delivery organization that partners with mutual aid organizations. Using arts-based methods and semi-structured interviews, we draw on the perspectives of 2SLGBTQ+ and racialized cyclists who volunteer with The Bike Brigade. A key theme of the research was the unique way in which research colleagues used bicycles to participate in community care by embodying mutual aid values: community thriving, resource reallocation and solidarity. Thus, this paper puts forth mutual aid as a potential framework for understanding radical mobility practices to foster community care. [ABSTRACT FROM AUTHOR]

This paper aims to call attention to the potential of using film in engineering ethics education, which has not been thoroughly discussed as a pedagogical method in this field. A review of current approaches to teaching engineering ethics reveals that there are both learning outcomes that need more attention as well as additional pedagogical methods that could be adopted. Scholarship on teaching with film indicates that film can produce ethical experiences that go beyond those produced by both conventional methods of teaching engineering ethics and more arts-based methods such as fiction, as well as connect ethics learning outcomes and issues to the lifeworld of a person. The paper further illustrates the potential of using Miyazaki Hayao’s film The Wind Rises for highlighting a range of ethical issues pertaining to engineering. It also discusses the important role educators play in how film can be used effectively in the classroom. Synthesizing a range of sources from film theory to the use of film in business and medical education, the paper makes the case for using film in engineering ethics education and calls for more research on the use of this method. [ABSTRACT FROM AUTHOR]

This paper offers a new child‐centred methodology that explores children's visions of their futures, encourages self‐reflection and depth and shares children's voices with peers and researchers, as unbrokered as possible. This final stage of a longitudinal, arts‐based, social science‐informed project was delivered by partnering with schools in socially disadvantaged areas of Bristol, a UK city. Our two‐phase activity used a Tree metaphor to explore children's hopes, ambitions and support, looking forward to recovery from the COVID‐19 pandemic. The analysis combined multi‐disciplinary thematic and visual‐narrative analysis, and revealed diversity, intersection and individuality in themes that scaled out from the child and their family over different timescales. Themes included emotion (concerns; empathy), experiences (happenings, resources skills; aspirations) and relationships, linked to their recent experiences of COVID‐19 mitigation. The paper reflects critically on children's and researchers' positionality, and the complexities involved in developing research methods that encourage children's autonomy, agency and authenticity. [ABSTRACT FROM AUTHOR]

There has been increasing use of comic-based approaches within qualitative research as part of an increase in creative and visual methods more generally within social science research. However, whilst increasingly prevalent in dissemination, their use within data collection is less common. This paper examines the dual use of a comic-based approach embedded within a study that explored widening participation in higher education. Initially developed for the triangulation of emergent research findings with a wider group of participants, a comic panel was developed to be used as a focus of discussions within a workshop with 11 practitioners. This was then further developed for wider dissemination and to create a space for dialogue and to engage wider publics with the study's recommendations. Both uses are critically examined, highlighting the affordances of comic-based approaches such as their capacity for supporting dissemination to a wider audience by distilling the findings and presenting them in an engaging way. Furthermore, it argues that the form can allow for creating points of ambiguity that create spaces for the audience to challenge and question taken for granted assumptions on a topic. The paper also sets out possible challenges such the need for specialist skills, the potential for oversimplification and misrepresentation of complex issues. This paper argues that with careful planning, comic-based approaches can add significant value and increase engagement with research. Finally, it offers suggestions for how this approach could be developed by future researchers. [ABSTRACT FROM AUTHOR]

How do we dwell tenderly in the ruins of the modern university? This paper engages a hopeful, collaborative, and sensory methodology to imagine possibilities for research and researcher. As academic women navigating the decay of the neoliberal university amid the shadowy spectre of the 'ideal' academic, we explore our lived experiences, identities, and questions. For us, managing modernity's disorientation and dislocation means showing up differently, with new tools, new theoretical frames, and new ways of relating. From our experiential and aesthetic inquiry, tendrils of possibility for what research does, has been, is, and could be, are emerging. Our dwelling together (co-sensing in radical tenderness) helps us see beyond the thicket of institutional requirements towards a more hopeful and collective existence – for if the sense of separation instilled by modernity is a social disease, healing must be a communal endeavour. [ABSTRACT FROM AUTHOR]

Being an informal caregiver to a loved one with an illness, disease, or chronic disability is a rewarding but frequently stressful experience. In this design research project, caregivers participated in a half-day workshop to (1) share their caregiving experience, (2) reflect on the potential of a mobile smartphone 'app' for carers and (3) co-design this app, as well as in-depth interviews. Our design research process used multiple arts-based methods, including visual experience mapping tools, storytelling, photo-elicitation, documentary photography, cartoons, drawing, and research poetry, to provide rich and empathic insight into daily life as a caregiver and illuminate the potential of technology. Workshop activities included creating a visual collage of lived experience, annotated visual maps illustrating the reality and misconceptions of caregiving, pathways of care, and mapping a day in their life using the visual metaphor of a clock. Carers then trialled and provided feedback on a prototype app, creating a collective map of desired features. This co-design feedback informed the final app design, which was formally launched at a public exhibition showcasing stories collected from our arts and design-led processes. This paper outlines the value of arts and design methods in the design of future health technologies, which provide a critical space for an informed, reflexive, and empathic dialogue about illness and caregiving, resulting in designs that truly met consumer's needs. [ABSTRACT FROM AUTHOR]

Photovoice is an arts-based participatory action research method that uses photography as a means for individuals, usually those facing marginalization, to document and foster group dialogue around the stories of their valuable lived experiences. This paper details a photovoice project run under the participatory planning project NeighbourPLAN, in Peterborough, Ontario, with the residents of the Downtown Jackson Creek group. The focus of the photovoice project was working with residents facing various forms of marginalization and barriers to reflect on what (dis)connections look like in their community. The findings conclude that photovoice generated new subjectivities, as residents reported feeling more connected to their community after taking photos. The process was generative in that it reminded residents of other creative outlets that they enjoyed doing and inspired them to engage with creative reflection in other ways. The findings also determined that green spaces, non-judgmental institutions, accessible amenities, safe housing, and well-maintained streets were critical for resident researchers' feelings of connectedness. I conclude with recommendations from the residents' feedback on the method and project, along with highlighting the promising potential of arts-based and storytelling methods when conducting research with marginalized groups. [ABSTRACT FROM AUTHOR]

The cultural sector is a potential instigator of change due to its experimental, performative, and relational nature. However, like everywhere else, the cultural sector re-enacts and thus conserves inequalities of various kinds through its outreach to wider audiences and its deep engagement in socio-cultural practices. By taking our actions within the ERASMUS+ project 'Voices of Women' as a creative catalyst, this paper scrutinizes a set of items for further discussion of arts-based pathways for sustainable transformation towards a more (gender) equal world. We discuss the ability of the arts to engage, educate, and transform power relations through three pathways towards sustainable transformation: 1. Canon critique; 2. Decolonization; and 3. New materialism. We argue that all three pathways enable novel forms of knowledge creation and actions in arts-based research, arts education, the cultural sector, and beyond. [ABSTRACT FROM AUTHOR]

How can artistic intervention facilitate empathic engagement with work-related uncertainty in postgraduate management education? To examine this, we theorize artistic intervention as creating an interspace of temporarily suspended organizational norms through which empathy as relational knowing can emerge between participants. Drawing on an ethnographic study entitled Becoming in Academia, a nine-month artistic intervention conducted by a group of doctoral students in a Nordic business school (NBS), this paper highlights how an interspace for empathic engagement with work-related uncertainty was created by the participants through three intervention activities: aligning oneself to the other, narrating a collective validation, and acknowledging the agency of the other. In contributing to arts-based management education research, the paper theorizes and empirically elaborates on empathic knowing as emerging from activities of artistic intervention, opening an interspace, and providing new insight into arts-based methods as means for engaging with uncertainty within management education. [ABSTRACT FROM AUTHOR]

The pursuit of social justice must include art and creativity to challenge systems of oppression and imagine a new world. Arts-based approaches, specifically puppetry, can offer social work researchers and practitioners another way of exploring complex community issues. While puppetry has been used as a therapeutic intervention with children, puppetry also has roots in community-based education and organising efforts that social work can learn from. Drawing upon empirical and theoretical literature, this paper describes how puppetry can aid in the creation of actionable knowledge that can promote social change within social work practice, research, and education. [ABSTRACT FROM AUTHOR]

This study discusses the methodological component of a research project with Sudanese musicians and their associated activist groups. The methodology included song-writing and, as such, is an example of collaborative creative research practice. Proponents of collaborative creative practice argue that the combination of aesthetic methods with ethnographic and participatory research methods brings both epistemological and ethical dividends. This paper considers whether these alleged epistemological and ethical advantages bore out in this research project. While confirming some benefits, my study also shows evidence of underlying tensions between aesthetic 'micro-methods' and ethnographic and participatory traditions of knowledge production. In relation to the alleged epistemological dividends, I argue that autoethnographic embedding in collaborative creative practice is alone insufficient. It requires a theoretical framework which theorises the relationship between one player's musical experience and another's. Only with this, can the sensory experiences of the researcher be used to inform analysis of participant observations and interviews. The autoethnographic experiences of the researcher are not findings in themselves. In relation to the ethical dividends, unlike other arts-based research, I found that the aesthetic micro-methods in this study did not naturally lend themselves to participant empowerment. The pursuit of aesthetic goals has its own division of labour which can lead to the deprioritisation of self-expression and co-learning which constitute the primary aims of classical participatory research. Overall, collaborative creative practice did enhance this research project but there are important caveats. To reflect these, I aruge that creative collaboration should not be considered as a simple sub-set of either ethnographic or participatory research but as a method in its own right. [ABSTRACT FROM AUTHOR]

The COVID-19 pandemic necessitated many adjustments to everyday teaching at higher education institutions. While face-to-face lectures were the preferred teaching method of teacher educators prior to the COVID-19 pandemic, the shift to online teaching was heightened during the COVID-19 pandemic. This paper draws attention to the shifts we transitioned to as teacher educators teaching and researching via online platforms-specifically Zoom—in the context of the COVID-19 pandemic. This study explored how three teacher educators used co-creative arts-based inquiry to deepen their understanding of their shifting teacher 'selves' as online users. Object-inspired narratives and poetic inquiry were employed to co-flexively engage with our shifting teaching experiences and question our feelings of discomfort teaching online. Framed conceptually by an ethics of care and collaborative-creativity, we discuss the tensions and possibilities we experienced, and shared through our scholarly online conversations via Zoom to think through the shifts in our teacher selves and teaching. We highlight our online teaching experiences amidst the uncertainty and disruption of the COVID-19 pandemic. We then share the methodological insight of collaborative arts-based inquiry and how it facilitated reflexive dialogues and deep conversations that ignited self-learning and collective insights into the potential and possibilities of online teaching. Findings highlighted that co-creative, online engagement enabled sharing of emotional experiences and offered possibilities for transforming teacher selves. In addition, co-creative, online engagement enabled the cultivation of relational scholarly thinking. The article highlights the methodological insight of co-creative arts-based research in productively disrupting instrumental university discourse of online teaching. [ABSTRACT FROM AUTHOR]

Universities are increasingly recognized as spaces and cultures where gendered and sexualized harassment is endemic. This article pays close attention to the manifestations of sexualized behaviours in a campus university in the UK, examining some of the ways in which formations of masculinity are encouraged and reproduced through university structures, processes and aesthetics. The discussion draws on data generated by a creative project utilizing film-based materials as a prompt for collaborative reflections. Bringing together staff and students from across the university in a creative space enabled diverse experiences to be shared and produced rich and detailed insights across disciplinary and generational differences. The paper argues that such creative interventions are a vital form of feminist pedagogy offering a powerful resource for future work in this increasingly urgent field of study. [ABSTRACT FROM AUTHOR]

Fat studies is a field of study that provides critiques and disrupts western biomedical assumptions about fatness. Various methodologies are taken up within the field of fat studies; however, arts-based methods offer unique and distinct methodological insights to the field. Addressing these important intersections, this methodological paper illuminates three broad arts-based research methods used in fat studies and how these methods highlight important themes of disruption, space, and temporalities. In particular, the importance of temporalities and time captured paper through arts-based methods covered are noteworthy. In the space of fat temporality, we end with a critical invitation for fat studies and arts-based scholars to innovate work using the method of performance art, specifically how performance can facilitate unique insights to create new knowledge at the intersection of fat studies and arts-based research. [ABSTRACT FROM AUTHOR]

Youth-Creative Action Research (Y-CAR) is a variant of participatory action research specifically suited for exploring and developing evidence-informed innovations to address complex social challenges such as climate change. In this paper, we present an overview of Y-CAR and explore its core defining features, potential for application in research and action, and connection to other action-oriented research methodologies. We draw on a range of examples of this emergent methodology that illustrates its evolution and core principles in action and show how it has been implemented in research. We conclude the paper by examining key learnings, future leverage points, and limitations to applying Y-CAR in practice. [ABSTRACT FROM AUTHOR]

The paper discusses the formative ideas behind the Japanese model of knowledge management, the Western difficulties in the understanding and operationalising tacit and explicit knowledge conversion, and the role of arts-based methods in harnessing the still elusive knowledge dynamics, as well as adaptation of the popular, yet rarely used approach proposed by Ikujiro Nonaka. [ABSTRACT FROM AUTHOR]

This paper discusses the potential of participant art-making as an ethnographic analytic method for materialising otherwise invisible experiences in the everyday lives of people. To describe this methodology, I share examples from a two year project conducted in a photography classroom in the northeastern United States. Teenage participants made photoethnographic self-studies about their engagement with texts and then used mixed-media art-making as an analytic method to study their photographs. As a result, in every art piece the youth photoethnographers were able to surface, through colour, line drawing, and annotation, that which would have remained invisible otherwise: affective intensity, sensory experience, and mercurial or ephemeral relations. Using participant art-making as an analytical method may be of great use to ethnographers who are seeking tools that will provide access to affective intensity and complicated or hidden relations experienced in/by their participants. [ABSTRACT FROM AUTHOR]

The Canadian HIV Women's Sexual and Reproductive Health Cohort Study – Positive Aboriginal Women (CHIWOS-PAW) actively Indigenizes and honours re-search by, with, and for Indigenous communities. In this study, as Indigenous and non-Indigenous researchers, we weave our ways of knowing and doing together on the Ancestral, Traditional, and stolen lands of the xwmƏθkwƏýƏm (Musqueam), Skwxwú7mesh Úxwumixw (Squamish), (Tsleil-Waututh), S'ólh Téméxw (Stó:lō), and the Kwantlen Territories. We conceptualize 're-search' as a cyclical journey that is not about 'discovering' new knowledge but designing a process to search for what is known, existing, and embodied by Mother Earth and our Ancestors. In this paper, we describe our process of using strengths-based approaches grounded in our connections with the Lands and Waters to explore how Indigenous Women living with HIV support their health and well-being by drawing upon Indigenous teachings and healing. Over the course of multiple gatherings conducted over 1 year with the same group of women, we utilized arts-based research methods, Indigenous teachings and ceremony, and Sharing Circles to collect and analyze women's perspectives and experiences of their health and healthcare. The Wise Women were living in the Coast Salish Territories, yet came from different Communities, including Coast Salish, Cree, Blackfoot, and Navajo Nation. Our Indigenized re-search process was healing for the Wise Women who participated in the study and for us as the re-search team, which promoted re-connection to self, nature, and culture. We share insights on our learnings to support other community-based research teams to engage in re-search by, with, and for Indigenous Women that prioritizes safety, healing, and benefit for those who participate. Such insights include the importance of centering Indigenous Ways of Knowing, Ceremony, and Cultural Practices; changing re-search jargon to more inclusive and honouring language; and reaffirming commitment to Indigenous Communities. [ABSTRACT FROM AUTHOR]

The intergenerational legacies of conflict and violence for children and young people are typically approached within research and interventions through the lens of trauma. Understandings of childhood and trauma are based on bio-psychological frameworks emanating from the Global North, often at odds with the historical, political, economic, social and cultural contexts in which interventions are enacted, and neglect the diversity of knowledge, experiences and practices. Within this paper we explore these concerns in the context of Rwanda and the aftermath of the 1994 Genocide Against the Tutsi. We reflect on two qualitative case studies: Connective Memories and Mobile Arts for Peace which both used arts-based approaches drawing on the richness of Rwandan cultural forms, such as proverbs and storytelling practices, to explore knowledge and processes of meaning-making about trauma, memory, and everyday forms of conflict from the perspectives of children and young people. We draw on these findings to argue that there is a need to refine and elaborate understandings of intergenerational transmission of trauma in Rwanda informed by: the historical and cultural context; intersections of structural and 'everyday' forms of conflict and social trauma embedded in intergenerational relations; and a reworking of notions of trauma 'transmission' to encompass the multiple connectivities between generations, temporalities and expressions of trauma. [ABSTRACT FROM AUTHOR]

Arts-based research encompasses a broad range of creative methods and frameworks across artistic mediums such as music, dance, poetry, fiction, and storytelling, as well as video, photography, and other visual arts. Creative research provides for opportunities to explore meaning, ritual, symbolism, and the visceral, sensory, embodied, and affective elements of experience, as they represent valid ways of knowing. [ABSTRACT FROM AUTHOR]

Context: Participatory arts‐based methods such as photovoice, drama and music have increasingly been used to engage young people who are exposed to psychosocial risks. These methods have the potential to empower youth and provide them with an accessible and welcoming environment to express and manage difficult feelings and experiences. These effects are, however, dependent on the way these methods are implemented and how potential ethical concerns are handled. Objective: Using the current literature on arts‐based health research as a foundation, this paper examines ethical issues emerging from participatory arts methods with young people with traumatic experiences. Results: We present a typology covering relevant issues such as power, accessibility, communication, trust and ownership, across the domains of partnership working, project entry, participation and dissemination. Drawing on our extensive clinical and research experiences, existing research and novel in‐practice examples, we offer guidance for ethical dilemmas that might arise at different phases of research. Conclusion: Adequate anticipation and consideration of ethical issues, together with the involvement of young people, will help ensure that arts methods are implemented in research and practice with young people in a fair, meaningful and empowering way. Patient or Public Contribution: The issues reviewed are largely based on the authors' experience conducting participatory research. Each of the projects referenced has its own systems for PPI including, variously, consultations with advisory groups, coproduction, youth ambassadors and mentor schemes. One of the coauthors, Josita Kavitha Thirumalai, is a young person trained in peer support and has provided extensive input across all stages. [ABSTRACT FROM AUTHOR]

ABSTRACTWithin the context of a (post-)COVID-19 pandemic world, there is an urgent need to critically explore how bicycle-related activities may contribute to an environmentally sustainable and equitable world for vulnerable populations. In recent years, mutual aid projects have surged globally, with scholars pointing to the COVID-19 pandemic as a key driver of communities being forced to respond to the unfolding social and environmental crises, alongside state abandonment. In this paper, we discuss how cycling has been taken up by communities disproportionately harmed by colonial systems. Using a decolonial feminist participatory action research approach, the authors collaborated with The Bike Brigade, a non-profit bicycle delivery organization that partners with mutual aid organizations. Using arts-based methods and semi-structured interviews, we draw on the perspectives of 2SLGBTQ+ and racialized cyclists who volunteer with The Bike Brigade. A key theme of the research was the unique way in which research colleagues used bicycles to participate in community care by embodying mutual aid values: community thriving, resource reallocation and solidarity. Thus, this paper puts forth mutual aid as a potential framework for understanding radical mobility practices to foster community care.

To explore the affective domains embedded in academic development and teacher practice, a team of academic developers was invited to consider a poem and how it reflects the emotions and feelings underpinning experiences as teachers within Higher Education. We used a method of arts-informed, collective biography to evaluate a poem to draw upon and share memories to interrogate lived experiences. Our research is framed using the lens of pedagogic frailty model to see how affective and discursive encounters are produced and impact us. We contend that collective arts-based and biographical approaches can provide alternative ways for ourselves and teachers to examine their own pedagogic frailty. [ABSTRACT FROM AUTHOR]

Studio Art Therapy is a unique learning ecology with border crossings between visual arts therapies and art studio practice, education, and health. The increased fluidity between research and practice spaces, art therapy, and arts health are elaborated as a concept, theorized with the western Deleuzoguattarian philosophy. Connections and differentiations between art making and art as therapy are revealed in a discussion of an empirical research project Art, Visual Narrative, and Wellbeing Project (AVNAW). Studio art therapy focuses on body, meaning, and healing. It speaks to the value of people making art, reflecting and talking about their making processes alone and together through an autoethnographic visual narrative approach to artmaking. The paper asks how studio visual artmaking can activate individual productive desire to adapt toward becoming well through artmaking. Care, community, belonging, and resilience are core to a studio art therapy learning ecology that responds to real-life experiences in the support of personal care and wellbeing.

Abstract Background Digital storytelling is an arts-informed approach that engages short, first-person videos, typically three to five minutes in length, to communicate a personal narrative. Prior to the pandemic, digital storytelling initiatives in health services research were often conducted during face-to-face workshops scheduled over multiple days. However, throughout the COVID-19 lockdowns where social distancing requirements needed to be maintained, many digital storytelling projects were adapted to online platforms. Methods As part of a research project aiming to explore the day surgery treatment and recovery experiences of women with breast cancer in Peel region, we decided to pivot our digital storytelling process to an online format. During the process, we observed that the online digital storytelling format had multiple opportunities and challenges to implementation. Results This paper outlines our promising practices and lessons learned when designing and implementing an online digital storytelling project including pre-production, production and post-production considerations. Conclusions We provide lessons learned for future teams intending to conduct an online digital storytelling project.

People living with rarer forms of dementia tend to have progressive cognitive symptoms affecting skills other than memory and/or onset before the age of 65 years. They are often misdiagnosed and due to symptom profile or age of onset, do not usually fit well with care pathways designed for older people with typical Alzheimer's disease or vascular dementia. Although the arts have been increasingly used as interventions to support people with dementia, there is very little attention given to rarer dementia forms in arts and health research or practice. The objective of the present international study seeks to systematically explore four diverse forms of poetry writing within this population through virtual and in-person small and large group formats. Our approach includes investigating poetic processes as methodology through the lens of an arts-based methodological approach in order to explore how poems construct knowledge and a felt experience. We will also use more traditional qualitative approaches to understand the experience of writing, reading and listening to poetry as an intervention that can be used with different rarer forms of dementia. To the best of our knowledge, this will be the first study to explore poetry using multiple research protocols. The results will have implications for methodology development, co-constructed poetic inquiry and multiple opportunities for involving poetry in supporting people with dementia and family members. [ABSTRACT FROM AUTHOR]

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Arts and arts-based methods are increasingly used in professional development. This study involved two artists facilitating art activities for 21 staff members from three care institutions in Finland: a nursing home, a day-care centre for individuals with dementia and an organization that supports individuals facing challenging life situations (e.g. unemployment or the need to relearn everyday skills). The primary objective was to enhance work satisfaction and well-being among staff members. Initially, the staff members displayed scepticism towards art activities, but their attitudes became more positive as they engaged in the artistic process. Interviews revealed that the activities positively impacted group spirit, improved individual well-being and inspired the staff to explore new methods in their professional roles. Many participants suggested that art activities could be structured into regular work supervision sessions in their workplaces. The findings highlight the importance of further investigating the benefits of having artists and artistic activities within care organizations. [ABSTRACT FROM AUTHOR]

Abstract Background Although the number of children living with complex care needs (CCN) is increasing worldwide, there is limited data on the experience of fathers caring for children with CCN. This paper reports on findings specific to fathers’ experiences of caring for their child with CCN and highlights recommendations provided for parents of children with CCN, service providers, and policymakers. The findings emerged from a larger study designed to examine how Canadian families of children with CCN participate in society. Methods We used the qualitative research approach of ethnography and arts-based methodologies (ecomaps and photovoice) as well as purposive and snowball sampling techniques. Four parents were engaged as advisors and twenty-nine fathers participated in interviews (all were married or in a relationship; age range of 28 to 55 years). In line with an ethnographic approach, data analysis involved several iterative steps including comparing data from the first, second, and third set of interviews and refining themes. Results One overarching theme, striving to be there for the child with CCN, was identified. Five supporting themes further exemplified how fathers strived to be there for their child: 1) contributing to the parental team through various roles; 2) building accessibility through adaptation; 3) engaging in activities with the child; 4) expressing admiration and pride in their children; and 5) meaning making. Recommendations for parents included making and nurturing connections and asking for help while recommendations for healthcare and social service providers included communicating authentically with families and listening to parents. Fathers also indicated that leadership and funding for programs of families of children with CCN should be priorities for policymakers. Conclusions In addition to documenting fathers’ active involvement in their child’s care and development, our findings provide new insights into how fathers make participation in everyday life accessible and inclusive for their children. Study findings also point to 1) priority areas for policymakers (e.g., accessible physical environments); 2) factors that are critical for fostering collaborative care teams with fathers; and 3) the need for complex care teams in the adult health care system. Implications for those providing psychosocial support for these families are noted as well as knowledge gaps worthy of future exploration such as the role of diversity or intersectionality in fathering children with CCN.

The “chilly” science, technology, engineering, and mathematics (STEM) climate in undergraduate settings has been widely documented, as women in STEM majors frequently face discrimination, microaggressions, and implicit bias from their professors and peers. While undergraduate research experiences can help women in STEM overcome some of the barriers they face, these opportunities are not always accessible and inclusive. Although there is a breadth of literature on this topic, many studies utilize traditional quantitative and qualitative methods and do not take the authentic, individualized voices of these women into account. The present study integrates two arts-based participatory methodologies—Photovoice and collage inquiry—to explore the following questions: (1) What are the experiences of women in STEM majors at a large midwestern researchintensive university? (2) How do these women experience conducting and/or seeking research opportunities? Four themes emerged from the analysis of the triangulated data: (1) lack of equity in STEM, (2) lack of awareness of opportunities, (3) confidence in STEM abilities, and (4) passion for STEM. While the first two themes encompass barriers that women in STEM face, the second two themes demonstrate the strengths of women in STEM. [ABSTRACT FROM AUTHOR]

Drawing on collages created by residents in Great Yarmouth – a coastal location in the East of England, characterised by a prominent history of fishing and current high levels of socioeconomic deprivation – we use a participatory arts-based approach to explore how individuals and communities participate in the making of heritage. Through the process of creating collages that represent the history of the town, and their own history within it, participants choose how to materialise and communicate what we understand as intangible (the stories) and tangible (the collages) heritage, where a sense of place and belonging is preserved or restored. We found that, first, the non-linear nature of collaging, which we see as cultural practice, allowed participants to reconnect with the history of which they are proud to be a part yet felt was 'lost' in the transformations that have occurred in the town. Through collage, they were able to layer and juxtapose the different elements of the story in unique ways, with a focus on time, politics and affects. Second, the collages themselves – and their dissemination in various exhibitions through the course of one year – contributed to validate their key role in the creation and communication of heritage. [ABSTRACT FROM AUTHOR]

Co-designing research-informed guidelines with youth for adapting research methods to other contexts has received little research attention. We report on guidelines co-designed with youth for adapting arts-based methods (ABM) for youth mental health (MH) research in online environments. Seven youth co-researchers participated in 3 co-design workshops and 2 graphic recording focus groups. Data analysis involved a thematic analysis approach. We identified one overarching theme (sustaining mindful presence when conducting research) and 4 subthemes (creating a safe space, youth having a say, facilitating meaningful engagement, paying receptive attention throughout the research process). Facilitating participants' authentic expression in online environments requires: 1) Letting youth self-identify; 2) incorporating diversity and inclusion; 3) providing accommodations, recognition, and compensation; 4) language considerations; 5) offering ABM training and resources for creating art; 6) using virtual platforms youth use; 7) being mindful of ethical considerations and technology fatigue; 8) addressing barriers in accessing and using technology; 9) providing choice in type of ABM and research methods used; and 10) providing options for communicating during research activities and for engaging in research outside of allotted time (e.g., email, group chat). These research-informed guidelines can be useful for conducting youth MH research and other youth research in online environments. [ABSTRACT FROM AUTHOR]

In this article, we remember experiences of our participation in an artistic event for youth of African descent in a Norwegian city to reflect on the potential of arts-based methods for exploring migrant and diasporic youth identities. Reflecting on the process of curating an event titled Afrikanske Dager in Drammen (African days in Drammen) involving young Africans in a Norwegian city, we demonstrate the methodological potential photography making, exhibition and dance performance. We show how processes of collaborative photography making provide spaces for participants to negotiate and think through identity and self-representation. We tease out the potential of dance choreography and performance as avenues for participants to embody and retell old histories from the archive of African presence in Norway. We discuss how the event making process was the site of unstable hierarchies where roles and positions constantly changed and highlight the power relations involved in the collaborative production of knowledge from artistic practice. [ABSTRACT FROM AUTHOR]

Urban open spaces of local natural environments can promote the health and well-being of both ecosystems and humans, and the management of the urban spaces can benefit from knowledge of individuals'/citizens' perceptions of such environments. However, such knowledge is scarce and contemporary inquiries are often limited to cognitive observations and focused on built environmental elements rather than encouraged to recognize and communicate comprehensive perceptions. This paper investigates whether arts-based methods can facilitate recognition and understanding perceptions of urban open spaces. Two arts-based methods were used to capture perceptions: drifting, which is a walking method, and theatrical images, which is a still image method and three reflective methods to recognize and communicate the perceptions. The results show related sensations and perceptions enabled by arts-based methods comparing them to a sticker map method. The main findings were perceptions, which included information about human–environment interaction, about relations to other people and about 'sense of place' in urban open spaces. The hitherto unidentified perceptions about urban open space were associations, metaphors and memories. The methods used offer initial practical implications for future use. [ABSTRACT FROM AUTHOR]

This paper outlines arts-based methods aimed at exploring how storytelling with local knowledge keepers (KKs) through cellphilms featuring local waterways might contribute to decolonizing water management by uncovering different values of and relationships with water. We define ‘knowledge keepers’ as people who have an existing relationship with a particular water body and whose knowledge and expertise with respect to the water body emerge from lived experience and not academic scholarship or technical training. We provide insights into and analyse a graduate curriculum enacted in South Africa, where students, through encounters with local KKs and water bodies, made cellphilms presenting their own water narratives and screened these for the public. Cellphilms, as participatory visual methods in research and teaching, are used to explore learning experiences for students and KKs, and the resulting cellphilms become places of knowledge transfer. We outline our theoretical and methodological approaches as they relate to our goals of decolonizing expertise in higher education learning and addressing multiple types of water-related values. HIGHLIGHTS Methodology for decolonizing water management through cellphilms.; Decolonizing learning in South Africa's higher education through place-based storytelling encounters.; Screenings featuring local water bodies for decolonizing affective infrastructures.; Developing critical empathy by listening to local knowledge keepers.; Developing critical aesthetic appreciation through mapping water bodies.;

The cultural sector is a potential instigator of change due to its experimental, performative, and relational nature. However, like everywhere else, the cultural sector re-enacts and thus conserves inequalities of various kinds through its outreach to wider audiences and its deep engagement in socio-cultural practices. By taking our actions within the ERASMUS+ project ‘Voices of Women’ as a creative catalyst, this paper scrutinizes a set of items for further discussion of arts-based pathways for sustainable transformation towards a more (gender) equal world. We discuss the ability of the arts to engage, educate, and transform power relations through three pathways towards sustainable transformation: 1. Canon critique; 2. Decolonization; and 3. New materialism. We argue that all three pathways enable novel forms of knowledge creation and actions in arts-based research, arts education, the cultural sector, and beyond. Cover image: Still picture from film: Music and Gender in Balance (Mittner and Bergli, 2018)

This article reviews an Anishinaabe research paradigm that structures a storytelling project with Algonquin Anishinaabekwewag and gender-diverse people from the Mattawa and North Bay area in Ontario, Canada. This Anishinaabe research paradigm contains an ontology, epistemology, methodology, and axiology that are informed by Anishinaabe worldviews and values, participants' stories, as well as the knowledges and experiences the first author brings to the project as a mixed-ancestry Algonquin Anishinaabekwe. With a ribbon skirt framework of data analysis, analytical approaches from multiple knowledge systems are stitched together to form complex and cohesive stories. The methodology is guided by principles of ownership, control, access, and possession, the Tri-Council Policy Statement: Ethical Conduct of Research Involving Humans (Chapter 9), as well as Anishinaabe relational accountability which honours relationships with all of Creation. Axiology is further informed by Mino-Bimaadiziwin and Anishinaabe Original Instructions, and is expressed through Anishinaabe jiimaan (canoe) teachings and values of respect, relevance, reciprocity, responsibility, and reverence. Making space for Anishinaabe research paradigms that prioritize Anishinaabe ways of knowing and living is a powerful way to decolonize the research process and affirm the continuity of Anishinaabe lifeways. [ABSTRACT FROM AUTHOR]

The imperative demands placed on modern business management necessitate the exploration of novel approaches to adapt, innovate, and ensure effectiveness and efficiency. The integration of art into business management aligns with this rationale, indicating a trend towards art's incorporation into various managerial dimensions. As a discipline primarily focused on understanding managerial practices, management science has been investigating the utilization of art in the workplace since the early 2000s. The subject of art in the business environment has garnered various names and significant attention as a major trend. Through bibliometric analysis, we can characterize the evolution of scientific production and map the prevailing ideas in this field. By examining a sample of 69 articles retrieved from the Scopus database, this study lays the foundation for structuring art-based managerial thinking, while acknowledging certain limitations that may guide future research endeavors. [ABSTRACT FROM AUTHOR]

This article addresses research calls to explore the theory and practice of arts-based methods in business and management education to better understand the learning processes and the ways of knowing that these methods generate. By focusing on photo-elicitation as a pedagogical tool, we problematize an insufficient focus of current discourses on its arts-based origins and revisit photo-elicitation from an arts-based perspective. Based on a reflective account emerging from our teaching experience with photo-elicitation as an assessment strategy, we provide a conceptualization of photo-elicitation as an (experiential) learning and teaching tool. This conceptualization teases out under-theorized elements (i.e. doing, power, multiple framing of meaning, audience) of the method and surfaces overlapping stages of a photo-elicitation learning process. We also offer novel insights into students' encounters with the photo-elicitation method, thus illustrating the role of the method's arts-based elements in understanding how learning occurs in such a context. Implications are also provided contributing to an understanding of the value of arts-based methods to the theory and practice of management education. [ABSTRACT FROM AUTHOR]