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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]

Despite the post-1994 South African state's efforts to support poverty alleviation through arts and culture programmes, government-funded craft enterprises have had a poor rate of success. Based on two case study projects within Phumani Paper, a South African papermaking poverty-alleviation programme, this article argues that craft enterprises can provide an enabling environment for sustainability and resilience in periods of social transition and transformation. However, if the funding and design of such programmes are managed badly, these can undermine the very benefits they are designed to achieve, with negative impacts on poor communities. Poverty alleviation grants were initially designed as mechanisms for reparations. But the experience described here suggests that government funders neither took cognizance of the values of sustainable development, nor supported what Appadurai describes as 'deep development' (2004). This article demonstrates how Phumani Paper played a valuable role in supporting the imagination, voice and agency of participants, thereby building human capacity and social capital towards a more just and hopeful future without poverty. [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]

Scholars have called for greater emphasis on the physical environment to expand social work research, policy, and practice; however, there has been little focus on the role of the built environment. Redressing this gap in the literature, this methodological paper explicates how four multisensory research methods commonly used in architecture—sketch walks, photography, spatial visualization, and mapping—can be used in social work research to create a greater understanding of the complex, interconnected, and multidimensional nature of built environments in relationship to human experience. The methods explored in this paper provide social work researchers with a methodological conduit to explore the relationship between the built environment and vulnerable populations, understand and advocate for spatial justice, and participate knowledgeably in interdisciplinary policy realms involving the built environment and marginalized populations. [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]

This paper re-turns to a workshop we co-organised in London in 2018 as part of a series called 'how to do sociology with...' (Methods Lab, Sociology Department, Goldsmiths, University of London). The series aims to consider what happens when the materials, media, objects, devices and atmospheres of social research central to our practices are brought into focus. The specific material that we worked with and thought through in this workshop was glitter - a thing that is ubiquitous in early childhood and in wider feminine, gay, and queer cultures. We draw on new materialist theories, methods and practice research to consider how preparing and dismantling this workshop might be understood as a means of enacting feminist new materialism. We do this not to propose a blueprint for how new materialisms should be done so much as to offer a series of questions, reflections, and diffractions on what unfolded and the affective and embodied traces that were left. In this sense, the paper understands arts-based practice to hold unanticipated pedagogical capacities which we attend to throughout the paper in terms of ethics, politics and care. We dwell upon ethics politics and care by drawing on long-standing feminist arguments regarding what is often neglected in written accounts of doing research and by focusing on the affective work involved in designing, choreographing, and managing a workshop that asked participants to seriousplay (Haraway, 2016) with glitter and explore its material and affective properties. We discuss our own discomfort with, and uncertainty about, organising such a workshop, and go on to outline what we see as the productive aspects and implications of orchestrating a glitter workshop for how we might conceive and do new materialist work. This includes a discussion about the response-ability of seriousplay with plastic in the contemporary climate, and more broadly about what new materialist methods and practice research might contribute to an understanding of educational and social research, and pedagogical and political practice. Throughout, photographs taken by us before, during, and after the workshop are included, to not only illustrate the points we make and give readers/viewers a different sense of the workshop, but also extend what might count as academic knowledge production and circulation. [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]

Introduction: This paper presents three artists' residencies in a geriatric medicine unit in a teaching hospital. The aim of the residencies was creation of new work of high artistic quality reflecting the lived experience of the person with dementia and greater understanding of service user experience of living with dementia. This paper also explores arts-based research methodologies in a medical setting. Method: Arts-based research and narrative enquiry were the method used in this study. Artists had extensive access to service users with dementia, family carers and clinical team. Projects were created through collaboration between clinical staff, arts and health director, artist, patients and family carers. Each performance was accompanied by a public seminar discussing dementia. Evaluations were undertaken following each residency. The process of creating artistic responses to dementia is outlined, presented and discussed. Results: The artworks were well received with repeat performances and exhibitions requested. Evaluations of each residency indicated increased understanding of dementia. The narratives within the artworks aided learning about dementia. The results are a new chamber music composition, a series of visual artworks created collaboratively between visual artist and patients and family carers and a dance film inspired by a dancer's residency, all created through narrative enquiry. Discussion and conclusion: These projects support the role of arts-based research as creative process and qualitative research method which contributes to illuminating and exploring the lived experience of dementia. The arts act as a reflective tool for learning and understanding a complex health condition, as well as creating opportunities for increased understanding and public awareness of dementia. Issues arising in arts-based research in medical settings are highlighted, including ethical issues, the importance of service user narrative and multidisciplinary collaboration in arts and health practice and research. [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]

Effective strategies to learn about and engage with climate change play an important role in addressing this challenge. There is a growing recognition that education needs to change in order to address climate change, yet the question remains "how?" How does one engage young people with a topic that is perceived as abstract, distant, and complex, and which at the same time is contributing to growing feelings of sadness, hopelessness, and anxiety among them? In this paper, I argue that although the important contributions that the arts and humanities can make to this challenge are widely discussed, they remain an untapped or underutilized potential. I then present a novel framework and demonstrate its use in schools. Findings from a high school in Portugal point to the central place that art can play in climate change education and engagement more general, with avenues for greater depth of learning and transformative potential. The paper provides guidance for involvement in, with, and through art and makes suggestions to create links between disciplines to support meaning-making, create new images, and metaphors and bring in a wider solution space for climate change. Going beyond the stereotypes of art as communication and mainstream climate change education, it offers teachers, facilitators, and researchers a wider portfolio for climate change engagement that makes use of the multiple potentials of the arts. [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]

Aspiration for higher education has been a focus of significant policy intervention in Australia for some time, with numerous large-scale research studies investigating the formation of aspiration amongst high school students. However, case studies in particular schools which might provide insights into the complexities and contradictions of aspirations for individual young people are scarce. This paper explores aspirations for particular futures from the perspectives of young women in a single-sex NSW government school in an area of historically lower HE participation. Rather than conventional interview-based methods where researchers ask young people to articulate their plans for the future, the study adopted creative arts-based methods which enabled students to engage with each other and a range of materials to produce multimodal 'aspiration artefacts' of their imagined futures. The method assemblage privileged imagination and embodied feelings, beyond the rational information-driven pedagogies that are promoted in widening participation policies. Our close readings of artefacts created by three Year 9 girls demonstrate that aspiration is a process that is relational, embodied, affectively and discursively constituted; and further, that this is inflected by gender, class and other positionalities in elusive and unanticipated ways. Arts-based methods allow us to tentatively trace the work of thinking–feeling–imagining that is entailed in developing and articulating aspirations for particular futures. [ABSTRACT FROM AUTHOR]

This paper presents a method for future-building based on the journey we undertook as Design and Arts researchers in POR EL Páramo project (2021–2022) in our aim to bring closer the different actors involved in the Paramos (high Andean moorlands in Boyacá region, Colombia). We did this by understanding their everyday life better, and co-designing potential pathways towards holistic sustainable futures that serve the various communities' needs. Through a series of social innovation workshops, we applied transdisciplinary approaches aimed at decolonising the methodologies used and its facilitation dynamics. The outcomes include our contribution to design and arts-based methodologies that aids continuity to the process of reflection: In(ward) , Out(ward) and On(ward). In deploying this decolonisation-based methodology, a more powerful underlying principle came to light too: the use of arts mobilises forms of knowledge that are rather unconscious, but also extremely efficacious in generating proactive mindsets and generating bottom-up ideas. In this paper we build on and argue further, from an empirical perspective, for the utilisation of the tacit knowledge that can be transmitted through non-verbal means in social research dealing with contexts of conflict, reconciliation, and future building. • The In , Out and On method is an design and arts-based approach for future-building based on in-practice or tacit knowledge. • It utilises multi-modal communication tools such as drawing, storytelling, dance and movement to foster empathy. • It places the designer/researcher as facilitator and local communities as the authors and promoters of innovation. • Its solutions-orientation is derived from the elicitation of pre-existing knowledge that was priorly unacknowledged. [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]

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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]

In this paper, I aim to investigate the migration of Indigenous youth from the reserve to the urban environment. I will investigate the implications of an arts-based programme for youth and how they utilized my programme as a resource for learning. The goals of this paper are to provide a nuance thinking of and theorizing land as related to Indigenous communities. Indigenous young adults have had to figure out how to deal with these injustices from residential school and have taken up the call to fight for in their communities against state/nation desires for annihilation. To carry out this study, I conducted a critical ethnography and used arts-based methods to collect data. The stories of the IYAs became vital to learning about the challenges they faced and obstacles they have overcome, including fighting for recognition under the Indian Act, border politics within Canada and the United States, not knowing one’s traditional land and barriers to migrating to the city independently of one’s family. The data collected reveal the resilience of Indigenous young adults in the ways they are overcoming obstacles and speaking out using cultural production and innovative means of communication. [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]

Indigenous women living with HIV are disproportionately affected by the criminalization of HIV nondisclosure. The purpose of this paper is to better understand how the criminalization of HIV nondisclosure shapes the lived experiences of HIV-related stigma, disclosure, and health service among cis and transgender Indigenous women living with HIV (IWLWH). This study was developed based on a community roundtable on HIV criminalization with engagement of legal experts, HIV service organizations, and IWLWH on the unceded traditional territory of the Coast Salish Peoples, including the territories of the xw;məθkwəy̓ əm (Musqueam), Sḵwx̱ wú7mesh (Squamish), and Səl ̓ ílwətaɬ (Tsleil-Waututh) Nations (Vancouver, British Columbia, Canada) in 2016 to 2018. Drawing on community-based participatory photovoice methodology, Indigenous Peer Researchers played a central role throughout this project, including planning, facilitation of photo-voice workshops, and analysis. This analysis includes 17 IWLWH. Through a peer-engaged analysis process, the photovoice images and narratives illustrated how the criminalization of HIV nondisclosure is intertwined with colonial violence to shape experiences of social isolation and exclusion, disclosure, access to safe health care, responsibility, fear, and resilience. The legal requirements of HIV nondisclosure are unattainable for many IWLWH who are not able to safely disclose their HIV status, negotiate condom use, and maintain a low viral load. In line with the Truth and Reconciliation Commission of Canada and National Inquiry into Missing and Murdered Indigenous Women and Girls, the justice system must be reoriented from punishment and oppression to healing and wellbeing for all Indigenous women living with HIV. Simultaneously, we call for culturally safe services that protect privacy and recognize strengths of IWLWH. [ABSTRACT FROM AUTHOR]

Feminine writing and organizational aesthetics are brought together in this paper to sketch a different form of academic production in organizational research that involves arts-based methods ('feminine creation'). Feminine creation relates to écriture féminine (Cixous, Irigaray, and Kristeva) and also to peinture féminine (Nancy Spero) and modern choreography (Trisha Brown). Feminine creation responds to the feminist and the aesthetic critique of conventional academic writing and has the potential to challenge its masculine stereotypes of rationality, rigorous method and explicit knowledge production. The paper discusses the practices of poetic writing, painting and dance that are used to present academic research. It includes its own series of 'peinture feminine', some of which are contributions by the artist and organizational scholar Schrat. They illustrate my argument in a synedochic aesthetic format and encourage a different, aesthetic way of perceiving academic research and of re-imagining gendered bodies. [ABSTRACT FROM AUTHOR]

In recent years there has been a growing body of scholarship on the use of alternative research methods in Geography, and the social sciences more broadly, as well as ongoing interest in the connections between Geography and art. There has been much less attention, however, given to how drawing might be used practically or productively as a method, and to how it might allow geographers to reach or see places they couldn't otherwise. Although many researchers advocate conducting interviews and research in situ, thinking about the importance of location, there are times when entering a specific space is not possible. This paper details how the practice of drawing enabled me to make spaces that I wasn't able to visit as an ethnographic researcher, spaces that I felt were largely invisible to me, visible. While conducting fieldwork in a shelter for migrant domestic workers who had fled from their employers in Singapore, I used drawing as a way to shed a new light on the homes in which they had been working and to understand their everyday lives and experiences within them. This method made visible the living and working environments of women who had experienced employment abuse, as well as physical and sexual violence, while maintaining their anonymity and confidentiality, from a space of (relative) safety. [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.

This article discusses some key issues to consider in the development and delivery of arts-based elderly care. The purpose of this paper was to deepen the understanding of the elements affecting quality and their interplay. This is essential when developing policies and procedures for the successful use of arts and arts-based methods in elderly care. Professionals of different fields and backgrounds are using arts activities or arts-based methods with diverse aims and means in various settings in elderly care. This highlights the need for shared concepts, terminology and definitions of quality as well as a better understanding of the education and training needs of associated staff. This article suggests some tentative definitions and concepts as a basis for further discussion. It is pointed out in this paper that the quality of arts-based methods in elderly care is greatly dependent on the construction of the professional identities and competencies of those working in the field. This paper describes the different settings of arts-based work with the elderly and maps the essential competencies needed in these settings, thus providing a framework for developing quality management. [ABSTRACT FROM PUBLISHER]

Critically reflecting upon a performance piece enacted by the author, this paper explores the value of artistic practice as a means for undertaking research. The performance was a piece of GPS drawing, using the movement of a body in space to write the word ‘RIDE’ across the city, subsequently represented in the form of a map. Scholars working in mobilities have increasingly been opening up the spaces of transport to critical enquiry, revealing the practices and powers enmeshed in the everyday activity of moving from A-to-B. This paper argues that in using a bicycle ride to create an art work – even one of little aesthetic merit – the author was able to create a new understanding of cycling practices that would not be captured through conventional social science techniques. [ABSTRACT FROM PUBLISHER]