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This paper presents one aspect of a sociocultural micro-ethnographic study examining how 11- and 12-year-old children formulate meanings when working with an artist in a contemporary art gallery. My primary focus is an examination of methodological contributions emerging from an imaginative coding and analysis of children's art. Ninety-nine artworks were created in collaboration with the artist and were organised and interpreted using a constructionist interviewing coding scheme. This unorthodox approach to visual analysis unearthed information that oral accounts cannot provide alone revealing meanings which would otherwise remain dormant. By intuitively applying the coding framework I expose how participants' meanings are negotiated by appropriating and re-organising cultural concepts into personalised narratives. As such, artworks reveal participants' desires, interpretations and intentions, operating as agentic cultural producers as well as unconsciously reproducing visual epistemologies ubiquitous in Western cultures. [ABSTRACT FROM AUTHOR]

The focus of this paper is on the complex and sometimes contradictory effects of generating films with and about young people who have experienced homelessness, through participatory research. Drawing on two projects – one in Ottawa, Canada, and the other in Manchester, UK – we scrutinise two key aspects of participatory research projects that use film: first, how to appropriately communicate the complexity of already-stigmatised lives to different publics, and second, which publics we prioritise, and how this shapes the stories that are told. Through a theoretical framework that combines Pierre Bourdieu's account of authorised language with Arthur Frank's socio-narratology, we analyse the potential for generating justice versus reproducing symbolic violence through participatory research and film with homeless young people. In particular, we scrutinise the distinct role played by what we are calling first, second and third publics – each with their own level of distance and relationship to the participatory research process. [ABSTRACT FROM AUTHOR]

This article draws on the creative methods deployed in the course of a research project aimed at mapping community-based mental health service provision and other specific services migrant, refugee and asylum seeking women regularly access in London. Although the study made use of a mixed method research design, only the art-based approach deployed as part of the focus groups is discussed. The article contributes to developing embodied research methods in that it explores the bodily engagement of research participants in making a collage and unpacks the implications of this approach for collecting qualitative data involving experiential activity. The body plays a central role in generating qualitative data through the making of the collage and collage-making represents an embodied experience suggesting that how we feel, how we perceive, how we relate to our own bodies and the place they have in the order of things – is contextual, gendered, relational, historically and culturally situated. [ABSTRACT FROM AUTHOR]