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Children are underrepresented in research, mainly because of the ethical issues that their participation raises. This is even more true when it comes to marginalized migrant children. For the sake of justice, researchers must think about methods for including children and their families and reflect on the ethics of knowledge building in these contexts. This article returns to the hermeneutics of Hans Georg Gadamer as an interpretation practice which values understanding rather than explanation. It also focuses on the concept of play which can be truth revealing and which is understood as the very being of artistic practices. This allows us to first emphasize the compatibility of hermeneutics and art-based approaches, and their ethical value when it comes to bringing clinical and research issues together. This article highlights that methods based on art and play itself are ethical in the way that they can both provide well-being and reveal a truth that is as useful to the participant as it is to the researcher. This article also addresses how the researcher, in the process of understanding, is “at play” in the research situation which places him in an active role. The play allows a participatory truth to emerge, a truth resulting from a dialogue. This leads us to recognize the ethical value of participation in research with children.

Drawing from a study of women on boards in Egypt, in this methodological article we propose and illustrate four parts of a multidimensional feminist hermeneutic process for Interpretative Phenomenological Analysis (IPA) as a method of uncovering hidden stories of marginalised voices and unrecognised contexts. Underpinned by Heidegger’s hermeneutic phenomenology, our novel four-stage approach includes visual images as an alternative mode of data (re)presentation within the hermeneutic circle of interpretation. We show how IPA enables (re)imagining new possibilities of doing and writing feminist research and promotes an in-depth knowledge of the lived experience of women, as well as the systemic issues that concern them. Our contribution highlights our IPA process and outcomes, as a form of feminist praxis that prioritises the recognition of marginalisation and Otherness, embraces an ethic of care towards research participants and researchers, and provides a transformative, emancipatory opportunity for reciprocal learning, awareness and knowing of experience. [ABSTRACT FROM AUTHOR]

This is an autoethnographic note on conducting fieldwork with the purpose of documenting; first, outside academia––doing documentary photography; and second doing ethnography and autoethnography within academia. It explores different ways to conduct fieldwork (alone or in groups, ethnographically or autoethnographically) and different traditional and innovative ideas about how the "field" was interpreted commonsensically in the past and could be interpreted now, using the analytical dimension of the hybrid field. It is written both autoethnographically and creatively and includes a short methodological "novel." The research note concludes with a reflection on a particular field-work experience, tackling its limitation and imagining different ways to perform it. [ABSTRACT FROM AUTHOR]

Narratives, or stories, are used every day by people as a way of making sense of and communicating events in the world. Narratives can be highly useful as a learning tool in science education. Though research on narrative-based pedagogy in science education and communication is very common, most of that research was done in formal settings. Our study followed fourth-grade students who visited the science museum on a field trip, entitled "The Life of Leonardo Da Vinci," which used narrative-based pedagogy (e.g. the story of Leonardo da Vinci) as a common thread throughout the visit. Interviewing the students after the visit revealed that most students remembered facts mentioned in the narrative, and the narrative had a long-term effect. The students remembered this visit better than other visits. In addition, more than half of the students used vocabulary that could be associated with the visit. This study supports the idea that art-based research methods can be effective. Using photos and images proved to be more engaging for students, and all students used the photos of exhibits and other images to create their own stories. [ABSTRACT FROM AUTHOR]

The incursion of tourism into schools is an increasing phenomenon, whether through volunteer tourism, developmentourism or philanthropic tourism. Tourism studies have largely ignored children as stakeholders in tourism destinations. In Zimbabwe, economic turbulence has led to a broken education system that relies on external donors to finance schools. As part of this financing, some schools welcome tourists in exchange for funds, sponsorship or infrastructure. Tourists in these settings usually visit schools as part of a mass tour for between 2 and 3 h, with the expectation that children will receive financial benefits or improve their English speaking skills. This paper uses art-based methods to centre children in the research process and reporting. Using children's drawings and extracts from the interviews and observations, the findings of this study indicate that children in the school experience the school tour in a repetitive manner. In contrast, interviews with adults suggest that school tours are positioned as enjoyable and valuable due to the exposure to English. The data generated by this study contribute to our understanding of children at host destinations and the use of art-based methods. [ABSTRACT FROM AUTHOR]

This article describes Shaun McNiff's perspective on people as artists, in the form of a practical application, an artistic achievement and a contextualization of McNiff with contemporary quantum philosophy by Karen Barad. McNiff recognizes people as active participants in the healing and learning process. The inner images experienced are expressed through art-based methods. The so-called intra-actions by Barad can be transferred to the dialogue between creator and the object, McNiff transforms them in the work of art. Here, art contributes to an essential sense of well-being, conveys connectedness by representing an entanglement of the creating person, feeling and material. Conversation can also be understood as inner contemplation, and in any case, always at the centre is trust in the process that unexpectedly allows things to speak and relate. McNiff anticipates contemporary quantum-physical ideas of philosophy, which describes for example the Agentic Realism, as 'existence is not an individual affair'. [ABSTRACT FROM AUTHOR]

We live within and are made up of ever-changing chemical flows. Witnessing a "chemical turn" in the social sciences, this article asks what a chemical reading of drugs and bodies can offer an understanding of drug dependency and recovery. Where chemicals render bodies "molecular" (Deleuze and Guattari, 1987), they open them up to more intimate forms of connection that extend our understanding of drug–body relationships beyond limiting categories such as addiction. Rather than a chemical drug entering a biological body, there are chemical interactions that expand the boundaries of where one ends and the other begins. While chemicals have long been a preoccupation in neurological models of addiction, they are seldom taken up in sociological studies of these concerns. Drawing on a series of body-mapping workshops with people in drug recovery/treatment in London, UK, to track these chemical bodies, this article explores the art of living a chemically transformed life. This is an art that thinks with Isabelle Stengers' (in Stengers and Savransky, 2018) notion of the word to include "not paying attention" as a mode of "paying attention to what may lurk" in living with the ongoing effects of drugs in unequally entangled worlds. [ABSTRACT FROM AUTHOR]

Drawing on a personal experience with temporary impairment following a foot bone fracture, I here reflect on forms of marginalization fragile bodies face under normative social and organizational structures. Combining reflexive narratives, poetry, art‐making, diary notes and open questions I ask myself and the reader, with feminist literature insights inspiring my thinking and writing, I seek to problematize taken for granted assumptions around usability and accessibility of objects and spaces in society and organizations. I discuss learnings I derived from this experience, developing their relevance for broader social, academic and political debates. Namely, I argue for the importance of rethinking embodied fragility as agility from which ableist environments might learn new practices. I also discuss slowness as well as engagement with embodied research methods, feminist reading and writing as redemptive getaways for making sense of embodied trauma in ways that resist social and epistemic norms that augment inequalities. [ABSTRACT FROM AUTHOR]

This article is a methodological proposal for Body Mapping application in transgender population framed by a phenomenological approach and aimed at exploring the implicit and pre-reflective embodied cues of the experience of discordance between the felt body (the body I am) and the objective body ('the body I have') that opens a space in which words do not have easy access to. In order to describe our protocol of phenomenological exploration and application of Body Mapping, we detail the complete process in a single case. It corresponds to a female-to-male participant of 18 years old undergoing hormonal treatment with testosterone for 12 months before engaging in our study. Reflections about the potential of using art-based research methods for accounting of pre-reflective bodily experience of discordance in transgender population are detailed. The combination of the Body Mapping art-based research tool with a phenomenological approach for the study of experience seems promising for studies aimed at exploring experience from an embodied approach. It represents a radical first-person research method in which the images talk by themselves. Furthermore, including the researchers as beholders of the resulting artwork, assuming the role of inter-corporality of the aesthetic bodily resonance as part of the data collection procedure seems innovative but loyal and honest with what an Art-based research paradigm is. [ABSTRACT FROM AUTHOR]

In very general terms, slam poetry can be described as competitive poetry performed by budding poets in public spaces. In slam tournaments, young competitors engage with topics like intersectionality, gender-based violence, history, trauma, etc. in front of attentive and vocal crowds, catalysing the attention and the energy of the urban youth in emotionally charged venues. However, because of its problematic form and its insistence on performance rather than writing, slam poetry is also one of the most litigious topics within discussions on literature, society and popular culture: on one side, one finds detractors who dismiss it by claiming it is a carnivalisation of poetry; the other side is occupied by slam practitioners and lovers, who consider it an innovative artistic expression, largely emancipated from the prosodic conventions and linguistic ‘norms’ of the academia. Using poetic inquiry as a research methodology, this article offers a comparative analysis of texts that support both views, and summarises their central argument in found poems. It also draws from poetry therapy theories, in order to arrive at a synthesis position that can – hopefully – facilitate a nuanced understanding of slam poetry in South Africa and elsewhere.

This article will provide an overview of how the Arts and Humanities Research Council (AHRC) Global Challenges Research Fund (GCRF) project Mobile Arts for Peace (MAP) has attempted to explore the use of interdisciplinary art-based practices for peacebuilding in Rwanda. In particular, we will detail how performance has been used to create a two-way system of communication between young people and policy-makers based on the issues that young people face towards developing an approach to teaching and learning informed by and with young people. [ABSTRACT FROM AUTHOR]

Starting with an argument for a humanistic approach to climate change, this paper discusses the concept of the ‘Collective Artist Residency’ as a practicable means for engaging with complex socio-ecological issues that require collective answers. Through our analysis of the research project ‘Imaginative Disruptions,’ we propose that there is a need for creative spaces that include artists and non-artists alike, and which engender aimless play, inquisitive making and dialogic contemplation in the face of issues which are too painful, overwhelming and complex to rationally comprehend. We further argue that such residencies can generate comfortable, and even light-hearted, spaces in which people can be uncomfortable together. In other words, environments that feel safe and caring but that also encourage us to challenge status quos and experiment with alternatives via emotional, aesthetic, cognitive, somatic and social processing. The paper closes with five (suggested) guiding principles for designing a Collective Art Residency that supports groups of people to co-reflect upon their fragility whilst re-imagining present and future possibilities for being in the world: deeply participatory, balanced between comfortable / uncomfortable emotions, highly experiential, cross-sectoral and intergenerational, place-based.

This methodological study details the effectiveness of emotion mapping as a method to explore the lived experiences of professional male athletes (n = 9) with a long-term injury. This represents the first use of emotion mapping to garner phenomenal knowledge on long-term injury within a sport psychology context, and as such is a departure from traditional approaches in this field. Following an orientation meeting, each participant was asked to produce an emotion map in the privacy of their home of two critical spaces occupied during their rehabilitation. Using video conferencing software, they were then asked to narrate their map, to facilitate understanding of their lived experiences of injury. Overall, the method was found to be efficacious in supporting existing literature on injury and revealing previously unknown aspects of long-term injury. In particular, the study provided phenomenal knowledge that was previously absent. As such, recommendations are made for the use of emotion mapping both as an effective research technique, and as a therapeutic tool. [ABSTRACT FROM AUTHOR]

This article is part of the European project MiCREATE, whose purpose is to investigate the reception of immigrant minors in educational systems and society from a child-centred approach. This text builds on one of the phases in the project in which three case studies were conducted in three primary schools in Barcelona. It focuses on the activities of 75 children aged 11–12 at these schools, who were questioned about the notion of 'voice' and 'giving voice' as the epistemic and ethical referents of this perspective, adopting a decolonizing position. Using the participants' contributions through artistic methods, they reveal their knowledge and experiences on three particularly significant dimensions in their lives inside and outside school: socialization, care and interaction, and play. These contributions are compared to other studies, suggesting the need for perspectives that avoid imposing views on children in research and education. [ABSTRACT FROM AUTHOR]

This study outlines a multi‐year collaboration journey between academics in two widely disparate disciplines: art/design and business/management. Eventually this culminated in co‐designing and co‐developing a folded paper zine, and related processes, to improve private reflective practice, particularly of managers and students of management. This zine co‐design journey was articulated through the lens of Schumpeter's hybridity perspective 'new combinations', in the context of transdisciplinarity. As both commercial and social organisations face increasing complexity and uncertainty, the rationally oriented tools developed for planning and decision‐making in more stable times need to be augmented by those which assume or even welcome ambiguity and not‐knowing. This creates an opportunity to draw on art‐based methods such as zines, given that the arts acknowledge, value and address such uncertainty. [ABSTRACT FROM AUTHOR]

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Secondary schoolgirls' experiences of persisting at school in rural Cambodia were the focus of this study. The study worked with 43 schoolgirls from two state-run schools. This paper reflects on how reciprocity and visual methods enabled the work of hearing the schoolgirls' voices across language and cultural barriers. Reciprocity was a central concern and took the form of collaborative knowledge building to establish trustworthiness, as well as various reciprocal acts that 'gave back' to those involved in the study. The use of visual methods, such as visual narratives, self-managed video interviews, and advice posters sought to mitigate power differentials, address language barriers, and recognise schoolgirls as experts in girls' education. The paper discusses the advantages and constraints of this innovative approach, and proposes that cross-cultural research that provides girls with autonomy during the research process is necessary if those working with girls seek to valorise girls' voices and experiences. [ABSTRACT FROM AUTHOR]

Place branding refers to the creation of value in space by reinforcing and representing place assets in a cohesive manner, as a narrative image of the place itself. Such narratives of place are important in planning as well, when developing (strategic) spatial strategies. We argue that place branding and planning can be bridged, through cultural narratives built on local knowledge and the perceived meanings and images of place. However, there is a knowledge gap on how to build cultural narratives in multi-stakeholder processes. While participatory planning methods are increasingly applied, we argue for a greater role of art and arts-based methods. Accordingly, our key question is, how can arts-based methods support the creation of cultural narratives for place branding and planning? To address this question, we outline an approach based on the principles of Appreciative Inquiry. The approach is illustrated through a case study in Finland where we initiated a process of co-creation of place-based narratives. We analyse how the process was organized and facilitated, and what the challenges and lessons learnt were. The paper ends with a discussion, and draws conclusions on the relevance of arts-based methods for the wider debate on place branding and spatial planning. [ABSTRACT FROM AUTHOR]

By reflecting on alternative forms of knowledge co-production through art-based methods, the article discusses the potential of Participatory Action Research (PAR) as a responsive research praxis. Art-based methods have widely been used in research engaging communities through giving access to the worlds of participants. At the intersections of disciplines, benefiting from a range of art forms from photography to theatre, this approach provides the space and tools for the exploration of multiple perspectives about shared problems or questions. In this respect, PAR is a significant methodology for communication studies with its alternative ways of knowledge production by positioning 'dialogue' and 'participation' at the centre. [ABSTRACT FROM AUTHOR]

This article examines the ethical and practical challenges of undertaking a study using art-based methods with children/young people. It is argued that an important component of qualitative research and research with children/young people is researcher reflexivity and flexibility, particularly when the anticipated and actual implemented methods of a study differ. We draw on a study with 175 children/young people aged 5–16 years in a children's outpatients department where 'draw-and-tell' and 'letter writing' were used to elicit children/young people's perceptions of the outpatient environment. The challenges that arose during the study are critically reflected on including recruitment, the physical and social environment, time restrictions and interviewing. Recommendations for researchers using art-based methods to carry out research with children/young people are offered. [ABSTRACT FROM AUTHOR]

Introduction: It takes an average of 17 years for 14% of research to find its way to caregivers and patients. The starting-point of this project was to ask how we could democratize the information generated by our study. What would happen if researchers collaborate with artists and citizen groups to share information and evidence through artistic channels? The objective of the project was to test and document, through the realization and evaluation of a conference-show around a pilot study on the emergency department of a small rural town (Baie-St-Paul, Québec, Canada), the hypothesis of the successful contribution of arts and collaboration with the community setting to mobilize and understand research. Methods: In March 2018, the research team presented the results of the pilot study in the form of a “conference-show”. The results of the project, a portrait of the emergency departments, were presented by the principal investigator (RF), with planned interventions from the artists and the youth from the community organisation (CDM). Evaluation questions pertained to the follow components of the conference-show: content, formula, potential impact, retention) . Results: About fifty people attended the conference. The questionnaire was completed by half of those present. Fifty percent of the survey participants were citizens, 50% were health care workers/physicians and policy makers. 82 % of respondents stated that their main motivation to attend the conference show was related to their interest health issues of their region. Participants rated “good or very good” the clarity of the statements (90%), the length of the presentation (86%), the content (95%) and the artistic performances (95%). Overall, the evening had a satisfaction rate of 86% . At the conclusion of the conference-show, 90% of people consider that the information presented was useful for the improvement of health care in their region and 94% of people felt they should take action to improve the health system of their region. The entire event was photographed and videotaped and drew widespread media attention[1]. Discussions: The evaluation of the evening is extremely positive and it led to a greater interest in the research. Well informed citizens become better contributors to their own health and care system, which is an important start to better integrated care. Conclusion: We believe that a well-crafted showcase conference and partnership with one or more community groups contribute to better engagement and understanding of the data presented. Lessons learned: Artists and community groups need to be more involved in the transfer of knowledge from health research. We must continue our work to develop the formula to make it more informative, engaging, and dynamic and inclusive. Limitation: The project was small-scale but it involves lots of time and resources form the research team and the local community group. Also, the investigation acted as a proof of concept. A better measure of the impact in the short and log term need to be undertaken. Suggestions for future research: This project raises the question of how the knowledge transfer could benefit from arts process? Reference: 1- Availlable from: https://www.youtube.com/results?search_query=chaire+de+recherche+en+m%C3%A9decine+d%27urgence

This article presents a fieldwork collaboration between contemporary art, “traditional” craft, and ethnographic research in which community engagement plays a key role. Two decades after the abandonment of weaving in a depopulated mountainous village of Crete, Greece, a group of researchers invite an artist to turn the village’s old school into a weaving studio. Aiming at the active participation of the local community in weaving heritage interpretation, and the interdisciplinary collaboration of art and anthropology, the weaving studio experience provides a fertile ground for discussing the relationships between disciplines, the difficulties of crossing the boundaries of these disciplines and the challenges of community participation in managing knowledge production. Here we discuss our experience working with an artist in a project between art and research, including various observations, different approaches, and challenges.

This narrative describes the author's experience working with a group in Holistic Arts-Based Mindfulness Program (HAP) where he experienced personal growth and became a champion for assisting LGBTQ youth to develop awareness, emotion regulation, acceptance and non-judgment. [ABSTRACT FROM AUTHOR]

This article describes a project called "The art based methods in developing transversal competence" funded by The Finnish National Board of Education. The article is based on the hermeneutic phenomenological approach in action research. The project developed learning environments as well as project-based learning with emphasis on the art-based methods and transversal competence approach to learning. The aim was to develop unique and communal well-being in learning. The project offered tools to strengthen teachers' professional skills to use expressive, art-based methods in different curriculum-based projects. The professional in-service training project included five contact days in six weeks divided into three periods. The expressive art work process followed the model of the expressive art work. The whole process followed the hermeneutical circle as well as the phenomenological method: expressions, reflections and sharing linked all together as a part of authentic learning experience in the context of the Finnish National Core Curriculum (2014). One of the main outcomes was that the use of the art-based methods in transversal competence increases ubiquitous well-being among teachers and pupils. Research material is based on students' diaries, experiences and anonymous feedback. [ABSTRACT FROM AUTHOR]

We examine the impact of researchers’ interaction and drama-based techniques when learning science on students’ views of scientists and motivations for studying science. We do so through mixed-methods in five secondary schools in three countries. Students changed their perception of scientists toward a less stereotyped image, particularly where their interaction with researchers was higher. Pupils’ interest for scientific careers significantly increased where drama-based techniques were more inserted into the pedagogical approach. Promoting long-term interaction with scientists in school settings combined with embedded drama-based methods in science learning/teaching can contribute to reconstructing students’ views on who can be engaged in science. [ABSTRACT FROM AUTHOR]

The article clarifies the way in which 'the aesthetic' is conceptualised in relation to business ethics in order to assess its potential to inform theory building and developmental practices within the business ethics field. A systematic review of relevant literature is undertaken which identifies three ontologically based accounts of the relationship between the aesthetic and business ethics: 'positive' ones (in which 'the good is equated with 'the beautiful'), 'negative' accounts (in which aesthetic craving is seen to foster ethical malfeasance) and 'Postmodern' renderings (in which the aesthetic and the ethical are seen to be ideologically informed ). Five epistemologically based approaches are also made explicit: those in which the aesthetic is thought to develop enhanced perceptual discernment, those in which the aesthetic catalyses emotional sensitivity, those in which the aesthetic contributes to imaginative capacity, those in which the aesthetic prompts integrative apprehension and those in which the aesthetic is seen to foster critical reflexivity. The review reveals two key findings: firstly, the dearth of empirically based research to substantiate claims made about the aesthetic's ability to foster ethical capabilities, which leads to proposals for further research; secondly, the analysis indicates the significance of critical reflexivity both in resolving the apparent dichotomy between ontologically based perspectives asserting the aesthetic's ability to lead to ethically sound or egregious behaviour, and in underpinning the capacities of perceptual discernment, emotional connectivity, imagination and integrative apprehension which epistemologically based approaches assert the aesthetic can foster. [ABSTRACT FROM AUTHOR]

Walter Benjamin was fascinated by notebooks which he kept compulsively throughout his life. In this methodologically experimental paper, I create a series of thirteen notebooks for Walter Benjamin as a way of engaging with Benjamin's thought and also of considering the importance of notebooks as one of the tools available to organizational scholars. I will use this experimental work to draw tentative conclusions about the role of the visual in researching organizational phenomena concentrating on the work of Benjamin himself. [ABSTRACT FROM AUTHOR]

The sustainability discourse has largely played out in the domains of natural sciences and technology, with recent contributions from the social and political sciences. These contributions have been significant and our understanding of sustainability challenges has improved greatly over the past three decades. However, our individual, organisational and collective actions have lagged behind and the actual problems of sustainability have become worse in the same period. In this paper we argue that we can get better action and behavioural commitments to sustainability by using the arts, art-based methods, and aesthetics to develop passion and emotional connection for sustainable organising and living. [ABSTRACT FROM AUTHOR]