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Indigenous youth face numerous challenges in terms of their well-being. Colonization enforced land and cultural loss, fractured relationships, and restricted the use of the imagination and agentic capacity (Colonial policies, structures, and approaches in education have been detrimental to Indigenous youth (Nardozi, 2013). Many First Nations leaders, community members, and youth have expressed a need for a wider range of activities that move beyond Western models of knowledge and learning (Goulet & Goulet, 2015). School curricula in Indigenous communities are incorporating alternative pedagogical tools, such as the arts, that not only allow youth to explore and express their realities and interests but that also offer them holistic ways of learning and knowing (Yuen et al., 2013). This article describes a participatory arts research project which featured film production and was delivered in the context of a grade 10 Communications Media course. The research took place at a First Nations high school in a Neehithuw (Woodland Cree) community in northern Saskatchewan. This article highlights the content of the films produced, the benefits of the filmmaking experience, and the challenges faced by the teacher and students during the process.

Qualitative researchers employ poetry to construct meaning out of painful life circumstances, including the grieving process surrounding death. A motive for utilizing poetic inquiry, i.e. the use of poetry in research, is its ability to express emotion and convey complexity. As grieving is a decidedly emotional and complex experience, poetry seems well-suited to represent data in this situation. In this article, I deliberate on grieving, including the identity shifts and struggle for meaning that can occur, and on how it can interact with writing poetry and the research process. Further, I describe my own grieving surrounding the death of my mother and how this process interacted with my ability to write poetry and my identity as a researcher-poet. I explore my search for meaning that led to recontextualizing my grief poetry into a research framework. This article features excerpts of autoethnographic poems and offers further deliberations on poetry and grief. [ABSTRACT FROM AUTHOR]

Leisure has the potential to contribute to processes of colonization and decolonization. In this paper, we propose using trauma-informed practice as part of a decolonizing process in leisure service provision. While trauma-informed practice continues to have it critiques and limitations from a decolonizing perspective, its recognition of the widespread impact of trauma, the role colonization plays in this trauma, and the value it places on safety, trust, empowerment, collaboration, and practitioner humility and responsiveness may provide leisure professional guidance in decolonizing their practice. This paper presents a project involving Indigenous women, which incorporated aspects of TIP into the facilitation of an arts-based leisure workshop. Using poetic-representation—a method purposefully used to evoke and awaken emotions, the paper highlights experiences of challenge, discovery and release, and collective responsibility. Implications emphasize engaging in a conscious and deliberate process that incorporates arts-based leisure, aims to address colonization (e.g., trauma and oppressive systemic structures), and works towards social justice. [ABSTRACT FROM AUTHOR]

Indigenous youth face numerous challenges in terms of their well-being. Colonization enforced land and cultural loss, fractured relationships, and restricted the use of the imagination and agentic capacity (Colonial policies, structures, and approaches in education have been detrimental to Indigenous youth (Nardozi, 2013). Many First Nations leaders, community members, and youth have expressed a need for a wider range of activities that move beyond Western models of knowledge and learning (Goulet & Goulet, 2015). School curricula in Indigenous communities are incorporating alternative pedagogical tools, such as the arts, that not only allow youth to explore and express their realities and interests but that also offer them holistic ways of learning and knowing (Yuen et al., 2013). This article describes a participatory arts research project which featured film production and was delivered in the context of a grade 10 Communications Media course. The research took place at a First Nations high school in a Neehithuw (Woodland Cree) community in northern Saskatchewan. This article highlights the content of the films produced, the benefits of the filmmaking experience, and the challenges faced by the teacher and students during the process. [ABSTRACT FROM AUTHOR]

In recent years, leisure scholars have increasingly used creative analytic practice (CAP). Poetic representation is one form of CAP that allows researchers to synthesize findings and represent the data while highlighting the emotional aspects of the lived experience. Despite the increased use of CAP in leisure research, little has been written about the process of using poetry as a form of representation. This article focuses on the process and experiences of creating poems to represent data from a study about leisure and Aboriginal women's healing. It describes how researcher location and subjectivity can impact ethical practice, as well as the aesthetic and epistemological tensions that can occur. It introduces the term “Ethical Crafting,” which denotes that aesthetic attention to detail is at the same time an ethical practice. Finally, this article highlights the importance of researcher intuition and emotion, and argues for a reflexive practice to negotiate the tensions experienced in the poetic process. [ABSTRACT FROM AUTHOR]

While a growing number of qualitative researchers use poetry as a means of data in their studies, few have usedcommunity poetryas data source, that is, poems written by marginalized populations in community and published in community sources. To address this lack, this article considers the use of community poetry for data collection and analysis. It describes a study that featured poems written by marginalized community members in Montreal that revealed lives of adversity, coping and change. This article locates the study in the context of community arts and poetry in Montreal and of participant voice in the field of poetic inquiry. It discusses the implications of using community poetry in regard to the differences and similarities between the art of poetry and social science research. [ABSTRACT FROM PUBLISHER]

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