Studies in Arts-Based Educational Research – serie

This book communicates new voices, insights, and possibilities for working with the arts and memory in researching teacher professional learning. The book reveals how, through the arts, teacher-researchers can reimagine and reinvigorate moments of the past as embodied and empowering scholarly experiences. The peer-reviewed chapters were composed from juxtaposing unique “mosaic” pieces written by 21 new and emerging scholars in South Africa and Canada. Their research explores diverse arts-based practices and resources including collage, film, drawing, narrative, poetry, photography, storytelling and television alongside related ethical issues. Critically, Memory Mosaics also demonstrates how artful memory-work can engender agency in professional learning with teacher-researchers taking up pressing issues of social justice such as inclusion and decolonisation. Overall, the book offers a multidimensional, polyvocal exploration of how artful memory-work can bring about future-oriented professional learning enacted as pedagogies of reinvention and productive remembering.Memory Mosaics: Researching Teacher Professional Learning Through Artful Memory-Work, by Kathleen Pithouse-Morgan, Daisy Pillay, and Claudia Mitchell, along with teacher-researchers on two continents, is a ground-breaking book. It models a collaborative approach to arts-based research that melds memory-work, visual and poetic arts, and reflective practice to promote professional learning, personal transformation, decolonisation, and a more just future. Like colourful pebbles and bits of glass, the authors place teachers’ self-stories in relation to one another in an artful design, creating thematic coherence that evokes a deep sense of knowing. Judith C. Lapadat, Professor Emeritus, Faculty of Education, University of Lethbridge, CanadaMemory Mosaics: Researching Teacher ProfessionalLearning Through Artful Memory-Workassembles exemplars of professional learning in an intriguing mosaic format. A topic is introduced, followed by memory-pieces; then: discussion and/or creative response. This lively juxtaposition generates momentum for highly productive forms of remembering around social justice issues, even as the reader is invited into an intimate circle of shared concern: for these issues, with these (and other) teacher-researchers.  It is a beautiful, original, and practical book. Teresa Strong-Wilson, Associate Professor, Faculty of Education, McGill University, Canada

This book describes the practice of poetic inquiry and takes the reader through the process of translating lived experience into poetry that attends to the lives of others. Using her own writing—from early drafts to published poems—Apol demonstrates elements of poetic inquiry that both give it strength and make it complicated: the importance of craft (the aesthetic); the imperative of accuracy and reliability (the investigative); the significance of ethical responsibility that leads to action (witness); and the centrality of relational connectedness and accountability (withness). Apol raises questions about what it means for poems to function as both research and art, and illustrates what happens when there are irresolvable conflicts between the demands of the poem and a commitment to relationship. Throughout, Apol addresses her white privilege, as well as the dominant white/colonial narrative that often seeps into arts-based work unless it is overtly and critically addressed. The book goes beyond arts-based research, speaking as well to other forms of cross-national, cross-cultural research. It is a call for relational scholarship that moves toward action, a heart-rending teaching, a post-traumatic aesthetic map laid down with clear and poignant theory and praxis to extend, serve and guide.

This book describes the practice of poetic inquiry and takes the reader through the process of translating lived experience into poetry that attends to the lives of others. Using her own writing—from early drafts to published poems—Apol demonstrates elements of poetic inquiry that both give it strength and make it complicated: the importance of craft (the aesthetic); the imperative of accuracy and reliability (the investigative); the significance of ethical responsibility that leads to action (witness); and the centrality of relational connectedness and accountability (withness). Apol raises questions about what it means for poems to function as both research and art, and illustrates what happens when there are irresolvable conflicts between the demands of the poem and a commitment to relationship. Throughout, Apol addresses her white privilege, as well as the dominant white/colonial narrative that often seeps into arts-based work unless it is overtly and critically addressed. The book goes beyond arts-based research, speaking as well to other forms of cross-national, cross-cultural research. It is a call for relational scholarship that moves toward action, a heart-rending teaching, a post-traumatic aesthetic map laid down with clear and poignant theory and praxis to extend, serve and guide.

This book is a transdisciplinary, international collection situated within a genealogy of experimental walking practices in the arts, arts-based research, and emergent walking practices in education. It brings together emerging cartographies of relation amongst walking practices ranging across arts-based, ecological, activist, decolonising, queer, critical and posthuman modes of inquiry. Its particular investment is in the proliferation of artful modes of inquiry that open up speculative practices and concepts of walking as an orientation for pedagogy, inquiry, and the everyday, resisting the gaze of privilege and the relentless commodification of human and nonhuman life processes. This is important work for the burgeoning demand for creative methodologies in the social sciences, and more specifically, for arts-based educational research.

This book is a transdisciplinary, international collection situated within a genealogy of experimental walking practices in the arts, arts-based research, and emergent walking practices in education. It brings together emerging cartographies of relation amongst walking practices ranging across arts-based, ecological, activist, decolonising, queer, critical and posthuman modes of inquiry. Its particular investment is in the proliferation of artful modes of inquiry that open up speculative practices and concepts of walking as an orientation for pedagogy, inquiry, and the everyday, resisting the gaze of privilege and the relentless commodification of human and nonhuman life processes. This is important work for the burgeoning demand for creative methodologies in the social sciences, and more specifically, for arts-based educational research.

Drawing from an international authorship and having global appeal, this book scrutinizes, suggests and aggravates the relationships, boundaries and connections between arts, research and education in various contexts. Building upon existing publications in the field of arts-based educational research, it deliberately connects and disconnects the terms in order to expose and broaden the scope of this field thereby encouraging fresh perspectives. This book portrays both contemporary theoretical prospects as well as contemporary examples of practice. It also presents work of emerging scholars, thereby ‘growing the field’. The book includes academic text-based chapters, as well as poetry, narrative fiction, visual essays, and combinations of text-image-sound/video that demonstrate performance of music, theatre, exhibition and dance. This book provides and provokes critical dialogue about the forms, representations, dissemination and intersections of the arts, research and education. This is a focused collection and resource for scholars and students with an international authorship, perspective and audience.

Drawing from an international authorship and having global appeal, this book scrutinizes, suggests and aggravates the relationships, boundaries and connections between arts, research and education in various contexts. Building upon existing publications in the field of arts-based educational research, it deliberately connects and disconnects the terms in order to expose and broaden the scope of this field thereby encouraging fresh perspectives. This book portrays both contemporary theoretical prospects as well as contemporary examples of practice. It also presents work of emerging scholars, thereby ‘growing the field’. The book includes academic text-based chapters, as well as poetry, narrative fiction, visual essays, and combinations of text-image-sound/video that demonstrate performance of music, theatre, exhibition and dance. This book provides and provokes critical dialogue about the forms, representations, dissemination and intersections of the arts, research and education. This is a focused collection and resource for scholars and students with an international authorship, perspective and audience.

This book communicates new voices, insights, and possibilities for working with the arts and memory in researching teacher professional learning. The book reveals how, through the arts, teacher-researchers can reimagine and reinvigorate moments of the past as embodied and empowering scholarly experiences. The peer-reviewed chapters were composed from juxtaposing unique “mosaic” pieces written by 21 new and emerging scholars in South Africa and Canada. Their research explores diverse arts-based practices and resources including collage, film, drawing, narrative, poetry, photography, storytelling and television alongside related ethical issues. Critically, Memory Mosaics also demonstrates how artful memory-work can engender agency in professional learning with teacher-researchers taking up pressing issues of social justice such as inclusion and decolonisation. Overall, the book offers a multidimensional, polyvocal exploration of how artful memory-work can bring about future-oriented professional learning enacted as pedagogies of reinvention and productive remembering.Memory Mosaics: Researching Teacher Professional Learning Through Artful Memory-Work, by Kathleen Pithouse-Morgan, Daisy Pillay, and Claudia Mitchell, along with teacher-researchers on two continents, is a ground-breaking book. It models a collaborative approach to arts-based research that melds memory-work, visual and poetic arts, and reflective practice to promote professional learning, personal transformation, decolonisation, and a more just future. Like colourful pebbles and bits of glass, the authors place teachers’ self-stories in relation to one another in an artful design, creating thematic coherence that evokes a deep sense of knowing. Judith C. Lapadat, Professor Emeritus, Faculty of Education, University of Lethbridge, CanadaMemory Mosaics: Researching Teacher ProfessionalLearning Through Artful Memory-Workassembles exemplars of professional learning in an intriguing mosaic format. A topic is introduced, followed by memory-pieces; then: discussion and/or creative response. This lively juxtaposition generates momentum for highly productive forms of remembering around social justice issues, even as the reader is invited into an intimate circle of shared concern: for these issues, with these (and other) teacher-researchers.  It is a beautiful, original, and practical book. Teresa Strong-Wilson, Associate Professor, Faculty of Education, McGill University, Canada

This book presents the creative, arts-based and educative thinking resulting from a “21 day autoethnography challenge” set of self-guided prompts arising from the large-scale collaborative, creative, and global project to explore Massive and Microscopic Sensemaking during COVId-19 Times. It employs a guiding methodological framework of critical autoethnography, narrating the macro and micro experiences of COVID-19 from a first-person, and critically, culturally-informed perspective.The book features chapters creatively responding to the 21-day pandemic experiment through digital autoethnographic artworks, writings, and collaborations. It allowed authors to build embodied sensibilities, practice autoethnographic forms of writing and making, and transform personal experiences through the COVID-19 moment into critical understanding of scale, sense-making, and the relationality of humans, nonhumans, and the planet.

This book presents the creative, arts-based and educative thinking resulting from a “21 day autoethnography challenge” set of self-guided prompts arising from the large-scale collaborative, creative, and global project to explore Massive and Microscopic Sensemaking during COVId-19 Times. It employs a guiding methodological framework of critical autoethnography, narrating the macro and micro experiences of COVID-19 from a first-person, and critically, culturally-informed perspective.The book features chapters creatively responding to the 21-day pandemic experiment through digital autoethnographic artworks, writings, and collaborations. It allowed authors to build embodied sensibilities, practice autoethnographic forms of writing and making, and transform personal experiences through the COVID-19 moment into critical understanding of scale, sense-making, and the relationality of humans, nonhumans, and the planet.

This book explores the connections made in and through arts-based educational research through four themes: socially engaged connections, cultural connections, personal and pedagogical connections, and making connections during the COVID-19 pandemic. It emerges from the 3rd bi-annual 2020 Artful Inquiry Research Group symposium on the theme of “connections”. The symposium brought together artists, community members, teachers, students, and researchers through a virtual platform to examine the way(s) in which the arts can help connect people, ideas, and spaces/places in a pandemic reality. Art plays a predominant role in each chapter as authors weave their research and art-based understandings together. This book is a valuable teaching resource for undergraduate and postgraduate courses in teaching, anthropology, digital ethnography, autoethnography, cultural studies, and communications. It is of interest to higher education students, academic researchers, and teachers exploring arts-based methodologies in the fields of creative practice and creativity studies, communications, critical studies, sociology, sciences, teacher education, and the arts.

This book explores the connections made in and through arts-based educational research through four themes: socially engaged connections, cultural connections, personal and pedagogical connections, and making connections during the COVID-19 pandemic. It emerges from the 3rd bi-annual 2020 Artful Inquiry Research Group symposium on the theme of “connections”. The symposium brought together artists, community members, teachers, students, and researchers through a virtual platform to examine the way(s) in which the arts can help connect people, ideas, and spaces/places in a pandemic reality. Art plays a predominant role in each chapter as authors weave their research and art-based understandings together. This book is a valuable teaching resource for undergraduate and postgraduate courses in teaching, anthropology, digital ethnography, autoethnography, cultural studies, and communications. It is of interest to higher education students, academic researchers, and teachers exploring arts-based methodologies in the fields of creative practice and creativity studies, communications, critical studies, sociology, sciences, teacher education, and the arts.

This book offers reflections from Arts-Based Educational Research (ABER) scholars who, since 2005, were awarded the American Educational Research Association ABER Special Interest Group's Outstanding Dissertation Award. The book includes essays from ten awardees who, across diverse artistic disciplines, share how their ABER careers evolve and succeed—inspiring insights into the possibilities of ABER. It also examines the essential role of mentorship in the academy that supports and expands ABER scholarship. Drawing from dissertation exemplars in the field, this book allows readers to look at how ABER scholars learn with the world while creatively researching and teaching in innovative ways

This book offers reflections from Arts-Based Educational Research (ABER) scholars who, since 2005, were awarded the American Educational Research Association ABER Special Interest Group's Outstanding Dissertation Award. The book includes essays from ten awardees who, across diverse artistic disciplines, share how their ABER careers evolve and succeed—inspiring insights into the possibilities of ABER. It also examines the essential role of mentorship in the academy that supports and expands ABER scholarship. Drawing from dissertation exemplars in the field, this book allows readers to look at how ABER scholars learn with the world while creatively researching and teaching in innovative ways

This book focuses on cellphilming as a participatory visual methodology in arts-based research and teaching. The book aims to advance critical perspectives—and re-visioning—in relation to the co-production of knowledge through cellphilming.Many of the chapters come out of an international virtual symposium hosted by McGill University in June 2022. It brings together authors working in a variety of interdisciplinary areas and settings including work with Indigenous groups in Canada, girls and women with disabilities in Vietnam, youth in conflict and refugee contexts in Mali, and Sexual and Reproductive Health Rights in Canada, Nigeria, South Africa, and India.Some of the re-visioning addressed in the collection takes up place as we work in new contexts and situations as we are seeing with the idea of ethnographies at a and in relation to COVID-19. The genres, the place of reflexivity, and even the timing of participatory engagement might vary as a result of using virtual platforms necessitated by distancing. Other re-visioning takes place as a result of work with new communities, or new age populations and aspects of intersectionality, looking across work with very young children and older adults.This book contributes to further decolonizing cellphilming methodology to support participatory work in new ways, and with underrepresented groups for whom finding new ways for engagement is key. A special feature of the book is its attention to work with International NGOs. Chapter ‘Cellphones beyond the workshop: Youth researchers owning gender transformative change through participatory visual research in rural India during COVID-19’ is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book focuses on cellphilming as a participatory visual methodology in arts-based research and teaching. The book aims to advance critical perspectives—and re-visioning—in relation to the co-production of knowledge through cellphilming.Many of the chapters come out of an international virtual symposium hosted by McGill University in June 2022. It brings together authors working in a variety of interdisciplinary areas and settings including work with Indigenous groups in Canada, girls and women with disabilities in Vietnam, youth in conflict and refugee contexts in Mali, and Sexual and Reproductive Health Rights in Canada, Nigeria, South Africa, and India.Some of the re-visioning addressed in the collection takes up place as we work in new contexts and situations as we are seeing with the idea of ethnographies at a and in relation to COVID-19. The genres, the place of reflexivity, and even the timing of participatory engagement might vary as a result of using virtual platforms necessitated by distancing. Other re-visioning takes place as a result of work with new communities, or new age populations and aspects of intersectionality, looking across work with very young children and older adults.This book contributes to further decolonizing cellphilming methodology to support participatory work in new ways, and with underrepresented groups for whom finding new ways for engagement is key. A special feature of the book is its attention to work with International NGOs. Chapter ‘Cellphones beyond the workshop: Youth researchers owning gender transformative change through participatory visual research in rural India during COVID-19’ is available open access under a Creative Commons Attribution 4.0 International License via link.springer.com.

This book explores tools and techniques for creating the arts with groups. It provides insights into why workshops are such an effective and relevant form of creative practice. Throughout, two experienced practitioners share successful principles and qualities. They also include examples of workshops that explore ways of facilitating creative exploration.The authors believe that underpinning any good workshop practice is an understanding of what constitutes a workshop. This is a process in which the relationship between artist/researcher and participant/audience, maker, and witness is fluid. It extends each individual’s abilities and connects doing to learning to inquiring in a single process. The book itself is a dialogue on, and an investigation into, this practice. It fully explores the specificities of workshop practice in relation to how it engages others in arts-based research.Readers learn how workshops involve inquiry into six areas:inquiry into subjects, artistic processes, skills, self, the world, and relationships with others. In the end, this informed investigation helps practitioners to better reflect on their own approaches to arts-based inquiry and research. This, in turn, leads to a better understanding of how readers can use workshops for the maximum benefit of all participants, both individuals and groups.

This book explores tools and techniques for creating the arts with groups. It provides insights into why workshops are such an effective and relevant form of creative practice. Throughout, two experienced practitioners share successful principles and qualities. They also include examples of workshops that explore ways of facilitating creative exploration.The authors believe that underpinning any good workshop practice is an understanding of what constitutes a workshop. This is a process in which the relationship between artist/researcher and participant/audience, maker, and witness is fluid. It extends each individual’s abilities and connects doing to learning to inquiring in a single process. The book itself is a dialogue on, and an investigation into, this practice. It fully explores the specificities of workshop practice in relation to how it engages others in arts-based research.Readers learn how workshops involve inquiry into six areas:inquiry into subjects, artistic processes, skills, self, the world, and relationships with others. In the end, this informed investigation helps practitioners to better reflect on their own approaches to arts-based inquiry and research. This, in turn, leads to a better understanding of how readers can use workshops for the maximum benefit of all participants, both individuals and groups.

This book considers the generative tension between the materiality and virtuality of walking methodologies in a/r/tography and arts-based educational research. It explores the materiality of practice—manifestations, manipulations, residues, and traces of both real and imagined experiences and events. Authors present artistic representations, renderings, artifacts, and documentations that allow for various forms of return and re-visitation of places/spaces and temporal moments. The book also investigates the digital and virtual, including video, images, media work, and emergent technologies that allow one to literally, metaphorically, affectively, and conceptually go somewhere that might be previously impossible to reach. Authors consider curricular and pedagogical implications of digital/virtual walking in relation to desire, agency, autonomy, freedom, and other issues around ethics.The book brings together entanglements of the corporeal and incorporeal, addressing thequestions: How does the (im)materiality of bodies/characters-in-motion in a/r/tographic practices shape understandings of place, space, and the self-in-relation? How do issues and particularities come to matter through one’s entanglements with(in) the (in)corporeal?