collection such as questionnaires, verbatim recordings, to arts-based and experiential methods such as a/r/tography, storytelling, and ripple effect mapping, all perspectives had an important role in documenting and evaluating the programme’s impact. Arts harvesting as data collection: merging an artistic and scientific perspective Leavy (2014) describes how creative researchers have forged synergistic blends of art and science through a variety of artistic genres. Writing as inquiry has provided powerful examples of how to shift the dialogue about various relevant
This book explores the rationale, methodologies, and results of arts-based approaches in social work research today.
It is the first dedicated analysis of its kind, providing practical examples of when to choose arts-based research, how the arts are used by social work researchers and integrated with additional methods, and ways to evaluate its efficacy. The multiple examples of arts-based research in social work in this book reveal how arts methods are inherently connected to the resilience and creativity of research participants, social workers, and social work researchers.
With international contributions from experts in their fields, this is a welcome overview of the arts in social work for anyone connected to the field.
This unique collection of 12 research projects carried out by experienced practitioners in the play sector in the UK and USA puts forward a range of perspectives on children’s play and adults’ relationships with it.
Drawing on a diverse range of research methodologies, the studies consider adults’ memories of play; the co-production of spaces where children can play (in adventure playgrounds, out of school clubs, children’s zoos, children’s museums and public space); therapeutic approaches to playwork; playwork and wellbeing; supporting the play of severely disabled children and young people; play and contemporary art practice; and children’s use of technology in a playground.
Offering a fresh look beyond the dominant singular voice of developmental psychology, this book is essential reading for anyone studying or working with children at play.
Co-authored by an international team of experts across disciplines, this important book is one of the first to demonstrate the enormous benefit creative methods offer for education research.
You do not have to be an artist to be creative, and the book encourages students, researchers and practitioners to discover and consider new ways to explore the field of education. It illustrates how using creative methods, such as poetic inquiry, comics, theatre and animation, can support learning and illuminate participation and engagement. Bridging academia and practice, the book offers:
• practical advice and tips on how to use creative methods in education research;
• numerous case studies from around the world providing real-life examples of creative research methods in education practice;
• reflective discussion questions to support learning.
There is an urgent need to rethink relationships between systems of government and those who are ‘governed’. This book explores ways of rethinking those relationships by bringing communities normally excluded from decision-making to centre stage to experiment with new methods of regulating for engagement.
Using original, co-produced research, it innovatively shows how we can better use a ‘bottom-up’ approach to design regulatory regimes that recognise the capabilities of communities at the margins and powerfully support the knowledge, passions and creativity of citizens. The authors provide essential guidance for all those working on co-produced research to make impactful change.
sample included a selection of seven artists: Ana Casas Broda, Trish Morrissey, Natalia Iguíñiz Boggio, Ana Álvarez Errecalde, Cristina Llanos, Elinor Carucci, and Offmothers collective (Susana Carro Fernández, Elena de la Puente, Natalia Pastor, Roxana Popelka, Blanca Prendes, Gema Ramos, and Eugenia Tejón) ( Hervás Hermida, 2018 ). This study focused on the creative and expressive potential of the arts as a way of articulating maternal experiences. It is halfway between a documentary study and a creative process, following the rhizomatic process of a/r/tography as
people roving massive galleries in circles coupled with timed flashes of the gallery’s lighting systems and other surprises. His desire, particularly in an age of visual communication and easily accessible camera tools, is to create an aesthetic experience that exists only in the telling. Perhaps one of the most promising methodologies that embraces this type of when-is-a-bed-not-a-bed complexity of a relational artworld is a/r/tography, in which a/r/t is an acronym for artist–researcher– teacher (Irwin, 2003; Irwin and De Cosson, 2004; Springgay et al, 2005
-Kind , S , 2005 , A/r/tography as living inquiry through art and text , Qualitative Inquiry 11 , 6 , 897 – 912 Stephens , D , Trahar , S , 2012 , ‘ Just because I’m from Africa, they think I’ll want to do narrative’: Problematising narrative inquiry , in Goodson , IF , Loveless , AM , Stephens , D (eds), Explorations in narrative research , Rotterdam : Sense , 59 – 69 Tetroe , J , Graham , I , Foy , R , Robinson , N , Eccles , M , Wensing , M , Durieux , P , Legare , F , Nielson , C , Adily , A , Ward , J , Porter , C
