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The purpose of this paper is to offer a picture of the relationship the researchers perceive between the art and research practices, unravelling the ways the authors shape and inform enactment of a purposeful nexus between art making and research.

A hybridised methodology is adopted, where methods integral to narrative inquiry and a/r/tography are drawn together to generate a series of “pictures” of the interplay between research and artistry. Through exploration of critical events, creative prose and artefacts, the paper unfolds the parallels perceived and tensions encountered between the approaches to making art and conducting research.

Borders can create a sense of calm and safety in allowing us to organise and contain information or matter, but they are also provocative in their potential to be crossed. Through this work, the authors chart the borders of the art making and research, and how, why and when these borders might be traversed to augment the integrity of both practices. In unfolding and examining the experiences and the perceptions thereof, the authors articulate ways in which the authors find arts practice to enrich and inhibit the research, and vice versa.

Of particular value in this paper is the way in which the authors not only tell of the experiences as artists and researchers, but also show these experiences through a/r/tographic methods. As such this paper presents an approach to research that is generative, suggesting rather than concluding and challenging rather than resolving, and ultimately offering multiple avenues for artistic and analytic insight.

Health-care student resilience is a well-researched topic, although the concept continues to evolve, not least as “resilience-building” has become an expected feature of health-care student professional education. The study aimed to understand the concept of resilience from the point of view of student nurses and midwives.

The study used a novel arts-informed method, informed by Miller’s and Turkle’s work on “evocative objects.” A total of 25 student nurses and midwives from a London-based university selected “resilience objects” which were photographed and discussed during interviews with an artist-researcher.

Analysis of the interviews revealed that “resilience” was founded on identity, connection, activity and protection. “Resilience objects” were used in everyday rituals and “resilience” was a characteristic that developed over time through the inhabiting of multiple identities.

Given that resilience is intertwined with notions of identity, health-care faculties should enhance students’ sense of identity, including, but not exclusively, nursing or midwifery professional identity, and invite students to develop simple rituals to cope with the challenges of health-care work.

To the best of the authors’ knowledge, this is the first study to locate health-care students’ resilience in specific material objects. Novel insights are that health-care students used everyday rituals and everyday objects to connect to their sense of purpose and manage their emotions, as means of being resilient.

The purpose of this paper is to show the viewpoint of two youth artists, researchers and activists who use spoken word and graphic arts to represent their research.

As a bilingual Spanish-speaking Latina and a young Black woman, the authors use artistic expression as a way to voice themselves and to give voice to the work they do as members of two youth research collectives. As individuals, they are members of two different youth participatory action research groups with different goals and ways of making sense of the world. But these groups have also come together to collaborate on issues of shared importance.

As youth artist-activists, the authors’ work could stand on its own, but they believe that they are stronger together. They have created a conversation of images and voices that represent the strength they have when they can be themselves. They work together to make a world one deserves to live in.

The authors’ work originates from within and is influenced by their experiences in the world, by the communities surrounding them, by those who love them, by those who have come before them and by the challenges that are thrown at them. They believe that their words and images have value because they do.

This study aims to model the creative pedagogy of children's book development and then engages teacher education students in this work, as a way to explore and express conceptions of teacher quality, across cultural perspectives.

This self-study engages a/r/tography and currere to explore teacher quality in a teacher education classroom in a Chinese university. A/r/tography (Irwin et al., 2006) considers teacher quality through the conventional lens based on standards and through a more aesthetic lens shaped by cultural nuances and personal experiences. This self-study engages currere (Pinar, 2004) as a methodology marked by contiguous living inquiry explored with an abstract lens aimed to see openings for insight leading to transformation (Pourchier, 2010).

Discussing similarities and distinctions across the presentation and conceptualization of teacher quality in the created children's books promoted dialogue considering intercultural, international pictures of a caring student–teacher relationship. A/r/tographic, currere approaches to exploring this enhanced reflective insight and supported acceptance of diverse notions of teacher quality.

As 21st-century global societies evolve, the meaning of progress also evolves from vertical linear trajectories to horizontal, webbed transformations, driven by differences leading to rhizomatic global connections. A/r/tography and currere are meaningful methodologies to explore the concept of teacher quality from aesthetic angles and on a more personal level so that our understandings may be shaped meaningfully by more diverse perspectives and voices.

The case study is inspired in Interpretative Phenomenological Analysis (IPA) to make sense of a Relational Model within Artistic Creation (RMAC) developed by the author a long time in their artistic and research practices.

An Interpretative Phenomenological Analysis (IPA) is considered within a case study where the author is simultaneously researcher and participant, using old unsolicited diaries for more than a decade as raw material.

RMAC was previously presented as a tool for creating (maker) as well as a tool for research (researcher) in specific solo performance art projects, being the first time that it is approached through an Interpretative Phenomenological Analysis, bringing new insights into artistic practice and research within their intersections.

This paper brings them the use of IPA in a case study with a researcher-participant to make sense of how RMAC, a model already presented formally and developed for many years, appeared and changed the author's professional and personal life. Also, it is given a new study using diaries as material within IPA.

The purpose of this paper is to investigate the growing use of Twitter in academic and artist practices. The authors explore commonalities, overlaps and differences within the reflections on the initial and ongoing motivations, usage and learnings the authors have encountered whilst immersed in this environment.

The authors locate the particular inquiry by drawing on the literature surrounding digital identities, academic literacies and digital scholarship. Departing from other studies, the focus is on a narrative inquiry of the lived experiences as academics and as artists using Twitter.

Academics use of Twitter plays a distinctly social role enabling communication that connects, and fostering accessible and approachable acts. It enables a space for challenging norms of academic ways of being and behaving. In addition, the authors draw conclusions about the “messiness” of the interconnected space that incorporates multiple identities, and highlight the risk taking the authors associate with using Twitter.

Academic practice is ever changing in the contemporary university. This initial study of academic and artist practices and the use of Twitter suggests future developments including participants using similar questions to elicit notions of practice to engage in a deeper understanding of motivations and behaviours.

In using social media tools such as Twitter, individual academics and their practices are modified; the impact of this practice is visible.

The authors contribute to emerging discussions and understandings about academics, social media and identity. The authors argue that by participating in the use of Twitter, the authors are part of the collective process of challenging what it means to be an academic and artist.

In this paper I seek to contribute to a growing understanding of the role of the self in qualitative forms of research and narrative. In calling upon the work of symbolic interactionists, postmodernists, and feminists, I explore how self-narrative might inform our scholarly work, both in terms of creating more advanced self-understandings and in promoting open and honest discussions about how our personal and professional lives intersect. After reviewing the philosophical rationale as well as various uses of self-narrative in social science and educational research, I examine my own deployment of self-reflexive writing as part of an effort to bridge the chasm between my personal life and my life in the academy.

This paper aims to examine critical, college-going identities and literacies of first-generation immigrant youth within a dual enrollment, youth participatory action research seminar.

This study is a qualitative case study drawn from a larger, critical ethnographic study.

Findings illustrate that youth’s multiple literacies, forged in a deliberately intergenerational and relational space, served as a powerful site of analysis as well as a means to disrupt restrictive definitions of success, supporting youth’s worldmaking amidst the construction and negotiation of new and critical “academic” identities grounded in the familial, cultural and historical knowledges that their inquiries surfaced.

This research attends to the transformative power afforded by humanizing collectives that center youth voices and perspectives, specifically those of first-generation immigrant students.

This article explodes traditional notions of ethnographic documentary, and instead positions the emerging practice of ethnocinema as a 21st century modality that falls within the paradigm of what Denzin calls the ‘eighth moment scholarship’ in this ‘fractured future’. Drawing on the monological, dialogic and imagistic ‘data’ from the ethnocinematic research project Cross‐Marked: Sudanese Australian Young Women Talk Education, the article uses ethnographic documentary film theory (including Minh‐ha, Rouch, and Aufderheide) and the critical pedagogical scholarship of McLaren to examine notions of performative identity construction and the possibility of intercultural identities and collaborations. Utilising the central metaphor of Minh‐ha’s ethnographic and filmic ‘zoo’, which cages those who are Othered by race, class, gender, sexuality and a myriad of differences, this article and ethnocinema overall seek to overthrow notions of difference, culture and community while recognising the increasingly prescient power of McLuhan’s dictum that the ‘medium is the message’ in this rhizomatic age.