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The refugee journey is fraught with challenges before, during and after resettlement. There is a critical need for mental health support upon arrival, and refugees face language, cultural and logistical barriers. Arts-based therapies are a promising approach to mitigating such barriers. The purpose of this study was to elicit professional stakeholder perspectives on mental health challenges among refugees, the value of arts-based programs and future directions.

The authors conducted three 90-min focus groups with 19 professional stakeholders in North Carolina, USA. This included mental health professionals, professors and community services/resettlement workers. Participants were identified from professional networks and snowball sampling. Each group was held by videoconference, audio recorded and transcribed. Data were analyzed through a team-based approach using applied thematic qualitative analysis.

Interviewees described a need for targeted, culturally compatible mental health services for refugee families, including trauma-informed, family-focused services with language interpretation. Arts-based therapies were viewed as highly acceptable and culturally responsive approaches for understanding distress and building resilience and less stigmatizing than traditional mental health services. Services in schools and community settings would further reduce stigma and minimize logistical barriers. Participants identified needing strong, culturally sensitive assessment tools to measure treatment progress as a key future direction.

The study offers novel insights into the value of arts-based approaches and considerations for program development. The next phase of the project will obtain the perspectives of refugee parents and children to understand client preferences for arts-based therapies.

The world of work is constantly evolving such that the Workforce in the previous era was driven by the need for stability and is now driven by the desire for creative disruption. While firms must respond to the challenges and dynamics continuously, employees must be ready for any upcoming change to progress despite the turbulence and attain a competitive position. This paper's focal theme is Workforce agility – the ability of employees to respond to and make the most out of changes. Studies on the personal factors affected by changes, in turn, influencing Workforce agility have been scarce. The authors propose a conceptual model with propositions to address this gap. Additionally, the authors propose an employee-centric experiential training practice to foster agility.

The authors have employed conceptual description methodology to build propositions about the personal factors influencing Workforce agility and an arts-based intervention to enhance it.

Intermodal arts-based intervention (IABI) can influence employees' epistemic curiosity, which aids with managing ruminative thoughts, thus enhancing Workforce agility, while dispositional joy moderates this relationship.

The proposed “Intermodal Arts-Based Intervention (IABI)” can help firms move from a traditional training-based approach to an experiential one to foster their Workforce's agile capacities. Considerations for its implementation are explained.

This study is one of the first attempts to integrate multiple art forms as a change management practice. The conceptualized model also brings out the adaptive and maladaptive aspects of epistemic curiosity and rumination and the role of joy in promoting agile behaviors.

This autoethnographic article presents the adaptation of collage—an arts-based method traditionally used in face-to-face settings—into an online research tool. It emphasizes the increased relevance of such a transition in the wake of the digital shift and the Covid-19 pandemic. The work aims to reveal how digital collages can facilitate in-depth participant responses in a time when conventional research settings are inaccessible.

The article incorporates autoethnographic vignettes, which are identified in italics, that offer insights into my personal reflections on the transition and adaptation to an online mode. Firstly, I review how collage can be a valuable tool to include in focus groups and for elicitation during semi-structured interviews. Secondly, I review the challenges I experienced when conducting focus groups online to create the collages. Thirdly, I explore, in more detail, three examples of collages that reflect the diverse ranges that were produced and the insightful discussions that emerged from the participants describing the visual elements of their collages. Finally, the reflective nature of my autoethnographic vignettes provides an insight into the world of the researcher during this turbulent time.

Findings show that collage, whether physical or digital, remains an effective tool for eliciting nuanced understandings from participants. The research contributes to the arts-based research narrative by showcasing how the digital adaptation of collage methods can yield profound insights into participants' perspectives, therefore enriching the data beyond what traditional interviews could unveil.

These observations can provide support for other researchers who are contemplating the adoption of online arts-based research methods. Understanding how traditionally face-to-face arts-based research methods can be adapted for the digitally evolving landscape is important for shaping the future of online research.

This paper aims to explore young peoples’ authentic experiences of youth justice services (YJS) during the Covid-19 pandemic. By adopting the creative arts-based method of lyric writing, the research team sought to empower participants through collaboration and participation and to facilitate them leading the narrative (Deakin et al., 2020).

This research adopted a creative arts-based method in which participants worked alongside an artist to generate lyrics that captured their experiences within YJS. Such an approach demonstrated a commitment to participatory, child-first approaches.

Two main themes were identified: identity and relationships. The young people vocalised resistance to frequent labelling and their ambitions to move away from past criminal identity and behaviour. Relationships with practitioners could be a source of frustration within this but were also highlighted as valuable and supportive.

As data collection was remote, owing to the Covid-19 pandemic and associated lockdowns, the opportunity to develop relationships with young people within the YJS prior to conducting the research was restricted. This approach may have also impacted recruitment of participants. The sessions presented short-term interventions and whilst follow-up sessions were offered, many did not take them up. Although the research sample is small and cannot be considered representative, it allows for a valuable insight into the experiences of young people at a particularly challenging time.

Upon receiving our findings and recommendations, the first YJS research site has sought to further embed a relationship-based practice model and greater creative/participatory socially prescribed psychosocial therapeutic interventions, including music groups and spoken word artists to work with children and young people.

This research adds to the growing literature base surrounding creative arts-based research with children and young people for their value towards communication, pro-social identity and development.

The purpose of this study is to examine the potential of integrating material from the arts into postgraduate curricula to deepen students’ engagement with marketing phenomena. The authors assess the use of arts-based activities, within a broader critical pedagogy, for encouraging imaginative and analytical thinking.

The authors devised two learning activities and an interpretive method for studying their value. The activities were an individual essay connecting themes in song lyrics to marketing, and a group photography project. These were applied, within a broader, critical approach, in postgraduate modules on sustainability, ethics and critical marketing. Data collection comprised diaries kept by the teachers, open-ended feedback from students and students’ assignments.

Students showed high levels of engagement, reflexivity and depth of thought, in felt experiences of learning. Their ability to make connections not explicitly in the materials, and requiring imaginative jumps, was notable. Several reported lasting changes to their behaviour. Some found the tasks initially intimidating or, once they were more engaged, stressful or saddening.

This adds to scholarship on management education by showing the usefulness of an arts-based approach towards a transformative agenda.

It offers a template of how to draw from the arts to strengthen critical engagement upon which marketing teachers can build. It also contains practical advice on the challenges and benefits of doing so.

The authors provide evidence that this approach can enhance sensitivity and reflexivity in students, potentially producing more ethical and sustainable decisions in future.

The pedagogical interventions are novel and of value to lecturers seeking to enhance critical engagement with theory. An empirical study of an attempt to integrate arts into teaching marketing represents a promising direction, given the discipline’s creative nature.

This paper aims to tentatively explore the benefits of placing art’s knowledge-building tradition, with its capacity to disrupt and reframe, at the centre of how we look at alternative organizing and alternative economic spaces, positioning lived experience, its uncertainties intact, at the heart of researching and practicing social enterprise (SE).

The paper explores indeterminacy through two case-study narratives, one of an academic arts-based research project and the other of a unique organization it encountered.

The paper describes the way juxtaposition, encounter and drift value indeterminacy as central to generative processes, challenging the control central to management and its research.

The paper proposes that adopting an arts-based approach that challenges control can create a research instrument sensitive to similar tendencies in case studies, thus highlighting what is different and alternative about them. This responds to concerns about the diminishing centrality of SE’s democratizing ethic expressed in its scholarship, about creativity in its research and about its socially transformative potential.

The practice, by SEs of an approach welcoming chance, encounter, meandering paths and place-making with porous boundaries, proliferates transformative possibilities and is linked to democratization and participation.

Though dangerously challenging to accepted notions of academic rigour, this paper proposes an unusual thought experiment tied in with lived experiences, in themselves experimental in practice.

This study aims to think critically about collaborative working through the practical application of an ethics of care approach. The authors address the following research questions: How can the authors embed an ethics of care into academic collaboration? What are the benefits and challenges of this kind of collaborative approach? The contextual focus also incorporates a collective sense making of academic identities over the course of the COVID-19 pandemic.

The authors focus on the activities of the “Consumer Research with Impact for Society” collective at and around the 2021 Academy of Marketing conference. The authors draw on the insights and labour of the group in terms of individual and collaborative reflexivity, workshops and the development of a collaborative poem.

First, the authors present the “web of words” as the adopted approach to collaborative writing. Second, the authors consider the broader takeaways that have emerged from the collaboration in relation to blurring of boundaries, care in collaboration and transformations.

The overarching contribution of the paper is to introduce an Ethics of Collective Academic Care. The authors discuss three further contributions that emerged as central in its operationalisation: arts-based research, tensions and conflicts and structural issues. The application of the “web of words” approach also offers a template for an alternative means of engaging with, and representing, those involved in the research.

The purpose of this chapter is twofold: in the first part, we will provide comprehensive, state-of-the-art urban and visual studies across the domains of visibility, urban aesthetics and the legitimate use of the urban. We will show that what we see is foremost what is accessible and legitimate as a vision, while the urban provides multiple realms of invisibility that are often neglected or rendered invisible. Art, architecture, urbanism and place-making will be used as examples of these dynamics.

In the second part of the chapter, we will present a research study on the decolonial practices of re-signification of colonial urban traces. Despite the dominant representation of Italians as ‘good people’ (a local version of ‘white innocence’), in recent years, Italy has witnessed a new interest stemming from bottom-up local movements dealing with colonial legacy in the urban space. We will show a research example (‘Decolonising the City. Visual Dialogues in Padova’) based on participatory video, arts-based methods and walking methods.

This article examines the power relationships between researcher and participants, children and adults, drawing on the theories of transgressions and resistance in power, during a research project concerning children's experiences of the visual arts.

Data were gathered conducted in two Scottish primary schools by employing visual and arts-based methods, and the article discusses the role they played in revealing acts of power between participants as well as providing insight of a child's world.

The article concludes by emphasising how these methods revealed a network of power acts which supported children to transgress, resist and reveal their world to the adult.

The role of reflexion on the part of the researcher is key when undertaking research adopting participatory methods such as visual methods.

The article contributes to the ongoing discussions concerning visual methods research and their use in participatory research, and illustrates the complexities of power in this field.

Poetic inquiry is an approach that promotes alternate perspectives about what research means and speaks to more diverse audiences than traditional forms of research. Across academia, there is increasing attention to decolonising research. This reflects a shift towards research methods that recognise, acknowledge and appreciate diverse ways of knowing, being and doing. The purpose of this paper is to explore the different ways in which poetic inquiry communicates parallax to further decolonise knowledge production and dissemination and centre First Nations’ ways of knowing, being and doing.

This manuscript presents two First Nations’ perspectives on a methodological approach that is decolonial and aligns with Indigenous ways of knowing, being and doing. In trying to frame this diversity through Indigenous standpoint theory (Foley, 2003), the authors present two First Nation’s women's autoethnographic perspectives through standpoint and poetics on the role of poetic inquiry and parallax in public pedagogy and decolonising research (Fredericks et al., 2019; Moreton-Robinson, 2000).

The key to understanding poetic inquiry is parallax, the shift in an object, perspective or thinking that comes with a change in the observer's position or perspective. Challenging dominant research paradigms is essential for the continued evolution of research methodologies and to challenge the legacy that researchers have left in colonised countries. The poetic is often invisible/unrecognised in the broader Indigenist research agenda; however, it is a powerful tool in decolonial research in the way it disrupts core assumptions about and within research and can effectively engage with those paradoxes that decolonising research tends to uncover.

Poetic inquiry is not readily accepted in academia; however, it is a medium that is well suited to communicating diverse ways of knowing and has a history of being embraced by First Nations peoples in Australia. Embracing poetic inquiry in qualitative research offers a unique approach to decolonising knowledge and making space for Indigenous ways of knowing, being and doing.

Poetic inquiry offers a unique approach to centring First Nations voices, perspectives and experiences to reduce hegemonic assumptions in qualitative research.

Writing about poetic inquiry and decolonisation from a First Nations’ perspective using poetry is a novel and nuanced approach to discussions around First Nations ways of knowing, being and doing.