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Working in the academy can be both challenging and exciting as it can be trying and difficult to negotiate if one is unprepared. Past research has acknowledged the importance of reflective practice in order to face such trials positively. This study utilises arts-based/multimodal reflection to contemplate the lived experience of one early career researcher in her first five years of employment. Adopting an arts-based approach, the researcher regularly reflected via the medium of collage. The purpose of this paper is to report on recollaged artefacts that are analysed in relation to meta-semiotic meanings as well as how they correspond to Schwab’s “lines of flight”, revealing both positive and negative acuities. Findings show that taking the time to delineate feelings via arts-based reflection can illuminate silent thoughts and deliberations and support an early career academic in appreciating and improving awareness of higher education regularities. Implications highlight how recollage can be an effective tool for the self-care of early career academics.

Adopting an arts-based approach, the researcher regularly reflected via the medium of collage. This paper reports on recollaged artefacts. These were analysed in relation to meta-semiotic meanings as well as how they corresponded to Schwab’s “lines of flight”, taking both positive and negative acuities.

Findings showed that taking the time to delineate feelings via arts-based reflection can reveal silent thoughts and deliberations and support an early career academic in appreciating and improving awareness of higher education regularities as well as self-care.

Implications highlight how recollage can be effective for early career academics in reflecting on their everyday work and improve self-care.

Practical implications include the fact that readers will be able to adopt the arts-based methods used in this paper in order for them to reflect on their everyday work in the academy. The recollaged practice will improve their self-care and allow time to reflect effectively and creatively.

Social implications include that colleagues could do recollaged practice together. Reflection done collaboratively can also improve self-care and well-being for those working in the academy.

Recollage is a new method of autoethnography the author has developed for the purpose of reflecting on my journey as an early career researcher. Now, in leadership roles, this approach has allowed the author to move forward positively in the academy.

Research problems focused on sustainability, such as changes to procurement practices, are new which necessitate new approaches to research methods. The purpose of this paper is to describe the application of an arts‐based inquiry technique to supplement a mixed‐methods approach.

This paper presents an application of arts‐based inquiry techniques as part of the qualitative analysis regime to communicate the approaches adopted by Australian organisations introducing sustainable procurement utilising the medium of collage.

Arts‐based inquiry is found to offer organisational research several complementary features. It engages multiple audiences in different “ways of seeing” and engaging with research.

Arts‐based techniques demonstrated in this paper offer sustainability and other researchers a complementary method of inquiry, to communicate change in society by opening the discourse between art, transdisciplinarity and sustainability, and to engage with multiple audiences in the process of change.

The purpose of this paper is to give the reader a first‐hand view of why and how a major global corporation uses arts‐based learning, from the perspective of its Chairman and CEO.

This paper is an interview with Harold (Terry) McGraw III, Chairman and CEO of The McGraw Hill Companies, discussing the value of arts‐based learning to his corporation.

Mr McGraw characterizes creativity as a “business imperative,” and puts The McGraw Hill Companies’ successful experiences with arts‐based learning in a broad strategic context of “surfacing creativity” through engagement with the arts.

The McGraw Hill Companies is a global pioneer in the use of arts‐based learning to train leaders, help employees solve problems creatively, and foster personal growth; and is one of America's leading corporate supporters of the arts. Mr McGraw is a leader of unique stature and credibility, and with this interview, he becomes perhaps the most senior business leader in the world to discuss arts‐based learning in business from a perspective of direct experience.

The purpose of this paper is to consider the dynamics of submitting arts-based research in a climate that is dominated, in the UK, by the social sciences.

It begins by taking a view on arts-based research, considering mainly Eisner and Dewey but exploring the possibilities of other forms such as baroque research. It goes on to look at some examples of arts-based research that has been carried out, funded by the Arts and Humanities Research Council. The authors conclude by saying that interdisciplinary research, while being encouraged by research councils, is also made more difficult by these same research councils’ funding structures.

The authors consider that this has an effect on defining what educational research is and could be. The authors argue that this is important not only in relation to the range of disciplinary perspectives that can be drawn upon within educational settings, for example, the need to engage with disciplines such as English, History, Philosophy, Music and Fine Art, but also in relation to methodological understandings of how research should be conducted within educational settings.

The research studies are arts based but with an original educational orientation.

Drawing on findings from the project ‘Walking around with our cameras’ (2014–16), this chapter explores educative and methodological implications of arts-based research. The project on which this chapter is based was conducted in Bilbao (Spain) by two local organizations: Sala Rekalde, a contemporary art gallery; the Institute of Human Rights of Deusto University, a local artist and a group of migrant women. Analysis of this project offers insights into the ways that artistic practices afforded unique opportunities for migrant women to reconstruct and represent their migratory experiences. This chapter sheds light on the ways that participatory arts-based research can move across disciplines and enhance effective achievement on collaborative projects that work to give voice to the voiceless.

This paper proposes that a developed awareness of and openness to diversity supports people management and also the ability to work in an ever more complex business environment. Diversity begins from an understanding of one's own diversity – the richness of one's own history, skills, capabilities and passions. This diverse awareness is a key management and leadership competence. The paper aims to describe how the V&A uses its own diverse collections to advance this perspective. It seeks to focus on the V&A Innovative Management & Leadership program, a Masters accredited development program, and the use of arts‐based learning methods.

The paper describes two arts based learning approaches: projective techniques and illustration of essence methods.

The paper analyses career progression of V&A staff on the innovative program. It finds a retention rate of 77 per cent and a promotion rate of 50 per cent and suggests this correlates to a saving of approximately two salaries per ten participants each year.

The paper promotes the use of arts based learning methods and it also recognizes the importance of context. The V&A works with “what is”, i.e. what its environment provides. The paper considers whether this is a wider methodology that might be employed in non arts organizations.

With the rising use of art‐based methods in organizational development and change, this paper supports the suggestion that there is a large research agenda left to engage. It proposes a more focused piece of research with both arts and non arts organizations.

There is an urgent need in terms of changing world conditions to move beyond the dualist paradigm that has traditionally informed design research, education and practice. Rather than attempt to reduce uncertainty, novelty and complexity as is the conventional approach, an argument is presented in this article that seeks to exploit these qualities through a reconceptualisation of design in creative as well as systematic, rigorous and ethical terms. Arts‐based research, which ‘brings together the systematic and rigorous qualities of inquiry with the creative and imaginative qualities of the arts’, is presented as being central to this reconceptualisation. This is exemplified in the application of art‐informed inquiry in a research unit for graduating tertiary‐level interior design students. The application is described in this article and is shown to rely substantially on the image and its capacity to open up and reveal new possibilities and meaning.

The purpose of this paper is to conceptualise “Learning Jam” as a way of organising space, time and people through arts-based pedagogies in work-based learning. This form of encounter originated in Finland to challenge functional silo mentality by prioritising polyphony. Through the use of a “kaleidoscopic pedagogy”, arts-based initiatives are used to collectively and subjectively reconsider practice.

The research design is grounded in one of a series of Learning Jams co-created by practitioners from the field of arts and arts-based consultancy and academics from the field of arts, arts education, innovation and management, learning and development. The focus was on exploring the value of each participants work-based learning practice through the lens of an Arts Value Matrix. Rancière’s critical theory was used to frame the exploration. The research questions asked; what are the ingredients of this creative, transformative learning space and in what ways can the polyphonic understandings that emerge in it impact on work-based learning?

Findings of this study centre around alternative ways of being in a learning setting where we do not defer to the conventional figures of authority, but collectively explore ways of organising, where the main idea is to lean on something-which-is-not-yet.

A key research implication is that teaching in this context demands reflexive and dialogical capabilities for those who hold the role of organising and facilitating spaces for learning and transformation. The main limitation is in stopping short of fully articulating detailed aspects of these capabilities.

The originality and value of the practice of Learning Jam is that managers and artists explore the potential of operating as partners to develop new ways of working to realise organisational change and innovation.

The purpose of this paper is to explore the interrelation of form and meaning in arts-based research and in academic writing.

It draws on two arts-based projects: one a study of Shakespeare undertaken with undergraduate students; the other a play written to convey a young boy's experiences of Second world War in an Australian country town. Both projects were arts-based research, aimed at extending knowledge of individual experiences, and the ways in which individuals bring knowledge and interpretation to their worlds.

It is hoped by examining the experiences of individuals the authors also learn about collective experiences and ways of building and communicating understanding. The paper proposes that intuitive ways of knowing are of equal value to other ways of knowing, and the Arts provide a space where intuition can be valued and explored.

The paper is also an experiment in form, seeking to find forms which reflect the nature of the research. Consequently it is constructed primarily from a piece of iambic pentameter, a play script and a sonnet. These three forms are used, in conjunction, to reflect upon and explore the nature of arts-based research for individuals and collectively.

The purpose of this paper is to describe the development of an innovative arts-based analysis process within the framework of portraiture methodology. The paper provides an example of how to incorporate multi-modal forms of analysis within the portraiture framework and offers a fluid, qualitative “recipe” for researchers interested in using portraiture methodology.

The study described in this paper explores vulnerability and resilience in teaching, using poetry and visual art as integrated elements of the portraiture process. Portraiture is a qualitative, feminist, artistic methodology that draws from ethnography and phenomenology to describe, understand and interpret complex human experiences.

This research resulted in the methodological development of three stages of analysis within the portraiture process: drafting vignettes, poetic expression and artistic expression. These stages of data analysis highlight the methodological richness of portraiture and center the researcher’s engagement in creative, intuitive and associative processes.

This study contributes to existing scholarship that extends portraiture methodology by including additional aesthetic elements and offers a roadmap for what a multi-modal, arts-based analysis process might look like within the portraiture framework.

The study presented in this paper serves as an example of qualitative research that expands methodological boundaries and centers the role of intuition, association and creativity in research. This work serves as a unique and important contribution to the portraiture literature, offering a provocative roadmap for researchers who are drawn to portraiture as an appropriate methodology to explore their inquiry.