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This paper explains a collaborative self-study research project that included an evolving arts-based inquiry (ABI) approach. The combined experiences of a visual artist/art educator and a drama educator, informed the design and use of ABI strategies to investigate practices of Australian teacher educator-researchers. These strategies are shared along with results from interviews that reveal the dynamics and value of this particular model of ABI within a larger research project.

ABI was included in the methodology of collaborative self-study. It involved listening to participants’ arts-based and written responses then basing the next provocations on these outcomes. This gave ownership to the group members and reinforced the community of practice foci.

ABI challenged academic identities and practices. It allowed for more enjoyment in the workplace, for reflection and reflective practice to develop. It provided opportunities for shifting perspectives and perceiving teaching practice differently, inspiring more creativity in teaching. It also improved relationships with co-workers and held the group together.

The authors share this research to recommend others a way to collaborate within group research projects.

The authors found it vital to have a co-ABI facilitator from within the group to collaborate with, in order to develop the most appropriate ABI provocations within an emerging research project.

This model of research can generate honest and in-depth insights for participants (members of a community of practice) as to how and why they do the work (practices) they do.

The study’s use of ABI offers an original perspective in the use of this methodology.

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.

Purpose – The purpose of the chapter is to introduce visual methods and, more specifically, arts-based forms of visual methods, as an innovative and emerging research approach within the study of sport and physical culture. The chapter examines the use of art and aesthetics as research data and as a representation issue. It draws upon the case of a research-based arts exhibition to represent and communicate research on bodies.

Design/methodology/approach – The chapter details an international collaborative research project exploring the impact of health policies and their imperatives on schools in the United Kingdom, Australia and New Zealand. The research formed the focus of an arts-based exhibition involving artists’ interpretations of the authors’ research findings. The chapter addresses salient epistemological and ontological issues of ‘representation’ and ‘interpretation’ in visual methods.

Findings – The chapter reveals how the use of arts-based approaches to research do not simply ‘represent’ research, but are constructive in the generation of new insights and forms of knowledge.

Research limitations/implications – The challenges of using arts-based and visual approaches to research are highlighted, particularly in terms of issues of knowledge interpretation. The ways in which these methods allow for lines of sight into life that written texts do not are highlighted.

Originality/value – The chapter provides an introduction to the use of arts-based visual methods in sport and physical culture research. Rather than focusing on visual methods solely as an approach to the collection of data, the chapter extends the discussion around visual methodology to include its use as a form of interpretation that generates and translates knowledge from a new perspective.

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 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.

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.

The purpose this paper is to consider festivals as sites for inquiry and learning.

The research employed a pluralistic approach to the inquiry drawing on critical African-centred pedagogy, participatory action research, and performance as research inquiry. These arts-based research methods allowed insights to be gained in ways that were congruent to the arts and participants who enacted them. In total, 12 young people and six elders of diverse African heritage as well as two artists were participants in the research.

The research revealed that the festival as a research methodology was both dialogic and performative and a rich site for the exploration of identity negotiation. Through these arts-based approaches the aesthetic elements often missed by traditional social science methods were highlighted as key in exploring acculturation socialistaion experiences and deconstructing exclusionist discourses emanating from the dominant culture.

The research affirmed the power of multi-modal approaches to research and the importance of evocative discourses in identity exploration and development.

This research is the first known attempt to theorise an arts-based festival as a research approach in reference to enculturation and cultural memory.

The COVID-19 lockdowns (2020–2021) disrupted all aspects of usual functioning of the criminal justice system, the outcomes and impact of which are largely still unknown. The pandemic has affected individuals across the wider society, this includes a negative impact on the social circumstances of children and young people involved within youth offending services (YOS) (Her Majesty’s Inspectorate of Probation, 2020; Criminal Justice Joint Inspectorates, 2021). This population frequently represents those from marginalised circumstances and are rarely given the opportunity to participate meaningfully in the services they are involved in. The purpose of this study was to explore the experiences of the young people serving orders with the YOS during Covid19 lockdowns and requirements.

This paper outlines a creative methodology and method used to uncover the experiences and perceptions of young people undergoing an order within a YOS during the COVID-19 lockdowns. The arts-based approach entailed a novel and creative method using a lyric artist to engage with young people through a virtual platform, supporting them to create lyrics about their experiences of the YOS during this time.

The artist developed a successful rapport with young people based on familiarity with, and passion for, music. He promoted their strengths, improving their confidence which was perceived to elicit more in-depth perspectives that might not have otherwise been obtained using more traditional methods. As such, the method and methodology outlined developed the young people’s social and communicative skills whilst producing meaningful feedback that can contribute to the YOS recovery plan and thus future of the service.

This paper reports on a novel arts-based research methodology, implemented to capture meaningful data from participants during the COVID-19 pandemic.

This paper reports on a novel arts-based research methodology, implemented to capture meaningful data from participants during the COVID-19 pandemic.

This paper aims to report on findings and methodological approaches of the artistic project “Sites for Unlearning (Art Organization)” in collaboration with the Team at Casco at Institute: Working for the Commons, Utrecht/NL, through which processes of unlearning are tested against the backdrop of established institutional structures. This paper constitutes a transdisciplinary contribution to the discourse, exploring its relationship with organizational unlearning, organizational change and feminist, decolonial trajectories.

This paper proposes a feminist, decolonial, arts-based approach to discuss “unlearning institutional habits” by means of the long-term project – Sites for Unlearning (Art Organization). This complements the organizational unlearning literature with an arts-based approach, which draws on alternative education and feminist and decolonial literature. This paper responds to the call of this special and introduces a new perspective to the discourse.

This paper gives insights into and elaborates on the findings of the artistic project “Site for Unlearning (Art Organization)” through which processes of unlearning are tested against the backdrop of institutional structures.

This methodology puts in evidence that there are two major areas of concern for those who desire to break established structures in contemporary life increasingly defined by economic, socio-political and ecological pressures – institution on the one hand and learning on the other; the artistic project Sites for Unlearning attempts to challenge both. It builds on the insights and energies developed in and around the studies on unlearning in the fields of alternative education and feminist and decolonial theory and connects them with organizational learning, knowledge management and theories of transformation (Andreotti, 2011; Spivak, 1993; Tlostanova and Mignolo, 2012).

This paper critically examines the development and direction of the Fabricating Future Bodies (FFB) Workshop. Troubling notions of co-production as enacting equality or empowering participants, it draws on feminist posthuman and new materialist concepts to understand it as an eventful process that occurs in unpredictable and shifting affect-laden assemblages.

The FFB Workshop formed part of the final phase of my Economic and Social Research Council (ESRC) funded doctoral study, titled “Exploring young people's digital sexual cultures through creative, visual and arts-based methods”. With additional support from Wales' Doctoral Training Partnership, the workshop provided sixteen young people (aged 11–13 years) from one fieldwork school with the opportunity to work with two professional artists in order to creatively re-animate research findings on the digitally networked body. In a three-hour workshop, participants produced cut-up texts and life-size body fabrics that re-imagined what bodies might do, be and become in the future.

This paper finds that co-productive practices cannot flatten out the institutional and societal power dynamics operating within schools, highlighting how adult intervention was necessary to hold space for young people to participate. It also observes the agency of the art materials employed in the workshop in enabling young people to articulate what mattered to them about the digitally networked body. While the workshop was limited in its ability to renegotiate institutional and peer power dynamics, it produced rich data that indicated how carefully choreographed arts-based practices offer generative possibilities for digital sexualities research and education.

By employing speculative fiction, cut-up poetry and textiles to explore the digitally networked body, this paper outlines an innovative methodological-pedagogical approach to engaging with young people's digitally networked lives.