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Narrative accounts of subjective consumer experience are, in one form or another, an essential of qualitative market research. Ethnographic research and ethnographic poetry have obvious connections with the literary form, yet this form has had limited application. Based on the assumption that poetry as a craft is a somewhat limited narrative in ethnographic studies and specifically in studies that attend a consumer vulnerability agenda, this paper aims to contribute to a literary-based perspective. This paper advocates for ethnographic poetry as a consideration of disseminating qualitative data for those researchers immersed in ethnographic research with diverse and vulnerable populations.

The paper draws on a range of extant literature to draw out the distinguishing features of ethnographic poetry, in which to situate ethnographic narratives of two studies of consumer vulnerability. To assist in this, scholarly discussion in the paper is interposed with a series of interludes written in the ethnographic poetic style. These interludes are intended to epitomise merits of such an interpretive research approach.

This is a research paper seeking to draw attention to, and develop a relatively neglected research approach, ethnographic poetry. Researcher reflections, drawn from two ethnographic studies, suggest some tangible consequences of this research to generate further discussion of consumer vulnerability.

The overall aim is to extend discussion of the particular qualities of ethnographic poetry that might contribute to better serve qualitative research approaches, when conducting ethnographic research.

The paper advocates a stronger focus on ethnographic poetry to liberate the imagination of researchers and readers alike to enrich and compliment the analysis of narrative forms of qualitative data drawn from an ethnographic approach.

This paper addresses the concept of ethnographic poetry, stemming from narrative-based qualitative research, which will be entirely new to many researchers and practitioners. It suggests tangible benefits that this new perception could bring to ethnographic research.

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.

The primary purpose of this paper is to critically explore managers' experience of work identity in the National Health Service (NHS).

This paper is unconventional in that it uses an auto‐ethnographic approach and poetry as the empirical data from which the conceptual framework evolves. The concepts of identity, power and self are analysed in relation to the narrative utilising a post‐structuralist, critical management lens, particularly drawing from Foucault.

The paper reflects and critiques the challenges of undertaking auto‐ethnography, not least the publication and exposure of a “vulnerable aspect” of the author but also identifies this as a powerful method to explore how one uses narrative to create meaning and constitute oneself; the challenges of such textual representation and the various ways one adapts, resists and survives the challenge of the “multiphrenic” world.

The contribution this paper makes is an “outing” of the dynamics of being a manager in the NHS and an opening of a debate on current management discourse and practice. The further value of this paper is the experimentation of critically evaluating an auto‐ethnographic approach to researching management identity work.

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.

Crystallization calls for the interaction between mind, body and spirit. While the knowledge of the mind is how we are used to see knowledge creation, the body influences the co‐creation and the embodied experience between the researcher and the participant as a human instrument for understanding. Spirit refers to the sensitivity to ethics in preventing the reaffirmation of the stereotypical narratives. The purpose of the article is to demonstrate how body and spirit in addition to mind can provide alternative insights on a research topic.

The current study focuses on the body and spirit. Self‐reflective empirical narratives from China and India evidence interpretive findings that suggest that crystallization help us to create an emic understanding of those studied and affirms our commitment to them.

The interpretive findings demonstrate that with help of body and spirit research can move towards indigenous findings of the research site that can be put into action to improve the life of those studied. Two new quality criteria are established to trustworthiness namely indigenousness and action orientation.

The paper contributes to research methodology by demonstrating how in addition to mind generated findings reflections from body and spirit open new avenues to additional findings. It is proposed that knowledge from body and spirit is particularly important in Asian settings because of the Asian culture's holistic view on life and tolerance for multiple truths.

Purpose – This chapter studies the lyrics and music videos of Palestinian hip-hop artists, exploring their narratives of the Israeli–Palestinian conflict and constructions of identity and place.

Design/methodology/approach – This semiotic analysis profiles lyrics and music videos found almost exclusively on the Internet. The dominant themes that the chapter discusses emerge directly from the data, creating important connections across borders and requiring a transnational analytical framework.

Findings – Artists in Palestine and in the diaspora appropriate concepts and terminology from criminal justice to narrate life under occupation. In contrast to this construction of occupation, artists also employ metaphors of nature to signify a biological connection to the land of Palestine that represents both victimization and a steadfast and “rooted” resistance. Mapped onto this cross-borders shared semiotics are implications for new understandings of place and identity.

Research limitations – Limitations exist in both content and methodology. Interpreting in the lyrics an embrace of a primordial connection to the land should raise concerns about Orientalist representations of non-Westerners. I devote a section of the chapter to problematizing the primordial Palestinian. In terms of method, I speak no Arabic or Hebrew, though I have taken steps to mitigate this problem, including privileging songs in English or with English translations and employing the assistance of an Arabic and Hebrew speaker.

Originality/value – Despite these limitations, this chapter contributes to an understanding of the transnational potential of hip-hop to craft counter-hegemonic narratives of identity, place, and conflict.

This study aims to reveal a lesser known side of Late James G. March, as a poet, by offering a curated selection of his poems. The other purpose of this study is to make a case for using poetry as a methodology. Poetry requires engagement by the reader, thus creating space for the personal. With multiple personal explanations co-existing, poetry allows clarity of action at the individual level while simultaneously leaving room for debate and discussion at the collective level. Thus, poetry offers pluralistic histories with room for complexity, ambiguity, paradox and contradictions.

The selection of poems is highly subjective, so an auto-ethnographic approach was appropriate. The collection is curated for the readers of this journal, on topics relevant for the members of the Academy of Management. The argument for poetry as a methodology is based on engaging with the poems for self-reflection and reflexivity.

March had a life-long commitment to self-expression through poems. Poetic engagement by one poetry lover with a selection of his poems about our shared profession, yields small self-discoveries that are good for the collective, by revealing unknown histories, with possibilities other than the dominant single story. Poetry as a methodology brings in the personal, that yields moving theories, that are practical in guiding individual action in personally meaningful ways, even in ambiguous, contradictory and complex situations.

Ideas expressed in poetic form provide a way to liberate possibilities latent in the language itself. Future work from this contribution can be that March’s poems stimulate the imaginations of other poets and poetry lovers, who may have kept it as a private pursuit, just as he did, to come out and share their personal reflexive journeys.

To explore the funds of knowledge that six emergent bilingual students build upon as they produce multimodal texts, how the practices surrounding these events are mediated, and the role of student agency within an ethnographic social semiotics framework. Ethnographic methods were used to document this yearlong study that included videotaping small group interactions, writing field notes, conducting interviews, and collecting multimodal work samples. The researcher served as a participant observer in a third-grade classroom where she met with students two days per week to interact with mulitmodal poetry. The findings reveal the media-rich popular culture and home digital practices students bring with them to school and the ways in which these resources were utilized for designing multimodal poetry. Several essential factors are discussed including funds of knowledge, role of play and creativity, nonlinear writing structures, and agentive design decisions. Multimodal text making requires a revamping of classroom literacy instruction that embraces multiple modes especially noting the importance of images, central role of experiential learning, and space for student choice thus empowering them as learners.