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This chapter draws on longitudinal and cross-sessional research to explore the use of Bottery's variant of portrait methodology in understanding the individual experiences of a group of Chinese top-up students when they study a one-year top-up programme in a UK university. The rationale for using Bottery's variant was to understand only the perceptions of these students in their particular context, during a specific period of time in their life. Data were collected three times using semi-structured interviews, and individual portraits were produced after each set of interviews, based on the interview transcripts. The findings of the research and also the comments of the participants suggest that the use of portrait methodology helped enhance the trustworthiness of the research and also self-awareness and self-reflection of the participants. Researchers may face challenges when adopting Bottery's variant of portrait methodology in research, in particular relating to portrait writing and rapport building with the participants.

Racialised misrepresentation circulated en masse can be understood as a form of symbolic and cultural violence. Such misrepresentations create a dominant cultural narrative that positions people of African background as violent and troubled and therefore incompatible with Australian society. Young people from various groups have been using arts-for-social-change to challenge and dismantle these imposed misrepresentation and reconstruct narratives that reflect their lived experiences. The purpose of this paper is to explore sound portraits, both the process and product, by tracing the journey of New Change, arts collective comprised of young women of African heritage, who have been pushing for social change.

This collaborative research mobilises arts methodologies, bringing together sound arts, audio documentary and narrative research methods. Data gathering included arts artefacts and interviews with the young women and sound recordings from news media to craft a sound portrait entitled “Battle for truth”.

Battle for Truth is a sound portrait that serve as the findings for this paper. Sound portraits privilege participants’ voices and convey the complexity of their stories through the layering of voices and other soundscapes. This sound portrait also includes a media montage of racialised misrepresentation.

Through their restorying, sound portraits are a way to counter passive and active forgetting and wilful mishearing, creating a space in the public memory for polyphonic voices and stories that have been shutout. Sound portraits necessitate reflexivity and dialogue through deep listening, becoming important sites for reimagining possibilities for social change and developing new activist avenues.

This paper brings together sonic methods, liberation arts and social justice perspectives to attend to power, race, gender and voice.

The purpose of this paper is to discuss the possible explanations for deficits in social understanding evident in individuals with autism spectrum disorder (ASD). A potential intervention technique is proposed that has not yet been examined in this population: viewing and drawing portraits. This portraiture-based intervention seeks to address some of the core issues set forth in each of the theories explaining impaired social functioning. Furthermore, this intervention is intended to specifically increase exposure to facial stimuli in a safe and controlled environment. Instructions about how to look closely at a social partner’s face and how to glean salient emotional information from the facial expression displayed can be developed through a focused exploration of drawing and viewing portraits. Current techniques such as eye tracking and fMRI are discussed in the context of this proposed intervention.

This paper reviews existing research about ASD and seeks to present a new proposal for an intervention using portraiture. First the paper discusses existing interventions and reviews the current research about potential causes/areas of deficiency in individuals on the spectrum. This paper subsequently proposes a new type of intervention and discusses the reasons underpinning its potential success in the context of existing research.

This was a proposed study so no empirical findings have been reported. However, observations of individuals on the spectrum engaging with artwork are discussed in this paper.

No other research or study has been proposed in current literature relating specifically to the use of portraits (looking at and creating) to help individuals with ASD.

The aim of this paper was to describe the aesthetics of self-realization as a way to overcome depersonalization, routinization, and linear temporality in the organizational setting. Artists’ self-portraits (Rembrandt, Van Gogh, and Dali) are used as metaphors of organizational life. In doing so, they could enable organizational members to reinvent modes of thinking, speaking, and behaving in the workplace. Philosophical novels (Kafka, Proust, and Murakami) could also unveil hidden aspects of human existence that are quite relevant for the organizational life. Artists’ self-portraits and philosophical novels could then help organizational members to avoid estranged depersonalization, while designing their own project of self-realization. Reinventing the real world of organizational life implies to emphasize both moral imagination (against routinization) and openness to all kinds of temporality (against linear temporality). Describing the aesthetics of self-realization could make organizational members more aware of their capacity to endorse radical humanism without destroying the organization itself.

The purpose of this paper is to explicate the links between public pedagogy, ethics of care and storying as a methodology and method in Oceania.

This paper explores the role of extended families as First Teachers in iTaukei and Indo-Fijian Early Childhood contexts in Fiji. Using storying as methodology, the authors, three Australian and four Fijian academics, present three portraits to make visible the pedagogical entanglements of public pedagogy research in diverse community contexts. These portraits reveal the intersection and integration of extended family with the authors' community–family–child–informed pedagogical approaches, and the advantages of culturally located standpoints when working with iTaukei and Indo-Fijian communities. This article's unique contribution lies in its demonstration of the importance of an ethics of care approach in site-specific and contextually emerging pedagogical encounters.

The findings demonstrate the traditional role of First Teachers and carers in iTaukei and Indo-Fijian Early Childhood contexts in Fiji who use arts-based approaches to teaching and learning within a public pedagogical framework.

The implications of the research highlight the need to address policy interventions that disrupt the value of First Teachers in community context and their role in values formations for young people in community.

The implications of the research can be addressed at the policy and international level where considerations of educational arrangements need to be understood.

The social implications of this publication are the value of iTaukei and Indo-Fijian Early Childhood educators in Fiji, and their voices being heard and understood via a published academic journal.

This work is original and is a collaborative paper written between Australian and iTaukei and Indo-Fijian Early Childhood educators.

This paper aims to demystify the creative experiences of an extraordinary group of pastry chefs – The Malaysian World Pastry Team, champions of the 2019 World Pastry Cup. The authors adopted an expressionist theoretical lens informed by two aesthetic philosophers – John Dewey and Wassily Kandinsky.

A two-year portraiture was conducted – a qualitative methodology that draws features from phenomenology and narrative inquiry, rendering artistically and empirically written “portraits” that reflect themes and patterns of participants’ experiences. In-depth interviews, observations and material artifacts were collected amid a journey alongside nine extraordinary Malaysian pastry chefs.

Presented in story structures, the authors offer three “portraits” of culinary creativity, each representing a core essence of the creative phenomenon: creative harmony in the form of sensorial and symbolic poetry; imaginative episodes as a hypnotic state of inspiration and incubation; and the creative duality of scientific rationalism and artistic fashion. The authors delineated the intricacies of each theme by presenting them as individual narratives.

The portraits indicated that culinary creativity reflects an organic and emancipating aesthetic experience that is unbounded by formative structures or sequential processes. This provides a novel theoretical view that moves beyond conventional studies’ capitalistic frameworks, and toward the intimate viewpoints of the chef-creators. Specific contributions are discussed.

Through a unique qualitative approach and an aesthetic theoretical framework, this study provided a novel perspective on the culinary creative process. The aesthetic view captures culinary creativity through the eyes of the creator, a viewpoint less considered, yet imperative to the culinary profession.

The purpose of this paper is to investigate those teaching and learning factors that either hindered or encouraged preservice teacher participants to succeed in their first year of study. The impact of administrative support alongside pedagogical styles that facilitated a sense of engagement for first year preservice teachers is also discussed.

This research builds on the work of Sarah Lawrence-Lightfoot’s use of “portraiture” to “capture the complexity and aesthetic of human experience” (Lawrence-Lightfoot & Hoffmann Davis, 1997, p. 4). The use of portraits as a tool for creating a first year student narrative, rich in its canvas of human emotions, is central to the work that follows. Qualitative data that were gathered in this research project are presented.

The portraiture methodology in this paper enabled the researchers to capture a sense of belonging for first year university students that involved more than procedural matters, orientation events and attendance at information sessions.

These portraits draw wider attention to transition and retention matters beyond considerations of “who our students are” and illustrate how engagement and belonging are enhanced by how these students are engaged by skilful and knowledgeable tutors and group work and collegial approaches to the course.

Portraiture methodology enabled a more nuanced form of viewing “belonging” and “engagement” of these preservice teachers through more personalised forms of engagement with tutors, the development of groups and the practicum placement.

The purpose of this paper is to first articulate and then illustrate a descriptive theoretical model of documentation (i.e. document creation) suitable for analysis of the experiential, first-person perspective.

Three models of documentation in the literature are presented and synthesized into a new model. This model is then used to understand the findings from a phenomenology-of-practice study of the work of seven visual artists as they each created a self-portrait, understood here as a form of documentation.

A number of themes are found to express the first-person experience of art-making in these examples, including communicating, memories, reference materials, taking breaks and stepping back. The themes are discussed with an eye toward articulating what is shared and unique in these experiences. Finally, the themes are mapped successfully to the theoretical model.

The study involved artists creating self-portraits, and further research will be required to determine if the thematic findings are unique to self-portraiture or apply as well to art-making, to documentation generally, etc. Still, the theoretical model developed here seems useful for analyzing documentation experiences.

As many activities and tasks in contemporary life can be conceptualized as documentation, this model provides a valuable analytical tool for better understanding those experiences. This can ground education and management decisions for those involved.

This paper makes conceptual and empirical contributions to document theory and the study of the information behavior of artists, particularly furthering discussions of information and document experience.

Various law and film scholars have noted that the judge occupies the place of a marginal figure in ‘legal cinema’ and in related scholarship. In this chapter I want to engage with the debate about the representation of the judge in film by way of an examination of a South African documentary, ‘Two Moms: A family portrait’ (2004). In the first instance this ‘family portrait’ appears to be neither an obvious candidate for inclusion in the canon of ‘legal cinema’ nor a film with a plotline dominated by a judge. But from this rather unpromising start this chapter explores how a film about an ordinary family made up of extraordinary people is an extraordinary film about law in general and about the figure of the judge in particular.