Art/Research International (Journal)
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“I Hope When I am Gone, They Will Remember My Stories”: Storytelling Methodology in Educational Research
No full textAbstract: This article emphasizes the historical role of storytelling as a way of coming to know. We discuss storytelling in research contexts. We look back on storytelling methodology as a way of looking ahead. Storytelling methodology challenges more conventional approaches to research. It approaches research in a way that is relational, reciprocal, and respectful. Bringing together three studies in the field of lifelong learning, we highlight the storytelling methodology with a focus on intergenerational learning and share key themes that storytelling across generations shares
Process and Performance: : Matters of Quality in Community-Based Theatre
No full textAbstract: In this dialogic exploration of our shared experience of a community-based theatre project (CBT), we consider decisions, processes, and activities we selected to enhance the power of this arts-based research (ABR) form. We chose CBT as we believed it was the best approach to explore activists’ experiences of the challenges of feminist coalition politics within and across equality-seeking organisations. Our dialogues surfaced some key aspects of community theatre-making which we believe contribute to its quality, that is, its value and power to lead us to collaborate, listen deeply, tell stories, imagine a different world, and rehearse for action
Sacred Vā-Rhythms : A Book Review of Winston Halapua\u27s Waves of God\u27s Embrace, Sacred Perspectives from the Ocean (2008)
No full textThis book review is a talanoa (discussion) with Winston Halapua’s 2008 text, Waves of God’s Embrace: Sacred Perspectives from the Ocean. This review is an interpretation and evaluation of the text and Halapua’s narrative musings. Readers are invited to engage with Indigenous concepts and forms of creative criticality, fronting Oceania meaning-making and sense-making through storytelling, poetry, and proverbial or wise sayings. In my review, I employ sacred vā-rhythms to engage in talanoa with key themes, ideas, and insights noted by Halapua, a well-respected religious leader and academic. I offer questions and provocations about God’s embrace and the ways in which sacred vā is framed today as being in-relationship with the more-than-human world (i.e., the fonua-vanua-whenua and moana) for Tongan as well as Oceania families across Oceania and the diaspora
“Emotion is Another Kind of Information”: (Re)imagining Care Through Art Explorations
No full textThis review explores entanglements of the theoretical and affective impacts of an art exhibition called Caring Futures which was part of an interdisciplinary research project. The review is a qualitative analysis of the exhibition, and is interspersed with our experiential, affective, and creative reflections and responses to the exhibition. Creative and imaginative approaches inspire us as researchers and supported our interactions with this exhibition in ways that opened new spaces for knowledge production. Our experiences highlight the value of arts-based methodologies for exploring questions of vulnerability and care. Foregrounding subjective and affective responses is risky in scientific work and confronts conventional boundaries for academic knowledge production. Honoring meetings between art and research(ers) can productively challenge taken-for-granted norms involved in undertaking academic research
An Exquisite Corpse: Unfolding Scarcity Using Arts-Based Autoethnography
No full textAfter 14 complex years, I message him: “I keep saving you and losing me.” M hangs himself. Numbly I sit holding M’s cold dead hand in my warm shaking one. I’m 33. A widow. Twenty years on, and now a creative arts therapist/educator/researcher, I launched an arts-based autoethnographic (abr+a) quest to exhume and frankly face my role within my husband’s suicide. Naively, I imagined cultivating an ecotone where self-care and care-for-other intra-act. Lured by this poietic methodological experiment, Scarcity-Gargoyle, however, sloped in— an inner-alter symbolising a trauma-response that had outlived its usefulness. Leading a motley crew of author, animangels, Darwin, and new material/posthumanists, it incited a gyroscopically-circling contemplation of trauma and scarcity, now folded into this Exquisite Corpse game. As this game unfurls, the question lingers within creases and crevices: What might these critters speak/sing/growl/howl/whisper/rasp to the lofty aspiration of crafting capacity for simultaneous compassionate becoming-with self and other
Investigating Professional Identity Development Through Arts-Based Duoethnography
No full textThis study employs an arts-based duoethnographic approach to contemplate the nuances of and understand the struggles that two researchers confronted in their new professional roles as art educators. The investigation focuses on how conversations, art practices, and reflective/diffractive analysis can help with understanding or processing professional identity development. The data include art practices, field notes, monthly meetings, and emails sent between February and May 2019. The main content of this article presents the two researchers’ exchange of emails and art pieces as part of the preliminary data analysis. Two pivotal elements stand out in the exploration: diffracting relationships and deconstructing perspectives that support growth and development during the process. Additionally, the investigation affirms that positive differences can be produced even though two researchers hold distinct perspectives. The methodology supports professional identity development as an ongoing and deconstructing process of searching for differences and being different.
Living in the Telling: Indigenous Storytelling of Post–COVID Desires for Academia
No full textStories provide listeners or readers a doorway to understand the storyteller’s context and live in the telling. We, as Māori Indigenous scholars (doctoral students, researchers, and academics), bring together our stories, in the forms of creative nonfiction and poetry located in Aotearoa New Zealand and Te Whenua Moemoeā Australia, to tell the ways we navigate colonial spaces while also imagining our desired future. Centring Indigenous storytelling methods and sensory ethnography, we bring together the interrelatedness that situates our stories across time and place. The next wave of Indigenous researchers will be stepping into these spaces that we now walk, so it is timely and crucial that we find creative ways to provide clearer direction for them. We tell our stories in this paper as an act of hope that our stories might spark a fire in the reader’s heart to also tell theirs
Interweaving Creative Critical Sense-Making through a Body of Koloa: An Exploratory Examination of Falanoa as an Intergenerational Arts-Based Research Method
No full textStorytelling through the arts is embedded in Pacific cultural ways and is meaningfully expressed by interweaving history, genealogy, cultural values, and beliefs. My investigation into Pasifika students’ success as Pasifika in visual arts was revealed through the students’ artworks and stories. Visual art teachers’ beliefs, attitudes and pedagogical practices were also examined to illuminate the critical role they play in affirming Pasifika student success as Pasifika. The inclusion of my own experiences and artworks as a visual artist of Tongan and German descent, grounds the research project and offers voice to my creative critical sense-making process. This article also presents an exploratory examination of falanoa, alongside Caroline Scott Fanamanu’s analysis, as an intergenerational arts-based research method, specifically in the context of my own body of koloa, a personal collection of treasured artworks generated across a 30-year period. Recognising my duality of distinct ancestral worlds, this article suggests that falanoa can be a valuable method for arts-based research, particularly in the context of creative critical sense-making, cultural preservation, and intergenerational knowledge
Understanding Diaspora Pasifika (Sāmoan and Tongan) Intergenerational Sense-Making and Meaning-Making through Imageries
No full textThis article presents imagery representative of Pasifika (Sāmoan and Tongan) diaspora (nofo ‘i fafo o Sāmoa/ tu‘a Tonga) intergenerational sense-making and meaning-making. The main author, Ruth (Lute) Faleolo, presents a selection of eleven photographs shared with her by Pasifika knowledge holders across Aotearoa (New Zealand), Australia, and the United States, alongside six personally photographed people/events in Aotearoa. Collectively, these images show important Pasifika meaning-making and sense-making processes that are occurring intergenerationally in tu‘a Tonga/ nofo ‘i fafo o Sāmoa. These selected images were collected as part of an ongoing larger study of Pasifika migration and mobilities (2013-2023). The second author, Sh’Kinah Tuia‘ana Nauna Faleolo, presents pieces from her art collection (2015): Two Woven Identities and discusses her meaning-making and Indigeneity enfolding these pieces while growing up in Aotearoa. The third author, Lydiah Malia-Lose Faleolo, presents her Identity artwork (2019) and Duality design pieces (2023) that demonstrate her current and continued Indigeneity as a Sāmoan Tongan woman, living and studying in Australia. The fourth author, Nehemiah Thomas Faleolo’s artistic expressions captured in his annotated sketches and sculpture work were selected from a collection he had created in Australia. Nehemiah’s respected artwork and meaning-making, carefully documented by him in 2020 was (posthumously) selected by Faleolo family members, from his private exhibition and collection (Brisbane). Scanned documents and photographs stored on his mobile device have been contributed to this article on his behalf, with permission.
For many Pasifika living in Aotearoa, Australia and the United States, the processes of intergenerational sense-making and meaning-making occur in the diaspora contexts of faith, family, community, and education. The imageries presented by Ruth (Lute) Faleolo follow these thematic contexts, with short analyses about the intergenerational sense-making and meaning-making observed per photo. The purpose of her contribution to the discussion is to promote imageries as a way of conveying Pasifika understandings and knowledge. Sh’Kinah Tuia‘ana Nauna Faleolo, Lydiah Malia-Lose and Nehemiah Thomas Faleolo’s contributions present personal accounts of intergenerational sense-making and meaning-making as experienced through their artistic expressions, within nofo ‘i fafo o Sāmoa/ tu‘a Tonga contexts of Aotearoa and Australia