Art/Research International (Journal)
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Special Issue: Making as Method: Reimagining Traditional and Indigenous Notions of “Craft” in Research Practice
No full textIn this special issue of “making as method” we aim to help shift the cultural narrative about craft by celebrating a diverse range of creative researchers who disrupt Western ways of knowing, celebrate a reclaiming of Indigenous knowledge and methods, provide space for decolonising practices, and in this digital age, reimagine traditional and Indigenous notions of craft in research. These authors in this issue all theorise their craft and provide, a rich and varied theoretical justification for “making as method.”
The Pianist’s Perception as a Working and Research Method: Encountering Intertextual and Phenomenological Approaches in Piano Playing
No full textThe approach to my research topic “French Modernism in the 1920s” is to observe and analyze the methods I use as a pianist in dealing with multilayered artistic questions related to the French neoclassical repertoire, in particular, questions of intertextuality. Divergent performer-based approaches are needed because the musical aesthetics of this repertoire crucially deviates from German and earlier French traditions, and in musicological contexts, their intellectually challenging aesthetic purposes are somewhat misunderstood. My research aims are condensed into a single question: “What are the main characteristics of the pianist’s way of perceiving music in the context of French neoclassical piano music and its intertextuality.” This question formulates a thought experiment in which the aim is to observe the inherently analytical properties of piano playing, which I have named “the pianist’s perception,” based on Maurice Merleau-Ponty’s theories in Phenomenology of Perception (1945/2014)
Book Publication as Pedagogy: Taking Learning Deep and Wide
No full textFor students, the practice of writing, illustrating, and publishing facilitates deep learning experiences, both within and beyond the discipline for which the writing is targeted. In this case study, students created books under the umbrella of a large, transdisciplinary research project: a science-based, illustrated activity book, a children’s fiction chapter book with illustrations, an adolescent novel, and two illustrated social studies activity books. Students completed the self-directed research, wrote the narratives, created the artwork, sought the advice of outside scholars and artists, and revised with discipline-specific mentors. Data include the books, mentor notes, and student-reported learning outcomes. Data reveal broad content and pedagogical skill knowledge acquisition, knowledge synthesis, and a deep level of self-authorship
Crafting Living Inquiry with a Quilt of Children’s Images
No full textEmbodied encounters in and with crafting as method led to knowing with making in this research. A crafted bricolage of photographs from young children (aged 15 months to 5 years) was created at their early childhood centre. The children’s photographs became material for further thinking as they were transferred to fabric and combined into a quilt that was tie quilted by children and the researcher as artist/researcher/teachers (Springgay, Irwin, Leggo, & Gouzouasis, 2008). Our craft processes in quilt making initiated ongoing integrated art-making, teaching/learning, and conversations with and without words. Much research in early childhood has a focus on the child, but what do children focus on, and how might they be more than participants? Rich experiences throughout the co-creation of the quilt as a living inquiry provided spaces for learning and knowledge making. Craft as research and a piece of art to display for the learning community provoked questions and opened understandings about and with young children, their preferences, and their capacity as co-researchers
Stitchery Me, Stitchery Do
No full textWhile seeking to understand teachers’ philosophy on culturally responsive practice in the classroom, I used quilt-making to physically manifest my own story and those of my participants as method in an autoethnographic project. The craft of quilt-making became a metaphor for my past, yet spoke so much of my present and my future and provided something tangible with which we could all connect. Through the crafting and construction of the quilt I was able to explore and connect my experiences with those of my participants, our beliefs and personal philosophies of being Pākehā̄ (descendant of settler ancestors) teachers in secondary classrooms. The craft and autoethnography were in response to the project yet they speak louder than the project itself
Making Sense of a Changing Neighborhood: Art Students’ Experiences of Place Explored Through a Material-Discursive Analytical Lens
No full textSensory research approaches are often used to study the relationship between people and their living environment. The type of data collected in such research projects poses analytical challenges. How do we best make sense of a body of visual, auditory, tactile data? How do such data contribute to our knowing? In this paper, we propose and illustrate an analytical apparatus for studying the complex entanglement of discursive and material aspects of sensorial experiences related to place. Place-interactive methods such as sensory go-along interviews with art students and voice-giving procedures through the making of art works formed the basis for the analysis
Crafting Identities: Folding and stitching the self
No full textThis article tells the story of two fibre artists, Kathryn and Clare, who craft their intergenerational autoethnographic insights through the creation of textile artworks. It explores the collaborative journey of both artists, who came together to create an exhibition titled “Stitching Identities.” The artists have embraced the Deleuzian idea of the folding act in artmaking as a process of continuous and complex revealing of narratives and intuitive insights about self, a bringing of the inside to the outside and into material aesthetic form. It also embeds the writing of a colleague artist/educator, Michelle, who worked with them on the writing of the article and in addition draws on the critical, reflective and philosophical writing of education theorist Inna Semetsky (https://columbia.academia.edu/InnaSemetsky) who wrote the “Stitching Identities” exhibition catalogue essay. Their artmaking is their method, a way of crafting for meaning, a way to research and explore the self and the formation of their current identities
Whatuora: Theorizing "New" Indigenous Research Methodology from "Old" Indigenous Weaving Practice
No full textDespite Indigenous peoples’ deeply methodological and artistic ways of being in and making sense of our world, the notion of “methodology” has been captured by Western research paradigms and duly mystified. This article seeks to contribute to Indigenous scholarship that encourages researchers to look to our own artistic practices and ways of being in the world, theorizing our own methodologies for research from our knowledge systems to tell our stories and create “new” knowledge that will serve us in our current lived realities.I explain how I theorised a Māori [Indigenous peoples of Aotearoa New Zealand] weaving practice as a decolonizing research methodology for my doctoral research (Smith, 2017) to explore the lived experiences of eight Māori mothers and grandmothers as they wove storied Māori cloaks. I introduce you to key theoreticians who contributed significantly to my work so as to encourage other researchers to look for, and listen to, the wisdom contained within Indigenous knowledge and then consider the methodologies most capable of telling our stories from our own world-views
A Review of Susan Casey Walsh\u27s "Contemplative and Artful Openings: Researching Women and Teaching"
No full textThese poetic and visual offerings are responses to Susan Walsh’s book Contemplative and Artful Openings. Her book offers to readers an invitation to join the open, emergent space of her text, to wonder and engage. And so, with this review, I have begun.
Entanglements Across Time-Space: An Ekphrastic Poetic Response to "Craft, Relational Aesthetics and Ethics of Care" by Belinda MacGill
No full textFollowing the protocol set out by Fetaui Iosefo (2019, this issue), I sought Belinda’s permission to write an ekphrastic poetic response to her art assemblages since, as Iosefo frames it, “if there was no ethical consent and processing … we would be no different from the colonizers” – just one more shell in my bucket. Like Fetaui, I too am responding to more than just the visuals. The essence of Belinda’s work calls me to the past and allows me to come to a different and broader understanding of my childhood experience, while also functioning as a creative trigger – hallmarks of ekphrastic poetry (Faulkner, 2009). It is only after I received Belinda’s enthusiastic response that I submitted this poetic response