Collaborative Arts-based Research for Social Justice by Victoria Foster

By Victoria Foster

This e-book offers a thought-provoking consultant to carrying out collaborative arts-based study. concentrating on ways in which social inquiry will be carried out with marginalised teams to advertise social justice, the textual content bargains chapters on:

Telling ‘alternative’ tales via quite a few tools from crafts to electronic film
Visual and metaphorical methods to social examine together with images, paintings and poetry
Performative tools that come with drama, dance, tune and function art
Foster introduces suitable methodological debates, giving a context for figuring out whilst arts-based study could be a fruitful method of take and outlining a powerful intent for utilizing the humanities as a manner of figuring out and representing the social international. The publication additionally indicates a number substitute standards for comparing the standard of arts-based examine. Illustrative examples from world wide are used in the course of the publication and a longer case examine is integrated that makes a speciality of Foster’s personal collaborative arts-based research.

With their emphasis at the price of participative study and social justice, arts-based methodologies have gotten more and more well known in well-being and social learn. this can be the best textual content for an individual trying to introduce arts-based equipment into their examine perform.

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147). This would evidently be ‘exclusionary, oppressive and artificial’ (Carr 2007, p. 270). Masks Various approaches to social research, and feminist approaches in particular, have placed due emphasis on reflexivity in order to make transparent the intentions of the research and to understand how the researcher’s subjectivity is inextricably tangled with the lives of research participants (Doucet and Mauthner 2006, p. 41). In more recent years, this practice has incorporated the ways in which researchers ‘consciously write themselves into the text’, as well as the acknowledgement of audiences’ unpredictable reactions to these texts (Fonow and Cook 2005, p.

2). It is the narrow definition of what counts as ‘evidence’ that is part of the problem, and the ‘hegemonic and dominatory pretensions’ of particular accounts of method (Law 2004, p. 4). Denzin and Giardina (2009, p. 12) provide a list of those methods currently jostling for the gold standard award. These include Cochrane reviews, randomised control trials, citation analyses, quantitative metrics and rigorous peer review evaluation scales. ‘Neoliberalism LOVES quantitative reductionism’ (Lather 2012, p.

25). This exercise also emphasises the performative nature of storytelling (see Langellier and Peterson 2004). Knowledge is not stored in storytelling but rather it is ‘enacted, reconfigured, tested, and engaged by imaginative summonings and interpretive replays of past events in the light of present situations and struggles’ (Conquergood 1993, p. 337). The ‘narratives of narratives’ (Valentine 2008, para. 27) in OurStory Scotland enables this reconfiguring. Even if the stories stay structurally the same, the retelling by others will involve their particular tone of voice or intonation, in fact their very embodiment, thus conveying new meanings to a new audience in an occasion which offers a possibility for ‘felt emotion, memory, desire, and understanding’ to come together (Denzin 2003, p.

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