The application of creative practice as a means of disrupting or re-defining the dynamics of power in, with or for different communities.
(2022)
author(s): Sabrin Hasbun, Gareth Osborne, Rachel Carney, Julika Gittner, Catherine Cartwright, agnes villette, Harry Matthews
published in: Journal for Artistic Research
In this exposition, seven research practitioners investigate how creative practice can be applied as a form of knowledge production in order to disrupt or re-define the dynamics of power in a range of different contexts. These applications of creative practice take varied and complex forms, often transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies, as they form, empower, and enlighten real and conceptual communities. This collaborative exposition has been developed through presentations and discussions over the course of two years. Although each researcher applies different methodologies to their individual projects, our work as a group followed a pattern of creative practice, reflection, and reformulation, as we responded to each other’s research, creating a research community of our own. We want to emphasize that creative practice can not only disrupt or re-define the dynamics of power in a range of different contexts, but that it can do this in an infinite number of ways. In this variety and adaptability lies the potential of creative research.
Untitled: Women's Work
(2016)
author(s): Adesola Akinleye
published in: Research Catalogue
Untitled: Women’s Work is both scholarly art and artistic research using narrative inquiry, dance and film as research methods. The research looks at the embodied experience of a group of women in the work place. Methodology for this research was to use an embodied approach across the whole research process from dancing with participants as part of the date collection process, to using choreographic tasks to analyze the data and finally using dance and film to disseminate the ‘findings’.
The research looked at the lived experience of women living and working in the Flint and Detroit areas, USA. It is an attempt to take the body and bodily experiences ‘seriously’ when we research. The research took the position that embodiment is a methodology and method for understanding the narratives of the women’s work and what makes a ‘good’ job. I saw dance and visual images as a language for communication of the ideas the research uncovered.
Data collection asked women participants what they considered makes a good job along with collecting their memories of their own working experiences (this was done through dancing together and verbal interviews). Analysis drew out two themes: relationships (developed and negotiated in the situation of work and Self), and rhythms (of Self and work institution). Initial findings presented here suggest the continual establishment, disruption, negotiation and maintenance of rhythms and relationships in the work place has an impact on what makes a ‘good’ job.
The research is part of my on-going study of how an embodied approach to the lived experience (based of Pragmatist and Phenomenological principles that place bodily experience as central to meaning making) can be embedded into the whole research process. This challenges ‘traditional’ research methods, that it could be argued, place the body as an add-on to text-based theory even when the research subject it self is about people's experiences.
WCEH 2024 Craftivist
(last edited: 2024)
author(s): Britta Fluevog
This exposition is in progress and its share status is: visible to all.
Britta Fluevog, Venera Winiwarter & Anna Svensson set up a series of craftivist projects, workshops and a makerspace at the world congress of environmental history conference in Oulu, Finland 2024 and this space documentation of this.