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(Last) Call for Papers – final deadline 15th August 2017
For a special issue of the Journal of Writing in Creative Practice guest edited by Dr Fiona English and Dr Alke Groppel-Wegenerwe are currently looking for submissions that celebrate the practice of genring and regenring. Even though the journal title includes ‘creative practice’, these examples do not have to come from a creative practice background (as we would argue that genring and regenring could be seen as a creative practice by itself). You also do not have to have been present at the workshop and conference we have been running on this subject – if you are doing any sort of genring and/or regenring we would love to hear from you!
We would suggest the following formats:
Examples focusing on the process of (re)genring
We want to showcase a selection of genring and regenring practice, based on a template – see my recent post on this blog giving a bit more information on the template here (and email me (Alke) on tactileacademia[at]gmail.com for what information is needed if you want to contribut an example).
The examples should be focused on the process of (re)genring and should concentrate on one outcome genre only. They are not about the assessment, module or unit, but about the genre itself.
Case Studies
Between 2000 and 3000 words, these should be description and analysis of examples of your practice. These should be wider in scope than the examples.
Full Papers
Between 5000 and 7000 words, these should contain theoretical discussions that take the subject beyond the examples and case studies.
Reviews
Have been to an event linked to genre, genring or regenring recently? Want to review an outstanding example you have come across? These are usually between 500 and 2000 words.
As this issue is celebrating reGenring we are, of course, open to genres other than the academic paper. However, please keep in mind when planning your submission that we are constrained by the format of the journal, and the JoWiCP in particular.
This means:
  • landscape orientation of pages (we can probably somewhat play with their standard layout, but only with good reason)
  • pictures need to work in black and white as we cannot guarantee them being printed in colour (although in the online version they would be in colour). Please ensure that you have ownership, or have obtained copyright clearance for any image submitted.
We would suggest that submissions that don’t follow the traditional academic paper genre are bookended by an academic abstract (about 150 words) that explains the chosen genre and the reasons for choosing it and a conventional bibliography. We will be using Intellect publishers style guide, which you can download here.
We will also need an author biography of 50-100 words with all submissions.
All articles submitted should be original work and must not be under consideration by other publications.
Journal contributors will receive a free PDF copy of their final work upon publication. Print copies of the journal may also be purchased by contributors at half price.
Final deadline for submissions (via tactileacademia[at]gmail.com) is 15th August 2017.
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We have now confirmed our other speakers for the morning of the reGenring conference.

Julia Molinari will ask ‘What Makes our writing academic?’

In this talk, I would like to explore in what sense a text that does not follow established conventions of English Academic Discourse (EAD) can be considered ‘academic’? I will argue that such a text can be academic not in virtue of its textual features or of its modes, but in virtue of the extent to which it fulfils an academic purpose and practice. I will draw on theories of multimodality (A. Archer & E. Breuer, 2016), of higher education (Barnett, 1990, 2012, 2013; Besley & Peters, 2013) but also of the philosophy of sociology (Winch, 1990) to argue that since creativity, imagination and argumentation are amongst the purposes and practices of a higher education, then we need to look beyond language – understood as just one of many modes – to more fully fulfil the range of our academic aims.

David Hindley and Lisa Clughen will present on ‘Student perceptions and experiences of academic blogging: some reflections on the use of blogs as a way of fostering greater student engagement, collaboration, and ownership of learning’

This paper takes the standpoint that academic blogging offers precisely the type of inclusive writing genre and inclusive environment for writing development that Elbow (2014) advocates. It is informed by a mixed-method research project which analyses the use of blogs as a formative part of the assessment within a final year undergraduate module, Contemporary Issues in Sports Practice.

Finalised programme to follow soon, in the meantime, don’t forget to check out our other speaker here and the Call for Practice here (which is still open). Book your place here before it is too late!

Cover of Unflattening

I am happy to announce that Dr Nick Sousanis, author of the wonderful Unflattening, is going to be one of our invited speakers in the morning of the ReGenring conference at Nottingham Trent (see here for the Call for Practice). The title of his talk will be ‘Unflattening: reimagining scholarship through comics’ . Instead of an abstract, have a look at this page of Unflattening

Page 64 of Unflattening by Nick Sousanis

Also joining us will be Dr Fiona English, author of Student Writing and Genre, who will facilitate the end of day discussion. There have been some really interesting responses to the Call for Practice, and we can expect examples of genred and regenred work in form of comic books, radio plays, posters, poems, blogs, exhibitions, magazines and videos – don’t forget to let me know if you want to share some practice in the afternoon session yourself!

More info on our other speakers coming soon, don’t forget to book your (free) place here.

After the successful workshop where we explored Genre as a Pedagogical Resource in November, I’m happy to be able to announce the follow-up event: a conference on reGenring Academic Writing and Assessment, hosted by the Trent Institute for Learning and Teaching (TILT) at Nottingham Trent University in conjunction with Writing-PAD.

workshop participants making their own nametags in November

workshop participants making their own nametags in November

We will start the day with invited speakers in the morning (not quite finalised who yet, but I’ll keep you posted!) and give over the afternoon to a sharing session – and for this we need YOUR examples of practice! The idea is to have this fairly informal and give everybody who registers their interest some space to show off some artefacts or practice, that could be via posters or by bringing examples. We are also planning to put together a special issue of the Journal of Writing in Creative Practice (guest edited by myself and Dr Fiona English), so what you bring could be linked to an article you want to write for that (although it doesn’t have to be).

If you are playing with genre in your teaching or assessment practice (in any discipline) and you want to share some of this with us, please email Alke at tactileacademia@gmail.com with a brief description of what you are doing and what sort of artefacts you would like to bring to show. Please use ‘reGenring’ as the subject title of the email and indicate whether you would be interested in contributing to the special edition of the journal.

For more information on the conference and to book your place, please click here.

writing-pad-logo

Come and join us on November 8th 2016 at Middleport Pottery in Longport (near Stoke-on-Trent) to find out about using genre as pedagogcial resource. The first in a series of Writing-PAD events this academic year focusing on genre(s), this day introduces a theoretical framework for exploring genres and their affordances, including a recent example of how this can work as pedagogical practice. Via a tour of this very special venue, we will not only explore a valued English Heritage site, but also use this as a starting point for playing with the idea of genre and regenring in our own teaching practices. The day will also include the launch of the recently published book Writing Essays by Pictures by Alke Groppel-Wegener.

Cost £145 : Includes the whole day, with refreshments on arrival and in the afternoon, a delicious buffet lunch, a special tour of the venue and your own copy of Writing Essays by Pictures.

Book via Eventbrite: https://www.eventbrite.co.uk/e/thinking-through-genre-exploring-genre-as-pedagogical-resource-tickets-28084047141?aff=eac2

(Draft) Programme:

10-10.30 Registration and Refreshments

  • Let’s start the day as we mean to continue by making our own name-tags – regenring a tiny part of conference/symposium tradition into something more expressive.

10.30-11 Welcome

11-12  Genre as Pedagogical Resource by Dr Fiona English

  • Fiona introduces a theory that could frame genre as pedagogical resource, updating thoughts from her book Student Writing and Genre.

12-12.30 Writing Essays by Pictures by Dr Alke Groppel-Wegener

  • Alke shares the story of the development of her recently published book Writing Essays by Pictures, an example of regenring the traditional study skills textbook into a picture/work-book.

12.30 – 1 Discussion

1-2      Lunch

2-3.30 The Pottery and beyond

  • Explore Middleport Pottery via a special tour and then use this experience to start thinking about ways of genring teaching practices.

3.30 – 4.15 Linking Theory and Practice

  • Fiona and Alke start us off using the Writing Essays by Picture books as an example to explore gains and losses of this particular regenring process to demonstrate an example of using the theoretical framework established at the beginning of the day. We will then move into the discussion of the outcomes of your genring activities.

4.15 – 4.45 Discussion of the day

4.45    End

The Speakers

Dr Fiona English is Honorary Senior Research Associate at UCL Institute of Education with a background in linguistics and language and literacies in education. Much of her research has been concerned with student writing and academic literacies, with her book Student Writing and Genre using a social semiotic perspective to explore the relationship between genre and the production of academic knowledge. More recently she has published Why do Linguistics?: Reflective Linguistics and the Study of Language with Tim Marr.

Dr Alke Groppel-Wegener is Associate Professor of Creative Academic Practice at Staffordshire University and a National Teaching Fellow. Having trained as a theatre designer but ending up teaching study skills, she became frustrated with the traditional ways of teaching academic practice, which has led her to develop her own approach being inspired by the creative processes of art and design and collated her strategies as Writing Essays by Pictures: A Workbook for students. She blogs at www.tactileacademia.com.

The Venue

Middleport Pottery is home to Burleigh Ware, which is still made on site using traditional craftsmanship. (And there is a shop where you can get your own Burleigh Ware, too). It was restored with the help of the Princes Regeneration Trust, has become a top visitor attraction and the home of The Great Pottery Throwdown.

It is a short walk from Longport Train Station, a 5 minute train ride from Stoke-on-Trent, and we would encourage participants to use public transport.

Please note that this is an old site and some of the areas are cobbled and might present a problem for people with mobility issues. It is advised that you wear sturdy shoes (no high heels) for the tour, and that you let the organiser know of mobility issues in advance, so that she can discuss your needs.

The Series

This exploratory workshop is the first in a series that will stretch through the academic year and culminate in a special issue of the Journal of Writing in Creative Practice.

Through discussion within the Writing PAD community, we know that very often lecturers, and particularly practitioner/teachers, are doing a lot of interesting things in their teaching, but they seem to lack the confidence to share this work, specifically within the academic conventions of publication beyond a description of what they are doing.

To address this, we have decided to pick the focus of Genre, Genring and Regenring for this academic year, and are organising a series of events that will provide support for this issue and culminate in one (or possibly two) special issues of the Journal of Writing in Creative Practice, guest edited by Fiona English and Alke Groppel-Wegener.

The other events in planning are:

  • a first follow-up in February 2017 which explores the traditions and conventions of academic writing. There will be speakers in the morning, which are still to be confirmed, but we are talking to Julia Molinari, Lisa Clughen and Julia Lockheart, who will explore academic writing as a genre – and discuss the changes it is going through. The afternoon will be given over to a sharing session/exhibition where delegates have the opportunity to show off examples of their genre-ing and regenring practice, either as artefacts or in a poster format. The will allow the opportunity for people to share best practice, but also to get feedback and ideas for potential research designs in order to explore their practice more and on a more theoretical level. This event will probably be held at De Montford University in Leicester.
  • A second follow-up in the form of an academic conference, either at Easter time or early May 2017. Here people can share their practice in an academic format, and those presentations could use the feedback from the conference to inform papers for the Special Journal edition. This might be hosted at Nottingham Trent University or Staffordshire University.
  • If there is interest, there are plans for a writing retreat to facilitate the writing of the papers, possibly at Nottingham Trent University.

We are currently investigating funding to keep costs down, but it might be the case that we need to break even on this. You will not have to attend all these events to be considered for the special issue, but as we are trying to build up a mutually supporting network, it would be nice if you could come and join us at as many as possible.

Dear all,

I’m glad to announce that I have finished the workbook for students I have been talking about for years and that after the ‘test’ copies produced as part of last year’s Kickstarter campaign, an extended version of  “Writing Essays by Pictures: A Workbook” (ISBN 9780957665224) is now in print… just in time for all those lovely new first years arriving at Uni!

This is very much a development of the work I have been doing for the last few years, much of it chronicled on this blog, and it uses visual analogies to lead students through the process of writing essays at University. Find out more about its origins on the dedicated page here. Mainly designed for students to work through on their own, it could also be used in led workshops and is full of creative and visual ideas for teaching information and academic skills. It is priced at a level that hopefully many students will be able to afford to buy themselves, and I hope that some of you might add it to your reading lists to help students transition to writing at undergraduate level.

Available from all normal book suppliers from this week, list price £15, currently £12.99 on Amazon (http://www.amazon.co.uk/dp/0957665229) or just £10 direct from the publisher (http://innovativelibraries.org.uk/press/thebooks/).

I am currently working with both the Writing PAD network and my fabulous publisher to organise some workshops for staff who want some more ideas how to use the material within in their teaching, which I will of course announce here once we have settled on dates.
Best wishes,

Alke

from Sue Challis

 

Introduction
These notes are from initial research explorations of the value of collage both as an aid to problem-solving and as an extension to thinking and learning. They are also part of my unpublished PhD thesis (Maximising impact: connecting creativity, participation and impact in the qualitative evaluation of creative community projects: Coventry University, School of Geography, Environment and Disaster Management 2014).

I became interested in the potential for collage to become part of formative or summative evaluations following my attendance at a Higher Education Academy workshop on collage (Thinking Through Writing and Making, HEA Workshop, Staffordshire University, Stoke-on-Trent, 29 March 2012) when I experienced collage as a problem-solving technique, and through continuing contact with Alke Groppel-Wegener through the Tactile Academia blog, which explores the value of creativity as an aid to academic writing and thinking.

These brief exercises came from the need to formulate recommendations about evaluation strategies which would be feasible for small to medium-sized community projects in less formal or skilled contexts than my own research field trials. I was interested not only in the value of collage but also in the degree to which the method would engage participants outside of a group or creative project context. Participants were asked to complete a problem-solving collage at home and in an academic lecture. I have also included the collage activity which I took part in which prompted my interest in the technique as a research method. Although these are by no means formal research interventions and thus results are only indicative, they are recorded here to suggest the value of further research into the relationship of resistance or willingness to engage with creative techniques to other factors. These might include the type of activities, technologies and materials, the type of participants, and the contexts and skills of implementation. The examples below also suggest that willingness to engage with creative activity and its impact are related to prior experiences and self-narrratives.

 

Example 1 Collage as an aid to problem-solving

(six adult volunteers, examples from two feedbacks)
I asked six adult volunteers, chosen arbitrarily from my own neighbours and friends but excluding arts professionals, to ‘think of a seemingly intractable problem, work-related or personal, and make a collage while you are thinking about it’. I gave or posted them bags of very similar and random materials (images, text, textiles, stationery) to work on in their own time. For some participants, the task seemed very daunting and slightly odd. Two people returned the bag, both saying that they felt , ‘too un-artistic’ to attempt it by themselves. Four people made collages. I asked them to tell me or write a short account of the process, commenting on how they felt when doing it and what impact it had on their thinking or problem-solving. Figures 1 and 2 are examples of two collages; their makers’ comments follow; and Figure 3 is an example of my own work, made at a Higher Education Academy workshop on collage (Exploring Layers of Meaning, HEA Workshop, University of Chester, Chester, 26 March 2012).

Figure 1 Problem-solving collage (A4 size) Participant 1, adult female)

Figure 1 Problem-solving collage (A4 size)
(Participant 1, adult female)

Text 1

Comments on problem solving collage Figure 1 (above). Participant 1, adult, female.

Extract from email from participant 8.8.13, 22:23

“Subject: Re: Collage”

“The collage was about the assessment of the mental health of a teenager who is extremely vulnerable to sexual exploitation. She has been groomed/ lured by a paedophile ring and given drugs. She takes many drugs. She frequently threatens suicide. She is very verbally abusive to those who try to care for her because of her abuse in her own family of origin. The collage also deals with the response of organisations surrounding the girl and the difficulties in their relationships with each other. The hanged figure represents both the girl and another worker caught up on the turmoil surrounding her. The orange jagged line represents the panic. The Arabic script triangles/ shards represent the impossibility of putting our concern/ her situation/ our situation into meaningful language. The heads represent workers minds making different sense of her experience and our response to her experience. The blank spaces in the heads represent divided minds and the unknown of our own minds hidden from ourselves and from each other.

“Doing the collage helped me stand back from the situation and look at it differently. I had felt overwhelmed by the situation and by my feelings. The collage helped me feel more analytic. It also helped me see parallels between the girl and the worker, both of whom stir up my pity and also my frustration.

“As you know, I hung onto the collage bag for a long time before I felt I had a problem or could see how the collage might help. I was so challenged by this incident at work, which seemed impossible to resolve, that I thought I might as well do it, with no expectation of it working! The pictures and text which had meant nothing before I started to think about the issue seemed to become very relevant when I began to use them for the collage.

PS you know I can bullshit at length!”

Figure 2 Problem-solving collage (A3 size) (Participant, adult male)

Figure 2 Problem-solving collage (A3 size)
(Participant, adult male)

Text 2 Comments on problem solving collage Figure 2, Participant 2, adult, male;

Extracts from researcher’s notes of informal interview 17.11.13

Researcher (R): How did you feel about the collage before you started it ?
Participant (P): I was reluctant to do this – I was ready to email you and say I wasn’t going to do it, then your reminder came…I don’t really have any problems to solve…I felt that it was a waste of time. I didn’t like the blank page of it, the open-endedness of it…I’m a non-arty person. I am not a person who does collage.
R: But you did do it in the end ?
P: Yes, the only way I could do it was, I put on some choral music which I like, I do listen to music sometimes but most of the time I am doing something purposeful…I had to have something else in my head to get going on it or it would seem like a waste of half an hour.

R: Can you describe your collage?
P: I chose the maps because I like maps and I made a river there, and the string follows the route because that’s how I measure my route on a map anyway…, the dots and maps had a meaning for me, I made the dots into arrows and each arrow gets bigger – that’s me deciding on a line, choosing a direction to go in in life and discarding the things that didn’t have meaning for me…

R: What interested you most about doing the collage?
P: Well… as I was, as I was trying to do it I found myself interested in the way I was selecting things, how I discard some things, like, I am someone who tries, and I try to persuade other people to do this too, to move on, to select a way forward and put the other possibilities, which we have decided not to do, onto one side, to discard them and move on. …So when I started this I realised that it was more about the process of how I solve problems than a particular problem, I discard the irrelevant stuff more than other people I think, then I don’t worry about it. It was like acting out something about myself. I had to decide, select what side of the paper I would keep and which bit discard or hide, it was all about selection…This became pleasurable when I had some idea of where I was going with it…
R: What are these two piles?
P: Well I , these are the things I didn’t want – the discard piles – I stuck them there, it’s only stuff I didn’t want, it might be important to someone else…As I was getting into it…I did start to enjoy doing it… I was thinking about myself, about getting somewhere, solving problems. I saw the solving problem part was about discarding what you don’t need and assembling a way forward, only in the abstract, honing down and selecting to get somewhere. I feel strong, it’s something that works for me… so I was mirroring what I do. When I got the idea of the map or journey I really did enjoy it.
R: Most people throw away the discards. You have stuck them on the collage. Was there a reason for that ?
P: Well, it’s…I suppose it’s because it’s not foolproof…the process of deciding to keep the discards… they are worth keeping, that’s my readiness to admit I’m wrong or go back and look at things again, other options. I think I’m visualising something, the process of keeping the discard, something about myself I hadn’t put into words really before…

 

Example 2 Collage as an aid to problem-solving (researcher’s own activity)
During the second year of my research I attended a Higher Education Academy workshop on collage (Writing in Creative Practice: Exploring Layers of Meaning, HEA Workshop, University of Chester, 26 March 2013) and made a collage myself which was a significant help in solving my own problem of making the transition from community arts practitioner to academic writer. This extract from a journal article written at the time (and subsequently incorporated into reflections in the Journal of Writing in Creative Practice) sums up the value of the collage to me, particularly the process of selection from random materials. As Butler-Kisber says: “Novel juxtapositions and/or connections, and gaps or spaces, can reveal both the intended and the unintended” (Butler-Kisber 2008: 269):

Figure 3 Problem-solving collage (researcher - artist, adult female)

Figure 3 Problem-solving collage
(researcher – artist, adult female)

“I made a 3D collage bag (Fig 3) about my problems with academic writing. A phrase from the provided text sprang at me: ‘… that idea kept back …’ (I think from a Conrad story), and leafing through the collage materials I chanced upon a map showing the house I was born in: as the Quakers say, these two finds ‘spoke to my condition’, helped me understand my reluctance to commit to a genre of writing that seemed to obliterate me and strengthened my resolve to understand how writing might become both academic and creative.

“Specifically, to see the relevance of the …[creative]…process to the wider debate about academic writing and creativity, and, more urgently, to the tensions I embodied trying to understand where my own creativity sat in (what are for me) the arduous and sometimes opaque protocols of academic discourse. Although I had long been familiar with John Wood’s ‘Critique of the Culture of Academic Rigour’ (2000), encountering the Writing PAD project through a ‘hands on’ HEA seminar was the trigger for this: it gave me permission to regard my own creative activity as a way of knowing”.
Challis, S (2013: 189-190)
Example 3 Collage as a means to extend thinking time

(65 undergraduate, third-year Geography students, 15 Youth and Community Work students, Coventry University 2012 and 2013)

At the start of two, two-hour lectures entitled ‘Visual and creative research methodologies’ I gave each Geography student an envelope containing a similar range of collage materials (text, images, fabric, paper, scissors, glue) and explained that the intention was to explore the idea that concentrating on making a collage whilst listening to complex new ideas would support understanding (Butler-Kisber 2008).This activity was drawn from my own experience at the HEA workshop described above. While they worked in silence on their individual collage books (folded paper) I gave a lecture about a range of visual and creative methods, using digital slides, occasionally asking them to ‘look up now’. At the end of the session we discussed their experience and at the start of the second session (a week later) had a brief group discussion reflecting on its impact. I made notes from this discussion but there was no further follow-up as it was the last session of term in each case. This was by no means a satisfactory research exercise, having no means to measure changes in concentration or learning. However, as an activity suggestive of further research, I have included it here for its relevance to issues of resistance to and acceptance of creative methods, rather than the light it sheds on collage as an aid to thinking. Further research might include a questionnaire reflecting on self-reported change and feedback from other lecturers.

For Youth and Community Work students I was restricted to one two-hour session which was less formal (for example, sitting in a circle rather than in a lecture theatre). I introduced the session as above, but invited students to select collage material from a wide range laid out on a table. Students made collage books while I gave a presentation about visual and creative methodologies. The making was followed by a group discussion and some people shared their books.

 

Figure 4 Collage made referring to content of lecture (A4 folded paper) (Geography student, male)

Figure 4 Collage made referring to content of lecture (A4 folded paper)
(Participant, geography student, male)

Text 3 Researcher’s observations from notes made after each Geography student session

(two sets of two, two-hours teaching sessions, with collage in first session of each set; November 2012, November 2013):

Some students made work clearly referring to the lecture content (Figure 4 ); these sometimes used text or phrases from the lecture or commented on it. For example, one male student made an image of his children learning “arts as well as sciences: I want them to have both to be whole people, not like me I just did sciences”, rather wistfully adding, “I haven’t got any children yet” (Researcher notes from group discussion). Others made collages clearly relating to feelings . A male student made a page, (Figure 5 ), with fierce concentration while listening to a video clip of a woman describing her experience of domestic violence. He commented: “I was feeling strong feelings while I was listening, it was quite upsetting really. I wasn’t really thinking about the drawing”. My interpretation of the drawing was that it reflected his turbulent feelings through colour and markmaking, and intensity through strength of physical gesture (pressure on page and over drawing). As such, it might offer a useful prompt to further discussion or thinking. In both classes a student stapled his finished book together and said that it was ‘private’. This could suggest that personal feelings had been expressed (although these may simply have been critical of the process or ‘rude’).

Figure 5 Made whilst listening to video clip about domestic violence (A5) (Geography student, male)

Figure 5 Made whilst listening to video clip about domestic violence (A5)
(Participant, geography student, male)

Mixed gender groups (marginally more female). In each group all but three students participated (five male, one female). There were varying degrees of willingness to take part. In the final discussions several students (about 5/35) said they found the process “useless”, “a distraction” or “pointless”; a similar number said it was “interesting”, “enjoyable” and they could “see the point”. In each session five people were willing to ‘share’, that is, show and talk about, their own collage, usually describing what it represented to them and how they felt making it. The people who shared made broadly positive comments about the activity (for example, that they ’enjoyed’ it). Six students (three in each group) said they felt that the activity had improved their concentration. In both groups several students said that they had been repeatedly told off in school for persistently doodling during lessons. They related doodling to a way of improving their concentration and ‘enjoyed’ the collage activity.
There was no way of telling if this activity did improve concentration, although the self-report of a small number of students might suggest so in some cases. However, as a ‘pilot’ for the method with a large group, including many adult males (missing from most of my previous research which was mainly with teenage boys and adult women) it was indicative: My informal observations suggested that more female students found it easier to attempt and to enjoy the activity, but I cannot be sure this was true without further research. More male students voiced their reluctance, but there could be many reasons for this. Resistance to participation was linked in discussion either to lack of commitment to qualitative methods (many of the students were using exclusively quantitative methods in their own research and had not used qualitative methods before), or to reluctance to do an arts-based activity because of lack of skill or experience. Where there was reluctance, I did not feel that it was the ‘open-endedness’ per se which was a barrier, rather a lack of belief in the usefulness of the method generally, or for themselves in particular.

Figure 6 Collage made expressing personal feelings (A5) (Youth Work student, female)

Figure 6 Collage made expressing personal feelings (A5)
(Participant, youth work student, female)

The Youth and Community Work students (also mixed gender, mainly female) were generally more receptive to the collage making, and many of them in discussion could relate it to activities they might carry out in their own professional practice and qualitative research. They saw it much more as a prompt for discussion than an aid to concentration than the Geography students, although several did relate it to doodling as means of concentrating, and most said they ’enjoyed’ the activity. All students in this group shared their collage in the discussion: one student who had stapled his closed, explained this as an expression of specific feelings relating to self-disclosure rather than the activity. Several students in this group made collages about personal feelings unrelated to the lecture (Figure 6). On the whole, I felt that there was less resistance to the activity in this group; but again, this informal interpretation suggests a number of more specific lines of enquiry, about prior experience, current skills, gender, age, ethnicity and so on.

Tentative conclusions indicative of need for further research

In the first problem-solving collage activity, Example 1, participants expressed reluctance to participate connected with not regarding themselves as ‘artistic’ or being convinced about the method. I also think that a self-consciousness about participating in a ‘soft’, reflective activity underlies the comment in Text 1, ‘I can bullshit at length’.

In all cases, the extent to which participants identify themselves as ‘arty’ impacts on willingness to engage (‘I am not a person who does collage’ Text 2); as does prior experience of qualitative research methods. Gauntlett suggests that willingness to engage with creative activity and its impact are related to prior experiences and self-narrratives (Gauntlett 2011). There are perhaps a whole raft of other contingent and structural factors related both to personalities and context. These could be subject to research enquiry in a number of feasible ways.

However, I would suggest that in all the examples shown here, where there has been an engagement with the process, these impacts could be inferred from discussion and examination of the collages to be possible pathways for further research:

1. Contribution to understanding of self or problem solving not available by other means (Texts 1-3)
2. Expression of feelings in a different (not verbalised) way (Figures 5 and 6)
3. Figure 4 also suggests that collage is not necessarily a distraction from new learning. Combined with the comments in Text 2, I relate this to the physical process of selecting and discarding, combining and juxtaposing, in other words, to the embodied enactment of thinking.

Sue Challis
REFERENCES

Butler-Kisber, L (2010) Qualitative Inquiry: thematic, narrative and Arts-Informed Perspectives London, Sage
Challis (2013) Sketchbook Postal Exchange Journal of Writing in Creative Practice Vol 6 No 2 London, Intellect

Gauntlett, D (2011) Making is Connecting :the social meaning of creativity from DIY to knitting and YouTube to Web 2.0 Cambridge, Polity Press