Handbook of the Arts in Qualitative Research: Perspectives, Methodologies, Examples, and Issues


J. Gary Knowles & Ardra L. Cole

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  • Emerging Scholar Advisory Board

    • Kelly Akerman

      University of Toronto

    • Leah Burns

      University of Toronto

    • Nancy Davis Halifax

      York University

    • Elizabeth de Freitas

      Adelphi University

    • Douglas Gosse

      Nipissing University

    • Esther Ignagni

      Ryerson University

    • Dorothy Lichtblau

      University of Toronto

    • Teresa Luciani

      Independent Scholar

    • Maura McIntyre

      University of Toronto

    • Lina Medaglia

      George Brown College

    • Sara Promislow

      Independent Scholar

    • Stephanie Springgay

      Pennsylvania State University

    • Suzanne Thomas

      University of Prince Edward Island

    International Advisory Board

    • Michael V. Angrosino

      University of South Florida

    • Deborah Barndt

      York University

    • Thomas Barone

      Arizona State University

    • Kathryn Church

      Ryerson University

    • Norman Denzin

      University of Illinois at Urbana-Champaign

    • Rita Irwin

      University of British Columbia

    • Carl Leggo

      University of British Columbia

    • Jim Mienczakowski

      Victoria University

    • Lorri Neilsen

      Mount Saint Vincent University

    • Nicholas B. Paley

      George Washington University

    • Jon Prosser

      University of Leeds

    • Patrick Slattery

      Texas A&M University

    • Sandra Weber

      Concordia University



    The Handbook of the Arts in Qualitative Research is witness to the power of the arts in the lives and knowledge development of humans in a changing world of scholarship and research. The Handbook represents an unfolding and expanding orientation to qualitative social science research that draws inspiration, concepts, processes, and representational forms from the arts, broadly defined. The Handbook is designed as an exploration into a range of alternative researching possibilities that fuse the creative and imaginative possibilities of the arts with social science research. It is intended to provide a context, inspiration, and structure to facilitate new and experienced scholars' inquiries into elements or aspects of research methods appropriate to their current and future work.

    The contents of the Handbook acknowledge the breadth of scholarship and burgeoning practice within a range of academic disciplines and contexts where the arts influence researching. At the same time it tells many stories about the way the arts frame and influence the inquiry theories and practices of renowned and emerging scholars. The contributing authors tell stories of engagement with the arts. Each, in her or his own way, evidences a history of learning from the arts, gaining inspiration from the arts, and/or a longstanding grounding and involvement in the arts. All of the authors proclaim the power of the arts for enhancing social science research. These authors give evidence of the movement of the arts into many, perhaps most (if not all), social science disciplines. Although not all disciplines are represented in the Handbook (and this has much to do with space limitations), it is difficult not to overlook the prevalence of the arts in human enterprise for making sense of the human condition and the surrounding world.

    As editors of the Handbook, our paramount objective is to provide an accessible and stimulating collection of theoretical arguments and illustrative examples that delineate the role of the arts in qualitative social science research. So it is that the Handbook addresses many nuances and possibilities for infusing the arts into qualitative research as an alternative paradigm orientation and practice. Given the heightened interest in the possibilities of the arts for influencing qualitative social science research (especially as voiced by advanced graduate students and emerging scholars), a burgeoning body of work, and a sufficiently nuanced group of international scholars who address matters of the arts in social science research, the publication of the Handbook is timely.

    The many fusions of the arts and qualitative inquiry are changing the face of social science research, opening possibilities for alternative perspectives, modes, media, and genres through which to understand and represent the human condition. The productive fusions and tensions among qualitative inquiry and the literary, fine, applied, performing, and media arts give rise to redefinitions of research form and representation as well as new understandings of process, spirit, purpose, subjectivities, emotion, responsiveness, and ethical dimensions of inquiry. Scholars use multiple ways to advance knowledge. They use, for example, the language, genres, and orientations of fiction, poetry, theatre/drama, and visual arts, including installation, film, and video. Communities of scholars articulate and engage in, for instance, arts-based research, arts-informed research, image-based research, A/R/Tography, and community-based activist art, to name some perspectives. The Handbook brings together a unique group of scholars for the purposes of putting forward this range of perspectives. Through the Handbook our purpose is to advance the field of qualitative methodologies and make alternative paradigm research involving the arts more available to emerging and established social science researchers. In this way the Handbook is encyclopedic although not an encyclopedia; it is comprehensive but not all encompassing. It brings together, under one umbrella, as it were, a range of expressions of the arts in research. It serves as a reference point and marker for the development of alternative methodologies while providing points of reference regarding specific orientations and practices.

    The Handbook is an acknowledgment that social science research involving the arts is an emerging, expanding research genre. There is much evidence of the appropriateness and, indeed, the acceptance of this approach to research within scholarly literature and professional organizations across academic disciplines of the humanities and social sciences, including health sciences and other applied disciplines. As a community of researchers, we are engaged in “efforts to map an intermediate space we can't quite define yet, a borderland between passion and intellect, analysis and subjectivity, ethnography and autobiography, art and life” (Behar, 1996, p. 174), and this represents both an exciting possibility and a challenge.

    Given the burgeoning presence of the arts in research over the past two decades, it is safe to say that arts-related methodologies can be considered a milestone in the evolution of qualitative research methodologies. Those of us, including all the Handbook authors, who have been involved in charting new methodological territory have much to be pleased about by the place the arts has earned in contemporary research. Markers such as new online and print journals as well as theme issues of established journals, conferences involving and featuring the arts in research, book publications, conference sessions, and so on, all strongly suggest that arts-related approaches have found a place on the qualitative research map. The publication of this Handbook is another significant marker. We see this volume as a beginning.

    Like all publications, this one reflects the temporal boundaries within which it was written and compiled. The process of locating contributing authors was often convoluted but members of the two advisory boards aided us. Although we intended to have a greater geographical spread of authors from beyond North America, that was not possible, especially given the production schedule constraints. The possibilities of and for the arts in research are limited only by the human imagination and commitment to pursue knowledge and knowing in its many forms. We trust that readers will engage with the works presented herein as members of a community of scholars who are provoked by and committed to the possibilities of the arts to reenchant (Gablik, 1991) research.

    For readers the focus of the Handbook encourages a critical examination of the research process with a view to informing alternative scholarly perspectives and practices that draw on orientations, processes, and forms of the arts. Throughout, and within the many contributed chapters, the goal (sometimes foregrounded, sometimes backgrounded) is on:

    • defining and exploring the role(s) of the arts in qualitative social science research;
    • understanding the relationship between processes and representational forms of the arts and processes and representational forms of research;
    • exploring features and qualities of research that is informed by or based in the arts, and related issues; and
    • articulating challenges inherent in these alternative methodologies.

    These, in fact, were the challenges given to the contributing authors.

    As a way of guiding contributing authors, several questions were posed for the purposes of framing and shaping the development of their contributions to and, ultimately, the arrangement of the Handbook. These exact same questions may also be aids to reading the Handbook:

    • Why and how do art and research come together to advance knowledge?
    • What are some of the many and varied roles for the arts in social science research?
    • What do art-research methodologies look like in practice?
    • What is the place of the arts in various social science research contexts?
    • What is the relationship of arts-related research to other forms of researching? … to the arts?
    • What are features and characteristics of the various methodologies and genres of social science art-research?
    • How is the quality of alternative genre research judged or determined?
    • What are some key issues and challenges surrounding the bringing together of art and social science research?

    At first glance, readers of the Handbook are likely to note its relatively conventional form. Like most academic print publications, this one is also constrained by the conventions of print media and, unfortunately, by costs associated with straying too far from those conventions. In an attempt to address some of the limitations of print media for presenting many of the art forms and ideas represented in this volume, Sage generously agreed to mount a Web site accompaniment to the Handbook. Although each chapter in the Handbook stands alone, many of the chapter authors make reference to supplemental material contained on the Web site. These references are clearly marked within the text of the relevant chapters. We invite readers to enhance their engagement with the ideas and materials presented in these chapters by spending time at the Web site (http://www.sagepub.com/knowlessupplement).


    Behar, R.(1996). The vulnerable observer: Anthropology that breaks your heart. Boston: Beacon Press.
    Gablik, S.(1991). Introduction: Changing paradigms, breaking the cultural trance. In S.Gablik, The reenchantment of art (pp. 1–12). London: Thames and Hudson.


    The Handbook of the Arts in Qualitative Research is a community project, one centered on the work of scholars committed to articulating the place of the arts in researching. Those who have contributed chapters constitute one element of the community of researchers who believe in the power and potential of the arts to inform qualitative research. The community involves many others, however.

    In some ways the heart of the community is best represented by our emerging scholar colleagues who, especially during their graduate school years, urged us to be true to ourselves and prodded and tugged at the more comfortable boundaries of traditional modes and orientations to qualitative social science research. Many were associated with the Centre for Arts-Informed Research at the Ontario Institute for Studies in Education of the University of Toronto and, within this circle of faculty and student associates, many of our notions about the arts in qualitative social science research were developed. These new scholars, who also participated in our qualitative and arts-informed research courses at the University of Toronto (as well as those graduate students at Mount Saint Vincent University, Saint Francis Xavier University, and the University of British Columbia, where we taught summer courses), asked hard questions about boundaries and constraints, about possibilities and pitfalls of infusing the arts into research. They voiced their wonderings about the facility of conventional methodologies to adequately portray the human condition. Many brought with them into our classrooms and the dissertation/thesis supervision process an array of experience and groundings in the arts. They were not afraid to criticize the bifurcation of knowledge development and everyday life. More holistic perspectives on knowledge generation, on how humans come to know/inquire, were at the heart of the thinking of this new generation of scholars. They dared to produce graduate research that pushed the boundaries of qualitative research, and their influence was, and continues to be, considerable.

    Many of these graduate students (and others) moved on to become professors in institutions scattered over North America, and some of them are represented in the Emerging Scholar Advisory Board. Given that we also saw a key audience for the Handbook to rest in this population, we thought it entirely fitting for the development of the Handbook that we be guided by both relatively new, emerging scholars and those who are more senior, established, and well recognized in the field. The former group, individually and collectively, worked tirelessly in guiding the project and reviewing manuscripts. Their names and affiliations are listed on page ii.

    We also are grateful for the significant, formative contributions of the International Advisory Board members. Some of them supported the initial Handbook proposal through critiques and reviews at the time of its presentation to Lisa Cuevas Shaw at Sage Publications. Moreover, many of these individuals have been colleagues over the last decade and a half, our lives often converging at doctoral examinations, academic conferences, related scholarly events, publications, or in the virtual world. We are privileged to have shaped the field together through our acts of teaching, research supervision, and discourse. Many members of this senior advisory board contributed a chapter to the Handbook, and most made multiple, insightful reviews of chapter manuscripts that helped forge this collection into its current shape. They come from a variety of academic disciplines and have made strong statements within their respective communities. The Handbook is stamped with their commitment to the project. Their names and affiliations are listed on page ii.

    Both advisory boards helped us identify many of the contributing authors; others we learned about through a rhizomatic process. Unfortunately, potential contributors continued to pop up long past the time when we had completed our list, and we were not able to include them. To these scholars we publicly extend our regrets. All of the authors we approached were enthusiastic about the project, and some, working in relative isolation from like-minded scholars, were surprised at the vibrancy of the broader field and the range of disciplines drawing on the arts to enhance qualitative researching theory and practices. We hope that the Handbook project served to create a sense of affiliation, encouragement, and inspiration for those authors in particular. The initial submission and revision processes were demanding and, we expect, at times, tedious; we thank authors for their patience, good will, and timely completions.

    Ninety-seven reviewers (comprising members of both advisory boards in addition to scholars nominated by contributing authors and ourselves) helped us provide detailed commentaries that encouraged and guided chapter authors. Chapter contributions were reviewed by from two to five scholars besides us. The reviewers' names are listed at the end of this section, and this project could not have come to fruition without their close work. We are indebted to them. In addition, emerging scholars associated with the Centre for Arts-Informed Research aided in making sense of the reviews and resulting revisions. Particular thanks go to Tracy Luciani for helping us organize the reviews in readiness for authors, and to Dorothy Lichtblau, Indrani Margolin, and Mary Rykov for helping us respond to chapter revisions. The saying “The devil's in the details” crops up often toward the end of a project like this. Thanks to the keen eye, diligence, technical facility, and commitment of Sara Promislow (an artist-researcher herself and member of the Emerging Scholar Advisory Board), we were able to bring the Handbook to completion.

    There are others who facilitated this project. Lisa Cuevas Shaw, acquisitions editor (Research Methods and Evaluation) at Sage Publications, recognized its potential and unwaveringly supported the project from the point at which it was merely a kernel of an idea. Her calmness and patience amid the whirl of manuscript preparation is much appreciated. Thanks to Lisa also for facilitating a smooth transition when she left Sage and put us in the very capable hands of Sean Connelly. Assuming a large project like this at midpoint is not easy; however, Sean stepped in and guided us the rest of the way with confidence, patience, and good humor. Sarah Quesenberry and Teresa Wilson and the rest of the Sage editing and production team have been fabulous to work with. Our sincere appreciation to everyone at Sage who had a hand in bringing the Handbook to fruition.

    Our hope is that the Handbook of the Arts in Qualitative Research will serve as a vehicle to inspire, challenge, support, inform, and complement the qualitative research of well-established and emerging scholars alike.

    Thanks to the Reviewers

    Sage Publications gratefully acknowledges the contributions of the following reviewers:

    • Sharon Abbey
    • Kelly Akerman
    • Michael Angrosino
    • Laura Apol
    • Carl Bagley
    • Deborah Barndt
    • Tom Barone
    • Margaret Barrett
    • Donald Blumenfeld-Jones
    • Victoria Bowman
    • John M. Budd
    • James Burns
    • Leah Burns
    • Melisa Cahnmann
    • Greg Cajete
    • Mary Beth Cancienne
    • Deborah Ceglowski
    • Kathryn Church
    • Darlene Clover
    • Chris Cocoluzzi
    • Nancy Cooley
    • Alexis Cutcher
    • Elizabeth de Freitas
    • Nancy Davis Halifax
    • C. T. Patrick Diamond
    • Tim Diamond
    • Mary Doll
    • Robyn Ewing
    • Kathleen Fitzgerald
    • David J. Flinders
    • Arthur Frank
    • Charles Garoian
    • Pariss Garramone
    • Robyn Gibson
    • Douglas Gosse
    • Lenore Hervey
    • Lekkie Hopkins
    • Marianne Hulsbosch
    • Esther Ignagni
    • Rita Irwin
    • Barbara Jago
    • Allan H. Jones
    • Carolyn Kenny
    • Dorothy Kidd
    • Jean L. Konzal
    • Carl Leggo
    • Shawn Lennie
    • Dorothy Lichtblau
    • Lesa Lockford
    • Daria Loi
    • Teresa C. Luciani
    • Abbyann Lynch
    • Brenda McConnell Gladstone
    • Anne McCrary Sullivan
    • Maura McIntyre
    • Cathy Malchiodi
    • Indrani Margolin
    • Lina Medaglia
    • Jim Mienczakowski
    • Terry Mitchell
    • Matt Myer
    • Allan Neilsen
    • Lorri Neilsen
    • Joe Norris
    • Nicholas Paley
    • Susan Paterson
    • Lynette Plett
    • Sara Promislow
    • Laurel Richardson
    • Lena Richardson
    • Robert Rinehart
    • Carole Roy
    • Robert Runte
    • Mary Rykov
    • Johnny Saldaña
    • Pauline Sameshima
    • James Sanders
    • Brooke Shannon
    • Margaret Shone
    • Moneca Sinclaire
    • Christina Sinding
    • Patrick Slattery
    • Celeste Snowber
    • Stephanie Springgay
    • Andrew Stubbs
    • Jennifer Sumsion
    • Steve Taylor
    • Suzanne Thomas
    • Tanya Titchkowsky
    • P. Bruce Uhrmacher
    • Cheryl van Daalen-Smith
    • Christine van Halen-Faber
    • Jon Wagner
    • Rob Walker
    • Sandra Weber
    • Bob Willard
    • Natalie Zur Nedden


    We dedicate this Handbook to Elliot Eisner for his inspiring leadership and scholarship, his lifelong commitment to art, and his visionary advocacy for the place of art in research.

  • About the Editors

    J. Gary Knowles and Ardra L. Cole are both professors of creative inquiry and adult learning within the Program of Adult Education and Community Development at the Ontario Institute for Studies in Education of the University of Toronto. They also are codirectors of the Centre for Arts-Informed Research (CAIR) in the Department of Adult Education and Counselling Psychology.

    Gary and Ardra have published extensively on life history, reflexive, and arts-informed research, as well as in the area of teacher education and development. Their coauthored books include: Through Preservice Teachers' Eyes: Exploring Field Experiences Through Narrative and Inquiry, Researching Teaching: Exploring Teacher Development Through Reflexive Inquiry, The Heart of the Matter: Teacher Educators and Teacher Education Reform, and Lives in Context: The Art of Life History Research. They are coeditors of The Arts-Informed Inquiry Series (Series Editor, J. Gary Knowles), which includes The Art of Writing Inquiry (2001), Provoked by Art (2004), The Art of Visual Inquiry (2007), and Creating Scholartistry (2007).

    Gary and Ardra have each helped many graduate students complete arts-informed doctoral and master's degree theses. Graduates furnished work embodying poetic, fictional, performative, and visual arts inquiry processes and forms in addressing educational and social issues. Some of Gary's other coauthored books include Emerging as a Teacher and Home Schooling: Parents as Educators. More recent inquiry work involves high school students from Ontario and Newfoundland, Canada, portraying experiences of school and community through photography and narrative.

    Gary is a water media visual artist drawn to subject matter that enables him to explore experiences and notions of self-in-context. Recent work is large scale and mural-like, focusing on the plight of the Atlantic fishery, for instance. He has exhibited in several South Pacific countries, as well as in the United States and Canada. In the 1990s Gary codirected a contemporary art gallery in Toronto that exhibited “autobiographical work situated in place.” In an earlier life in Australasia (Aotearoa New Zealand, Australia, and Papua New Guinea) and the South Pacific, he worked first in architecture and later in outdoor education. He continues to enjoy and explore the out-of-doors and is passionate about modern architecture.

    Ardra has published extensively in conventional and nonconventional academic prose and in alternative, scholarly, nonprint media throughout her career as a teacher educator and qualitative research methodologist. Ardra's ongoing research (with Maura McIntyre) on care and caregiving and Alzheimer's disease involves multimedia installation—Living and Dying With Dignity: The Alzheimer's Project; performance—Love Stories About Caregiving and Alzheimer's Disease; and the World Wide Web—Putting Care on the Map (http://www.oise.utoronto.ca/research/mappingcare). Her current writing projects include a series of research-based novellas about the teacher education professoriate, But I Want to Make a Difference and Of Dogs and Dissertations: Notes on Writing and Life. As she moves through life in the company of dogs, Ardra continues to learn about the meaning of love, loyalty, and living in the moment.

    About the Contributors

    Susann Allnutt is a doctoral candidate in the Department of Integrated Studies in Education in the Faculty of Education at McGill University, with an educational background in communications and women's studies. Her research interests center around visual studies, linking photography, remembered and current spaces, and the curriculum of public space.

    Jo-ann Archibald, Q'um Q'um Xiiem, from the Sto:lo Nation in southwestern British Columbia, is the associate dean for indigenous education, acting director of the Native Indian Teacher Education Program (NITEP), and associate professor in the University of British Columbia Faculty of Education. Jo-ann received a Bachelor of Education (BEd) degree from the University of British Columbia, and a Master's of Education (MEd) degree and Doctor of Philosophy (PhD) degree from Simon Fraser University. She is an editor of the Canadian Journal of Native Education. Formerly director of the First Nations House of Learning at UBC, she has also worked as a public school teacher and school district Aboriginal education coordinator. Her research interests relate to Indigenous knowledge systems, oral tradition, transformative education, teacher education, working with Indigenous Elders, and Indigenous methodologies. In 2000, she received a Canadian national award for her work in education from the National Aboriginal Achievement Foundation.

    Helen K. Ball, PhD, is assistant professor in the School of Social Work, Memorial University of Newfoundland, St. John's, Newfoundland and Labrador. Her research interests include feminist methodologies, language and power in clinical practice, and social constructionist family therapy. Feminist methodologies define her scholarly work and clinical practice. All of her free time is spent watching whales in the North Atlantic.

    Stephen Banks is professor at the University of Idaho, where he directs the Communication Studies Program. His research on communication and the construction of identity has appeared in many academic journals, and he has published short stories and poems in regional literary magazines. He is author or editor of three books, including Fiction and Social Research: By Ice or Fire (with Anna Banks, 1998). His current research focuses on the narrative construction of identities among expatriate U.S. and Canadian retirees who live in Mexico. He also is at work on a biography of the American adventurer–travel writer Neill James. Banks earned his PhD at the University of Southern California.

    Deborah Barndt has engaged in participatory research, popular education, and community arts with social movements in the United States, Canada, and Latin America over the past 40 years. She has published and exhibited widely, around issues ranging from women, food, and globalization to popular education and arts as cultural resistance. She currently teaches in the Faculty of Environmental Studies at York University. Her most recent edited volume, Wild Fire: Art as Activism, is a collection of essays by former students, linking art, activism, and academics.

    Tom Barone is professor of education at Arizona State University. Over 25 years ago, Barone's dissertation at Stanford University explored the possibilities of literary nonfiction within educational inquiry. Since then he has explored, conceptually and through examples, a variety of narrative and arts-based approaches to contextualizing and theorizing about significant educational issues. Barone is the author of Aesthetics, Politics, and Educational Inquiry: Essays and Examples (2000) and Touching Eternity: The Enduring Outcomes of Teaching (2001). He is also coeditor (with Liora Bresler) of the online International Journal of Education and the Arts. Barone currently teaches courses in curriculum studies and qualitative research methods in the ASU College of Education.

    Ruth Behar is the recipient of a MacArthur “genius” Award, a John Simon Guggenheim Fellowship, and a Distinguished Alumna Award from Wesleyan University. Her books include The Presence of the Past in a Spanish Village, Translated Woman: Crossing the Border With Esperanza's Story, and The Vulnerable Observer: Anthropology That Breaks Your Heart. Behar is coeditor of Women Writing Culture and editor of Bridges to Cuba. Her essay “Juban América” appeared in King David's Harp: Autobiographical Essays by Jewish Latin American Writers, and her short story “La Cortada” was selected by Joyce Carol Oates for inclusion in Telling Stories: An Anthology for Writers. Behar's poems have been published in Burnt Sugar [Caña Quemada]: Contemporary Cuban Poetry in English and Spanish, Sephardic American Voices: Two Hundred Years of a Literary Legacy, and Little Havana Blues: A Cuban-American Literature Anthology. Behar wrote, directed, and produced a feature-length documentary, Adio Kerida [Goodbye Dear Love]: A Cuban Sephardic Journey. Her forthcoming book, An Island Called Home: A Return to Jewish Cuba, is a blend of creative nonfiction and photography. She is professor of anthropology at the University of Michigan. http://www.ruthbehar.com.

    Vangie Bergum is professor emeritus at the University of Alberta. From a background in childbirth education and public health nursing, Vangie came to the field of healthcare ethics, where she worked for almost 20 years. She has published four books, numerous papers, and book chapters in areas of ethics and mothering from her research approach of hermeneutic phenomenology. Vangie completed her 5-year term as director of the Dossetor Health Ethics Centre, University of Alberta, in 2002. Her latest book, Motherlife: Studies of Mothering Experience (with Jeanne Van Zalm, 2007), includes both research studies and artistic presentations. In her retirement she continues to write, taking inspiration from the mountains and river and sustenance in living close to grandchildren.

    Donald Blumenfeld-Jones is the Lincoln Associate Professor for Ethics and Education at Arizona State University. Prior to teaching curriculum studies, he spent 20 years as a professional modern dancer, studying and dancing with the Phyllis Lamhut Dance company for 7 years, and with Alwin Nikolais, Murray Louis, and Hanya Holm, and teaching dance at Duke University, Columbia College, and University of North Carolina–Greensboro, where he earned his MFA in dance and EdD in curriculum studies. He specializes in arts-based education research, ethics, hermeneutics, and critical social theory, and has published articles and book chapters in many journals and in such books as Daredevil Research (1997) and Dancing the Data (2002). He has recently published two handbook chapters on dance: “Aesthetics Consciousness and Dance Curriculum: Liberation Possibilities for Inner-City Schools” in Encyclopedia of Urban Education (2006) and “Dance Curriculum Research” (with Sheaun-Yann Liang) in International Handbook of Research in Arts Education (2007).

    Laura Brearley is senior lecturer in the School of Education at RMIT University, Victoria, Australia, and is also a singer and songwriter. She specializes in creative approaches to research and incorporates multimedia, poetry, art, and music into her own research and into her presentations and performances. Laura coordinates the Koori Cohort of Researchers at RMIT in which a large group of Indigenous students are undertaking degrees at the master's and doctoral levels. Laura also coordinates the Creative Research Methods course at RMIT, which brings together postgraduate research students from the Schools of Education, Art, Creative Media, and Architecture and Design. Laura is the managing editor of the Creative Approaches to Research Journal, which incorporates multiple forms of text. She is currently coediting a book entitled Creative Arts Research: Narratives of Methodologies and Practice.

    Liora Bresler is professor at the College of Education at the University of Illinois at Champaign and affiliate professor in the School of Music. Most recently, she has edited the International Handbook of Research in Arts Education (2007), received the Ziegfeld USSEA Award (2006/7), and received the University of Illinois Award for Excellence in Graduate teaching at the University of Illinois. Bresler serves as an editor for the book series Landscapes: Aesthetics, Arts, and Education. She is the cofounder and coeditor of the International Journal for Arts and Education (with Tom Barone, 1999–). Bresler has written about 100 papers and chapters in leading journals of arts and education, including the Educational Researcher, Studies in Art Education, and Music Education Research. She has been invited to give keynote speeches on six continents, and has given invited talks, seminars, and short courses in thirty-some universities in Europe, Asia, North and South America, and Australia.

    Catherine Burke is senior lecturer in education at the School of Education, University of Leeds, UK. She has taught, researched, and published in the area of children's perspectives on education and is especially interested in the material culture of childhood in educational contexts. Her publications include The School I'd Like: Children and Young People's Reflections on an Education for the 21st Century, coauthored with Ian Grosvenor. She was coinvestigator alongside Jon Prosser and Judy Torrington (Sheffield University, UK) of the “View of the Child” Design 21 Research Cluster, funded by the AHRC/EPSRC in 2005.

    Lynn Butler-Kisber, BEd and MEd (McGill), EdD (Harvard), is associate professor in the Department of Integrated Studies in Education at McGill University in Montreal. She is currently the director of the Centre for Educational Leadership and of the Graduate Certificate Programs in Educational Leadership. She teaches courses on language arts, qualitative research, and teacher education. Her research and development activities focus on literacy, student engagement, leadership, professional development, and qualitative methodologies. She is particularly interested in feminist/equity issues and the role of arts-informed analysis and representation in qualitative research.

    Mary Beth Cancienne is assistant professor at James Madison University in the Department of Middle, Secondary, and Mathematics Education. She earned a PhD in curriculum and instruction from the University of Virginia. She prepares pre-service teachers by teaching courses in English methods, action research, and diversity. Her research interests and publications are in the fields of teacher education and arts-based research. She recently coedited a book and CD-ROM titled Dancing the Data and Dancing the Data Too (2002). Her other publications are located in journals such as Qualitative Inquiry, The Journal of Curriculum Theorizing, and Sex Education.

    Cynthia Chambers is professor of education at the University of Lethbridge where she teaches curriculum studies with specializations in Indigenous education and literacy. Her research focuses on Canadian curriculum studies and what has been absent in those discourses, particularly Indigenous perspectives and relationship to place, and at what cost. Her essays and stories perform a praxis of métissage, (re)tracing the biography of ideas through personal memoir/story/events as well as collective memory/history at particular places or sites of Canadian topography. Her work appears online in Educational Insights and Journal of American Association for Curriculum Studies, as well as in print in JCT: An Interdisciplinary Journal of Curriculum Studies and Canadian Journal of Education. She contributed an essay on curriculum research in Canada to W. Pinar's International Handbook on Curriculum Research (2003).

    Adrienne Chambon is professor at the University of Toronto's Faculty of Social Work. She teaches courses on intersecting narratives and on social exclusion. She has written on critical theory. She coedited Essays on Postmodernism and Social Work with Allan Irving and Reading Foucault for Social Work with Allan Irving and Laura Epstein. Her research has focused on the transformation of narrative in the therapeutic dialogue and discursive strategies in policy texts. In her current research project, “The Heuristics of Art Practices for Social Work,” she explores ways in which premodern and contemporary art practices can be articulated with social work, how art forms can expand social sciences' understanding of public space and the space of relations, the movement between documentary and fictional practices, and strategies of critique. She has also done research regarding refugees.

    Kathryn Church is associate professor in the School of Disability Studies at Ryerson University in Toronto. She teaches courses in community organizing and research methods and directs the school's affiliated research program through the Ryerson-RBC Institute for Disability Studies Research and Education. Kathryn uses interpretive methods that are sensitive to the subjectivities of researcher and researched, and is attentive to insider/outsider relations across identities and communities. Her practice is an experiment in fusing (institutional) ethnographic studies of ruling with arts-informed methods of writing (narrative, autobiography) and knowledge dissemination (installation.)

    Lotte Darsø, associate professor at Learning Lab Denmark at the Danish University of Education, is researcher, consultant, lecturer, and author. Her main areas of interest are creativity and innovation as well as arts-in-business. She designs and develops Collaborative Learning Labs (CoLLabs) with public and private organizations doing “Mode 2” research on the learning potential of the interplay between arts and organizations. Lotte is cocreator of the master's degree program LAICS: Leadership and Innovation in Complex Systems (see http://www.laics.net) and is part of the core faculty. She also works as advisor for several industrial PhD students within the areas of creativity, innovation, design, and change processes. Lotte has published two books, Innovation in the Making (2001) and Artful Creation: Learning-Tales of Arts-in-Business (2004). In May, 2000, she was awarded the Danish industrial PhD prize, and in 2004 she was invited to the World Economic Forum meeting in Davos as a discussion leader and panelist.

    Alex F. de Cosson, PhD (University of British Columbia), has worked as a professional sculptor exhibiting nationally and internationally for over 25 years. Alex has an MFA from York University and was on the faculty at The Ontario College of Art and Design between 1989 and 2006; he currently teaches at The Emily Carr Institute of Art + Design and is presently artist-in-residence and artist coordinator for the Teaching From the Heart Cohort and sessional instructor at the University of British Columbia, where he has taught in the Curriculum Studies Department since 1999. In 2004 he was coeditor, with Dr. Rita L. Irwin, of A/r/tography: Rendering Self Through Arts-Based Living Inquiry. He has been awarded numerous grants, including The Canada Council, The Ontario Arts Council, and The BC Arts Council. Alex was awarded the Gordon and Marion Smith Award for Excellence in Art Education, from UBC's Curriculum Studies Department, in 2003.

    Elizabeth de Freitas teaches in the Ruth S. Ammon School of Education at Adelphi University and in the Faculty of Education at the University of Prince Edward Island. She has published papers in Educational Studies in Mathematics, Teaching Education, The International Journal of Education and the Arts, Language and Literacy: A Canadian Educational E-journal, The Journal of the Canadian Association of Curriculum Studies, and Interchange: A Quarterly Review of Education. She has also contributed a number of chapters to books about arts-informed research practices. Her current research interests include critical mathematics education, theories of identity, and research methodology.

    Norman K. Denzin is professor of communications, sociology, and humanities at the University of Illinois, Urbana-Champaign. Editor of Studies in Symbolic Interaction: A Research Journal and The Sociological Quarterly, Dr. Denzin is the author of numerous books. He is the recipient of two awards from the Society for the Study of Symbolic Interaction: The Cooley Award in 1988 and the George Herbert Mead Award for lifetime contribution to the study of human behavior in 1997.

    C. T. Patrick Diamond is professor emeritus, Ontario Institute for Studies in Education, University of Toronto. Pat was involved with 90 dissertations on arts-based narrative inquiry, teacher educator development, and qualitative research, and led arts-based institutes in Canada, Brazil, Jamaica, and Hong Kong. Pat has published many works, including the books Teacher Education as Transformation (1991) and The Postmodern Educator (with C. A. Mullen, 1999). He was an associate editor for Curriculum Inquiry. Christine van Halen-Faber and he were founding coeditors for its Special Series on Arts-Based Educational Research. Pat has returned to Australia where he had spent a sabbatical year at the University of Sydney. He has an appointment at Griffith University (Brisbane) where he is a research consultant for the publications and grant applications of the Faculty of Education. He was a member of its external review team in 2006.

    Dwayne Donald is a PhD candidate in secondary education at the University of Alberta. His work focuses on Aboriginal curriculum perspectives and their intersection with Western perspectives.

    June Yennie Donmoyer, a National Board certified teacher, taught in middle and secondary schools for 19 years. Currently, she is helping teachers in an Austin, Texas, high school design and implement action research initiatives. In the late 1990s, she was the only classroom teacher selected by the Indonesian Ministry of Education to serve on a team of international scholars set up to explore the potential of using collaborative action research in Indonesian schools. She coauthored The International Handbook of Action Research for Indonesian Educators. June also has served as a literacy consultant in the San Diego city schools and on the Navajo reservation in Monument Valley, Utah. With her husband and coauthor for the chapter included in this volume, June has explored the potential of using readers' theater both as a pedagogical technique and as a method for displaying qualitative research data. She has written about the technique in papers published in such journals as Educational Inquiry and The International Journal of Qualitative Studies in Education.

    Robert Donmoyer is currently professor of leadership studies and the codirector for the Center for Applied Nonprofit Research at the University of San Diego. Previously he served for 20 years as a professor and administrator at Ohio State University. His scholarship has focused on issues related to research utilization and the implications of the post-positivist critique for using empirical research in policymaking and practice. His research agenda has included developing and/or exploring various strategies for collecting, analyzing, and displaying qualitative data, including the readers' theater data display technique discussed in the chapter he coauthored for this volume. His paper “Take my Paradigm … Please! The Legacy of Kuhn's Construct in Educational Research” was recently published by The International Journal of Qualitative Research, and he authored chapters on qualitative methods and research utilization issues for the most recent editions of two American Educational Research Association handbooks, one focused on research teaching and the other on research on educational administration.

    Elliot Eisner is the Lee Jacks Professor of Education and professor emeritus of art at Stanford University. He was trained as a painter at the School of the Art Institute of Chicago, and studied design at the Illinois Institute of Technology's School of Design. He received his PhD from the University of Chicago. Professor Eisner has long been interested in the relationship of the arts to the development of human intelligence. He has advanced the argument that qualitative considerations pervade not only what we call the fine arts, but the events that populate our daily activities, thus cultivating what can be regarded as a qualitative form of intelligence ought to be a high priority in our schools. Professor Eisner has served as president of the John Dewey Society, the American Educational Research Association, the International Society for Education through Art, and the National Society for the Study of Education. He is a fellow of the Norwegian Society of Arts and Letters and a fellow of the Royal Academy in the United Kingdom. In the United States, he is a member of the National Academy of Education. He is the recipient of six honorary doctorates, two of which were awarded by foreign universities.

    Carolyn Ellis is professor of communication and sociology at the University of South Florida. She is the author of Fisher Folk: Two Communities on Chesapeake Bay, Final Negotiations: A Story of Love, Loss, and Chronic Illness, The Ethnographic I: A Methodological Novel About Autoethnography, and numerous edited collections and articles. Carolyn is interested in interpretive and artistic representations of qualitative research, in particular personal narratives. When she's not writing or teaching, she usually can be found sitting on the deck of her North Carolina mountain cabin or hiking in the woods with her partner, Art Bochner, and their dogs, Buddha and Sunya.

    Susan Finley is associate professor of education at Washington State University and director of the At Home At School (AHAS) Program. She makes her home at the Vancouver campus of WSU, near Portland, Oregon. She bases her pedagogy and inquiry in arts-based approaches to understanding social and cultural issues in educational contexts. She is an activist who has implemented educational efforts with people living in tent communities, street youths, and economically poor children and their families, housed and unhoused. Her research has taken the forms of drama, poetry, and collage and includes presentations in numerous events and exhibits. She is author of more than 30 scholarly articles and book chapters that address issues of representation in qualitative inquiry. Recent projects include creation of the interactive At Home At School multimedia toolkit (Digital video/DVD-ROM).

    Dianne Godkin has worked as a clinical ethicist with the Centre for Clinical Ethics (a shared service of Providence Healthcare, St. Joseph's Health Centre, and St. Michael's Hospital) since completing a postgraduate Clinical Ethics Fellowship with the University of Toronto Joint Centre for Bioethics in August 2003. Her role includes consultation, education, policy, and research ethics. Her prior education includes doctoral and master's degrees in nursing from the University of Alberta and a bachelor of science in nursing from the University of Western Ontario. Dianne has a particular research interest in end-of-life decision making and advance care planning in the older adult population that grew out of her clinical experiences in acute and long-term care settings. Outside of the work environment, her passions include music, travel, spending time with family, and playing with her two cats, Clio and Calliope.

    Ross Gray is a consultant psychologist and social scientist at Sunnybrook Health Sciences Centre in Toronto, as well as associate professor in the Faculty of Medicine at the University of Toronto. He has worked with people with cancer for the past 20 years. Known as an innovator in the representation of qualitative social science research, Ross has developed research-based dramas and storytelling performances about cancer experiences and issues.

    Erika Hasebe-Ludt is associate professor of teacher education in the areas of language and literacy education (English Language and English as a Second/Other Language) and curriculum theory and practice in the Faculty of Education, University of Lethbridge, Alberta, Canada. Her background is in interdisciplinary studies in linguistics, literature, and cultural studies. Her current teaching and research focus on local and global literacies and discourses of teaching. Collaboratively and individually, she investigates questions about the place of life writing and other auto/biographical texts in cosmopolitan educational settings. She uses interpretive hermeneutical frameworks to better understand the role of languages and cultures in education and the social sciences. She works with teachers to investigate their own practices and to advocate inclusive discourses for communicating across and between languages and cultures, genres, and disciplines. She is coeditor of Curriculum Intertext: Place/Language/Pedagogy (2003).

    Graham E. Higgs is associate professor of psychology and education at Columbia College of Missouri where he finds great joy in teaching and engaging with colleagues and students in critical and creative thinking. He has been involved in qualitative research and the arts for many years, using the arts in therapy, in the classroom, and in valuing creative processes as emancipatory and transformative. Professor Higgs creates cross-disciplinary courses and applies creative research methods in teaching and evaluating learning outcomes. He has an abiding interest in ethics and in the deliberative democratic process of creating community agreements and has found that the arts can play an important role in finding meaningful and authentic solutions to human dilemmas.

    Lekkie Hopkins is a feminist scholar and coordinator of women's studies in the School of International, Cultural, and Community Studies at Edith Cowan University in Perth, Australia. She is an oral historian, archivist, and literary critic, with research interests in the history of social protest, collective biography, feminist pedagogy, and feminist research methodologies.

    Wanda Hurren is a researcher/poet/photographer/mapmaker who writes “snapshots” of everyday life, with a focus on notions of place and identity. Her mapwork has been published in Gender, Place, and Culture: A Journal of Feminist Geography, Canadian Women's Studies, Canadian Journal of Prairie Literature, and in Fast Forward: Saskatchewan's New Poets. She is the author of Line Dancing: An Atlas of Geography, Curriculum, and Poetic Possibilities (2003) and a coeditor of Curriculum Intertext: Place/Language/Pedagogy. She is associate professor of curriculum studies at the University of Victoria in British Columbia, Canada.

    Esther Ignagni is assistant professor in the School of Disability Studies at Ryerson University, Toronto, Canada, and is completing her doctorate in public health sciences at the University of Toronto. Her research and teaching in the area of disability, the body, and youth extensively draw on arts-informed methodologies. She is interested in how dialogue works as a form of knowledge production, especially in inquiry and writing processes. Esther especially appreciates the creative expressions of others.

    Rita L. Irwin is professor of curriculum studies and art education and associate dean of teacher education at the University of British Columbia, Vancouver, Canada. Prior to becoming associate dean in 2005, she was the head of the Department of Curriculum Studies for 6 years. Her research interests have spanned in-service art education, teacher education, socio-cultural issues, and curriculum practices across K-12 and informal learning settings. Rita publishes widely, exhibits her artworks, and has secured a range of research grants, including a number of Social Science and Humanities Research Council of Canada grants to support her work in Canada, Australia, and Taiwan. Her most recent coedited books include Curriculum in a New Key: The Collected Works of Ted T. Aoki (coedited with William F. Pinar), StARTing With … (coedited with Kit Grauer), and A/r/tography: Rendering Self Through Arts-Based Living Inquiry (coedited with Alex de Cosson).

    Valerie J. Janesick, PhD, is professor of educational leadership and policy studies, University of South Florida, Tampa. She teaches classes in qualitative research methods, curriculum theory and inquiry, foundations of curriculum, ethics and educational leadership, and program evaluation. She has recently completed the text Authentic Assessment: A Primer (2006). Oral History for the Qualitative Researcher: Choreographing the Story will be published in 2007. Her text Stretching Exercises for Qualitative Researchers (2004) uses dance as a metaphor for understanding the design and interpretation of qualitative methods.

    Janice Jipson is professor of interdisciplinary studies in curriculum at National Louis University. She is one of the founders of the Reconceptualizing Early Childhood Education Special Interest Group and is editor of the series Rethinking Childhood Education. She has written extensively about narrative and arts-based research, including several books: Daredevil Research: Re-Creating Analytic Practice with Nicholas Paley, Resistance and Representation: Rethinking Early Childhood Education with Richard Johnson, and Questions of You and the Struggle of Collaborative Life, also with Nicholas Paley. Her professional interests include curriculum theory, the history of early childhood education, and research issues related to identity, intersubjectivity, and research representation.

    Kelli Jo Kerry-Moran received her BA and MA in theatre arts from Brigham Young University and her PhD in Education from Iowa State University, where she completed an arts-based dissertation. Former positions include coordinator of institutional research for Eastern Arizona College and adjunct faculty for Northern Arizona University. Kelli is assistant professor in the Professional Studies in Education Department of Indiana University of Pennsylvania and the coordinator of an urban-focus collaborative elementary education program between Indiana University of Pennsylvania and the Community College of Allegheny County. Her primary research interests include creative drama, arts integration, and research methodology.

    Sylvia Kind is a recent PhD graduate and instructor in the Department of Curriculum Studies at the University of British Columbia. She is an artist, researcher, and teacher interested in artistic practice as inquiry, the autobiographical text of teaching, and in the silent and inarticulate spaces of curriculum.

    Thomas King holds a PhD in English/American studies from the University of Utah and has taught Native studies at universities in Utah, California, Minnesota, and Alberta for the past 25 years. He is currently associate professor of English (teaching Native literature and creative writing) at the University of Guelph, Ontario, Canada. His widely acclaimed novels include Medicine River, Green Grass, Running Water, and Truth and Bright Water, and he has been nominated for the Governor General's Award as well as the Commonwealth Writer's Prize. He is the editor of All My Relations: An Anthology of Contemporary Canadian Native Fiction and coeditor of The Native in Literature: Canadian and Comparative Perspectives. He's also well known as the creator and writer of the very popular Canadian Broadcasting Corporation radio series The Dead Dog Café. Thomas King's father was Cherokee, his mother is Greek, and he is the first scholar of Native descent to deliver the prestigious Massey Lecture Series at the University of Toronto.

    Carl Leggo is a poet and professor in the Department of Language and Literacy Education at the University of British Columbia, where he teaches courses in English language arts education, creative writing, narrative research, and postmodern critical theory. In addition to degrees in English literature, education, and theology, he has a master's degree in creative writing. His poetry and fiction and scholarly essays have been published in many journals in North America and around the world. He is the author of three collections of poems: Growing Up Perpendicular on the Side of a Hill, View From My Mother's House, and Come-By-Chance, as well as a book about reading and teaching poetry: Teaching to Wonder: Responding to Poetry in the Secondary Classroom.

    Troy R. Lovata earned a doctorate in anthropology from the University of Texas, with a focus on the visual presentation of archaeological research and the public presentation of prehistory in comic books. He was senior lecturer in the University of Texas's Technology, Literacy, and Culture Program and is now assistant professor in the University Honors Program at the University of New Mexico. Dr. Lovata also serves by appointment of the mayor on the Albuquerque Public Arts Board, the entity that oversees the city's extensive collection of public art. His recent book, Inauthentic Archaeologies: Public Uses and Abuses of the Past, is available from Left Coast Press and he has produced two short, animated films about the work of archaeology for The Archaeology Channel/The Archaeological Legacy Institute.

    Maura McIntyre is adjunct professor at the Ontario Institute for Studies in Education of the University of Toronto. She is a founding member of the Centre for Arts-Informed Research at OISE/UT and has published and presented in a variety of alternative representative forms. Together with Ardra Cole, Maura is working on a large-scale program of research about care and caregiving and Alzheimer's disease. Information about the current project, Putting Care on the Map: Portraits of Care and Caregiving Across Canada, can be found at http://www.oise.utoronto.ca/research/mappingcare. Maura makes her home on the Toronto Islands with her family.

    Christine McKenzie is a doctoral student in adult education and community development at the Ontario Institute for Studies in Education. She teaches qualitative research methods part-time at the Faculty of Environmental Studies at York University and conducts community-based research training workshops at the Wellesley Institute in Toronto. She is a research collaborator in York University's Social Sciences and Humanities Research Council participatory action research project on popular arts and social change in the Americas, where her work focuses on training artists to engage communities in knowledge production and action. Her work has appeared in Wild Fire: Art as Activism and journals such as Convergence and WANI. In her current research she focuses on women's critical learning in nonformal education programs.

    Shaun McNiff, the dean of Lesley College and university professor at Lesley University in Cambridge, Massachusetts, is an internationally recognized figure in the areas of the arts and healing and the author of many books that include Art Heals; Trust the Process: An Artist's Guide to Letting Go; Art as Medicine; Creating With Others: The Practice of Imagination in Life, Art, and the Workplace; Art-Based Research; Depth Psychology of Art; and The Arts and Psychotherapy. Dr. McNiff is a past president of the American Art Therapy Association, and he has published widely on art-based research after studying with Rudolf Arhheim in the early 1970s. He teaches and lectures throughout the United States, Canada, Europe, and Israel, and is considered by many to be the founder of integrated expressive arts therapy, having established the first graduate program in this area and then supporting the development of other programs throughout the world.

    Jim Mienczakowski's research has involved the exploration of arts-informed qualitative research as a means of deepening and widening the impacts of qualitative (ethnographic) narrative methodologies. Working with transdisciplinary teams of psychologists, nurse educators, and theatre and arts practitioners, he has established a multidimensional approach to both education and reflexive ethnography through ethnodrama. Jim has taught in the UK, West Indies, and Australia and has been a deputy vice-chancellor (academic and research) in two Australian universities. He is currently Head of Higher Education at the Abu Dhabi Education Council, United Arab Emirates.

    Claudia Mitchell is a James McGill Professor in the Faculty of Education, McGill University. Her research interests include girlhood studies, teacher identity, and youth participation in the context of HIV and AIDS. She is a cofounder of the Centre for Visual Methodologies for Social Change at the University of KwaZulu-Natal, South Africa.

    Teresa Moore is senior lecturer in the Faculty of Arts, Humanities, and Education at Central Queensland University (CQU). She has a number of postgraduate doctoral and master's degree students. Her PhD, completed in 2004, was a transdisciplinary study concerning the changing nature of the academic workplace where issues of globalization, gender, and technology influenced workplace interaction. Dr. Moore also provided executive research support for the Chair of the Ministerial Advisory Committee for Education Renewal (MACER) in Queensland, Australia. She is a member of the CQU Human Ethics Research Committee. Her research interests include the contemporary workplace, identity, and performance and the “regional/rural” space.

    Lorri Neilsen (who also publishes as Lorri Neilsen Glenn) is professor of education at Mount Saint Vincent University in Halifax, Nova Scotia, Canada. The author, editor, and coeditor of six scholarly books on literacy and research, she is also author of two books of poetry and a chapbook. Neilsen's courses in feminist inquiry, lyric inquiry, and ethnography have been held at her home university, as well as in settings across Canada, and in Australia, New Zealand, and Ireland. Neilsen Glenn's poetry and research have earned North American and international awards. She is currently completing a book of essays on grief and loss, and editing a collection of women's writing. She lives in Halifax where she is serving a 4-year term as Halifax poet laureate.

    Jeff Nisker is professor of obstetrics-gynaecology and oncology and coordinator of health ethics and humanities in the Schulich School of Medicine and Dentistry, University of Western Ontario. His research interests center on the use of theatre as a citizen deliberation tool for health policy development, particularly regarding reproductive and genetic technologies, and their impact on concepts of “health” and “disease.” Jeff has written many scientific articles and book chapters, as well as six plays and many short stories to explore ethical issues and promote compassionate health care. He has also edited or coedited collections of stories, poems, and plays of health care students and professionals to this end. His national positions have included cochair of Health Canada's Advisory Committee on Reproductive and Genetic Technology, Executive Canadian Bioethics Society, National Council of Ethics in Human Research, Royal College of Physicians and Surgeons' Ethics and Equity Committee, and editor-in-chief of the Journal of Obstetrics and Gynaecology Canada.

    Antoinette Oberg taught graduate courses in curriculum theory and interpretive inquiry at the University of Victoria (British Columbia) for three decades. An independent scholar since 2005, Dr. Oberg continues her research on imaginative, personal, and reflective narrative writing and its value for both her own and students' inquiries. Dr. Oberg was awarded the University of Victoria's Alumni Teaching Award (1995) and the Canadian Association for Curriculum Studies Ted T. Aoki Award for Distinguished Service within the Field of Curriculum Studies (2005). Her articles and essays appear in periodicals such as Educational Insights, Curriculum Inquiry, Journal of Curriculum Studies, Journal of Curriculum and Supervision, Phenomenology + Pedagogy, JCT: An Interdisciplinary Journal of Curriculum Studies, Peabody Journal of Education, and Theory Into Practice, as well as in Wanda Hurren and Erika Hasebe-Ludt's Curriculum Inter-Text.

    Nicholas Paley is professor of curriculum and educational foundations and an honors professor in the liberal arts at George Washington University. His books include Finding Art's Place: Experiments in Contemporary Education and Culture, Daredevil Research: Re-Creating Analytic Practice (with Janice Jipson), and The Period of Self-Education and the Arts: Projects, Essays, Interviews (with Tadashi Kawamata and Takaaki Kumakura). He is the author of numerous articles on literature and curriculum, artistic practice and collaboration, and representation and self-representation in educational life.

    Ronald J. Pelias teaches performance studies in the Department of Speech Communication at Southern Illinois University, Carbondale. His most recent books are Writing Performance: Poeticizing the Researcher's Body and A Methodology of the Heart: Evoking Academic and Daily Life.

    Sara Promislow, PhD, is an independent scholar and member of the Centre for Arts-Informed Research at the Ontario Institute for Studies in Education of the University of Toronto. She is editor of arts-informed, the Centre's online publication, and coeditor of the fourth volume of the arts-informed inquiry series Creating Scholartistry: Imagining the Arts-Informed Thesis or Dissertation (in press). Sara is a collage scholartist and educational researcher. Her research explores the immigrant and refugee experience in and through languages, cultures and identities, minority bilingualism and biculturalism, and arts-informed research methods.

    Jon Prosser is director of international education management at Leeds University, UK. He is also director of the Building Capacity in Visual Methods project, which is part of the Researcher Development Initiative (ESRC) and a coapplicant of Real Life Methods, a Node of the National Centre for Research Methods (ESRC).

    Janice Rahn is interdisciplinary in her research and teaching. She writes about the poetics and politics of popular culture with implications for education. Her book Painting Without Permission: An Ethnographic Study of Hip Hop Graffiti Culture was published in 2002. She made five documentary videos about the many subcultures within hip-hop culture. Rahn published several articles about media and the social construction of identity and new media as an art material. She collaborated on artist-in-the-school projects and made videos about the process. Rahn's art practice has been mainly audio/video art installations that have been shown across Canada in places such as the Banff Centre, Edmonton, and Ottawa art galleries. She teaches courses in the Education and Fine Arts Faculties at the University of Lethbridge. She is currently editing a book on new media, writing chapters on video artists, and teaching video sketchbook.

    Robert Runte is associate professor in the Faculty of Education at the University of Lethbridge where he teaches courses in student evaluation, sociology, and research methodologies. His current research interests include the impact of emergent communication technologies on youth culture, on avocational subcultures, on work/family balance of professional level labor, and on research methodology. For example, he is currently investigating the nature and salience of references to schooling in adolescent blogs, and is collaborating with his wife, Dr. Mary Runte, on how cell phones and the Internet have contributed to long hours culture and the blurring of the work/home boundary. He is also editing a university text on Canadian science fiction and fantasy that will illustrate the various theoretical approaches to English literature. Dr. Runte's Web page is http://www.edu.uleth.ca/∼runte.

    Johnny Saldaña is professor of theatre and associate director for the School of Theatre and Film in the Katherine K. Herberger College of Fine Arts at Arizona State University (ASU) where he has taught since 1981. His books include Longitudinal Qualitative Research: Analyzing Change Through Time (2003), a research methods book and recipient of the 2004 Outstanding Book Award from the National Communication Association's Ethnography Division; and an edited collection of plays, Ethnodrama: An Anthology of Reality Theatre (2005). His ethnodramatic adaptation Finding My Place: The Brad Trilogy appears in Harry F. Wolcott's Sneaky Kid and Its Aftermath: Ethics and Intimacy in Fieldwork (2002). Saldaña is a recipient of the American Alliance for Theatre and Education's 1996 and 2001 Research Awards, and the ASU Herberger College of Fine Arts Distinguished Teacher of the Year Award in 1995 and Research Award in 2005.

    Karen Scott-Hoy is an independent scholar who resides in the beautiful wine district of the Barossa Valley, South Australia. Combining her love of the arts with her desire to always “dig deeper” into issues she encounters in her work as a health educator, mother, and rural community member, she uses the medium of painting to re-enter, explore, and portray her experiences, developing an evocative arts-based autoethnography that seeks to challenge, inspire, and ask new questions.

    Christina Sinding is assistant professor at McMaster University, jointly appointed to the Department of Health, Aging, and Society and the School of Social Work. Her research and teaching focus on health and social justice (or, more accurately and more often, illness and social injustice). Her current research is with and about people with cancer and their families and supporters. She works in interpretive and critical traditions, foregrounding the meanings research participants assign to their experiences and examining their accounts with reference to health and social systems. She is interested in innovative—particularly arts-informed—knowledge exchange (both doing it, and taking it as an object of study).

    Andrew C. Sparkes is professor of social theory and director of the Qualitative Research Unit in the School of Health and Sport Sciences, Exeter University, Exeter, England. Research interests include performing bodies, identities, and selves; interrupted body projects and the narrative reconstruction of self; sporting auto/biographies; and the lives of marginalized individuals and groups. He is drawn toward qualitative methodologies as a way of exploring these interests and seeks to represent his findings using multiple genres.

    Stephanie Springgay is assistant professor of art education and women's studies at Penn State University. Her research and artistic explorations focus on the body and in particular on issues of relationality and an ethics of embodiment. In addition, as a multidisciplinary artist working with installation and video-based art, she investigates the relationship between artistic practices and methodologies of educational research through a/r/tography. She recently coedited the book Curriculum and the Cultural Body with Debra Freedman.

    Graeme Sullivan is chair of the Department of Arts and Humanities, Teachers College, Columbia University and associate professor of art education. His research focuses on the investigation of critical-reflexive thinking processes and creative methods of inquiry in the visual arts. These ideas are described in his book Art Practice as Research: Inquiry in the Visual Arts (2005). He has published widely in the field of art education, and in 1990 he was awarded the Manual Barkan Memorial Award by the National Art Education Association (NAEA) for his scholarly writing, and he received the 2007 Lowenfeld Award for distinguished contribution to art education. Graeme is the former senior editor of Studies in Art Education, the research journal of the NAEA. He maintains an active art practice, and his Streetworks have been installed in several international cities and sites over the past 10 years (http://www.streetworksart.com).

    Christine van Halen-Faber is principal of Covenant Canadian Reformed Teachers College, Hamilton, Ontario, and works as an independent scholar out of the Center for Teacher Development, Ontario Institute for Studies in Education, University of Toronto. Her research interests focus on arts-based narrative inquiry, teacher(-educator) development, and forms of qualitative research. She is particularly intrigued by the presence of architectural elements in writing. Christine pursues artful pathways of inquiry into self/other using visual and literary forms, and derives much sustaining joy and inspiration from exploring museums, art galleries, and libraries. Her PhD dissertation, Seeing Through Apples: An Arts-Based Exploration Into the Ethics and Aesthetics of a Teacher-Educator-Researcher's Arts-Based Beginnings, was awarded the Canadian Association for Teacher Education 2004 Dissertation Award. Christine has published numerous book chapters and peer-reviewed articles, including editorials in CurriculumInquiry. C. T. Patrick Diamond and she were founding coeditors for its Special Series on Arts-Based Educational Research.

    Sandra Weber is professor of education at Concordia University, Montreal, where she teaches courses on image-based research methodologies, children's toys and popular culture, media literacy, gender, and everyday uses of digital technologies. Codirector and founder of the Image and Identity Research Collective (see http://www.iirc.mcgill.ca), her passions include arts-based visual methods, the roles and significance of clothing and the body, and searching for ways to involve children more actively in research. One of her primary goals is to make research less hierarchical, more interdisciplinary, and more accessible to the public through film, performance, art installations, and collaborations with others. Dr. Weber is author or coeditor of five books: That's Funny, You Don't Look Like A Teacher: Interrogating Images and Identity in Popular Culture; Reinventing Ourselves as Teachers: Beyond Nostalgia; Just Who Do We Think We Are? Arts-Based Methodologies for Self-Study; Not Just Any Dress: Explorations of Dress, Identity, and the Body; and Growing Up Online: Children and Technology, as well as over a hundred articles and book chapters.

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