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This paper explores bricolage as a qualitative approach to research. Imbued by the broadly linguistic 'bricolage' described by Lévi-Strauss (1962), modern bricolage, as a qualitative research methodology, is best defined by Denzin and Lincoln (2005) as "a complex, dense, reflexive collage-like creation that represents the researcher's images, understandings and interpretations of the world or phenomenon under analysis" (p. 6). It is now regarded as a methodology for professional practice research, including creative studies. It seeks to free bricolage from charges of being "undisciplined" (Roberts, 2018, p. 1), mix-and-match and random (Kincheloe, 2001), and even schizophrenic (Deleuze & Guattari, 1987). Our exploration focuses on several features of the methodology: its ability to incorporate and allow eclecticism, multiplicity and diversity of practice; its alignment with a transdisciplinary approach, and its concordance with a portfolio method of curating collections of outputs. As a methodology of emergence, it is tolerant of the stop-start nature of practitioner research we recognise from the tenuous age of COVID-19. It holds possibilities for learners and for mentors.

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