Introduction.

Criado, Tomás Sánchez; Estalella, Adolfo

doi:10.2307/j.ctvw04cwb.6

Cited by 15 publications

(4 citation statements)

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“…In cases where actual collaborations between artists and anthropologists are recounted, these typically foreground examples where artists or creative practitioners are positioned as research subjects (i.e., anthropologists making studies “of” the contemporary art world or exhibition-making), or anthropologists taking on more artistic roles in ethnographic fieldwork. Descriptions of collaboration between anthropologists and “those formerly described as informants” (Criado & Estalella, 2018, p. 10) or their fieldwork “counterparts” (Martínez, 2021, p. 50) capture these approaches.…”

Section: Discussion: Blending Practice and Conceptualizing Collaborationmentioning

confidence: 99%

“…8–18). Existing literatures have raised such questions by considering peer-to-peer academic teamwork (e.g., Bassett, 2012; Paulus et al, 2010; Spiller et al, 2015), co-writing (e.g., Alexander & Wyatt, 2018), and collaborative partnership between qualitative researchers and participants (e.g., Criado & Estalella, 2018). Yet, there remains a lack of sustained discussion on collaboration, and, more specifically, collaboration between creative practitioners and academic researchers.…”

Section: Introductionmentioning

confidence: 99%

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Arts–Research Collaboration: Reflections on Collaboration as Creative Method

Morgan

Castle²

2023

Qualitative Inquiry

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What is arts–research collaboration and how does it work? What does arts–research collaboration as method for qualitative inquiry do? What is the effect of collaboration on creative practice and academic research? Drawing on a collaboration between an anthropologist and an artist, this article addresses a surprising lack of qualitative inquiry into collaboration between creative practitioners and academic researchers. By recounting how the authors developed and used collaboration as method, the article identifies and analyzes underpinning qualities of how they worked together through arts–research activities. It advances existing debate by agitating for more theoretically grounded accounts of collaboration, including those that take a processual view on making and creativity to argue for considering collaboration, itself, to be materials from which creative practice and outputs emerge.

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Section: Discussion: Blending Practice and Conceptualizing Collaborationmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Arts–Research Collaboration: Reflections on Collaboration as Creative Method

Morgan

Castle²

2023

Qualitative Inquiry

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“…The overarching philosophy of collaborative reflexivity is a joint approach between researchers and participants to understanding and articulating the ‘structuring structures’ (Bourdieu, 1984: 170) of participants’ ‘lifeworlds’ (Kraus, 2015) which contextualise the data and shape conceptualisation of what is observed. In collaborative reflexivity, including approaches like video-reflexive ethnography (Iedema et al, 2013), participants move from research subject to epistemic partner, promoting their ways of knowing in processes of sense-making (Criado and Estalella, 2018) and drawing emic and etic positioning and understandings of data together (McNess et al, 2015). At the same time, the reflexivity of the researcher becomes less distanced and discipline-framed, and the resulting work can better negotiate the tightrope between applied and theoretical legitimacy (Bieler et al, 2021).…”

Section: Collaboration Reflexivity and ‘Impact’: New Ethnographic Idealsmentioning

confidence: 99%

A catalyst for change: Developing a collaborative reflexive ethnographic approach to research with hospital doctors during the COVID-19 pandemic

Creese

Byrne

Olson

et al. 2022

Methodological Innovations

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The understanding of what ethnography looks like, and its purpose, is continuously evolving. COVID-19 posed a significant challenge to ethnographers, particularly those working in health-related research. Researchers have developed alternative forms of ethnography to overcome some of these challenges; we developed the Mobile Instant Messaging Ethnography (MIME) adaptation to ethnography in 2021 to overcome restrictions to our own research with hospital doctors. However, for ethnographic innovations to make a substantial contribution to methodology, they should not simply be borne of necessity, but of a dedicated drive to expand paradigms of research, to empower participant groups and to produce change – in local systems, in participant-collaborators and in researchers and the research process itself. In this paper, we reflect on our experiences using MIME, involving collaborative remote observation and reflection with 28 hospital doctors in Ireland from June to December 2021. After reviewing literature on ethnography in COVID-19 and general epistemological developments in ethnography, we detail the MIME approach and illustrate how MIME presents an evolution of the ethnographic approach, not only practically but in terms of its reflexive shift, its connected and co-creative foundations, and its ability to drive change in research approaches, participant life-worlds and real-world improvement.

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“…An important, related project expectation was our wish and need to collaborate with local partners and stakeholders. ‘Collaboration’ is a paramount criterion in the literature on research interventions that we drew upon, in which ‘ethnography occurs through processes of material and social interventions that turn the field into a site for epistemic collaboration’ (Criado and Estalella, 2018: 2). This is linked to ideals of democratic, fair and ethical research designs in which field interlocutors – no longer cast as mere ‘informants’ as in earlier ethnographic traditions – take part in the design and experimentation in the field (see e.g.…”

Section: Heritage Innovation Collaborationmentioning

confidence: 99%

Invasive materialities: War bunkers as disturbing nodes of collaboration

Daugbjerg

2022

Journal of Material Culture

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This article discusses the qualities and affordances of the remaining World War II bunkers still found along Europe's Western coastline. Drawing on ethnographic and historical material from a Danish section of the line, and on my involvement in establishing an alternative film festival among these ruins, I explore the bunkers as ‘invasive’ materialities, that is, externally imposed structures, still conceived in various ways as foreign, intrusive or out of place. The bunkers continue to disturb the status quo, prompting different kinds of responses – of opposition and consternation but also certain kinds of allure and fascination. With the film festival as the main case, I trace the bunkers as products of various kinds of collaboration and as natural-cultural amalgams around which questions of protection, ownership, and rights come to matter, socially and materially. I argue that an ‘invasive’ analytics may further our understanding of the different relationships and agencies involved in these dynamics.

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Introduction.

Cited by 15 publications

References 0 publications

Arts–Research Collaboration: Reflections on Collaboration as Creative Method

Arts–Research Collaboration: Reflections on Collaboration as Creative Method

A catalyst for change: Developing a collaborative reflexive ethnographic approach to research with hospital doctors during the COVID-19 pandemic

Invasive materialities: War bunkers as disturbing nodes of collaboration

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