John J. Guiney Yallop, PhD

Acadia University, Wolfville NS Canada

Philosophy statement:
I write poetry to get closer to an experience, to bring me and the reader or listener into an experience, to live the experience, to even understand, emotionally, intellectually, physically and spiritually, the experience.

Art Form: 
I’m a poet. I use poetic inquiry as my form of research, to discover or create as well as to represent. 

Why did you choose that art form? 
As a young man, I wrote poetry to understand my emotions, to get them outside of me where I could see them. Later in my life, I wrote less poetry. When I started my doctoral dissertation, I reawakened the poet.

This is the cover of my book Of Place and Memory; it is based on my doctoral research,
and is available from the Acadia University Bookstore.

How did you find out about the ABRN?
Since coming to Acadia University in 2008, I’ve wanted to start an arts-based research group. The invitation to have coffee with Cathy Morley, shortly after she arrived at Acadia, was inspiring and energizing. With Cathy and two other members of the Acadia University community (Laurie Dalton and Paula Rockwell), I am delighted to be one of the founding members of the Arts-based Research Network.

What inspires your work? 

Life inspires me.

Why did you choose to present your research findings using an art form?
Why not? When I do research, I pay careful attention to what I’m doing. I listen for what needs to be said. Most often what needs to said by or through me comes out in poetry.

What have you observed about the reception of your work?
Audiences have responded to my writing with tears and laughter. Some have sighed with relief. Some have squirmed in discomfort. I recall one gasp.

This is the cover of a collection of poetry I wrote based on research about my maternal grandmother after discovering that she was Aboriginal. It was a Limited Edition and is not available for sale.

What has being involved in arts-based research taught you?
By being involved in arts-based research, I’ve met some incredibly wonderful people who have taught me a lot about research, about the world and about myself. Mostly, I’ve learned that I have a lot to learn. 

What is your hope for the ABRN?My hope for the Arts-based Research Network is that it reaches out to and embraces everyone; I want people to know it’s a network, not a club.

This is the cover page of my chapbook, written as part of my journey through prostate cancer diagnosis, surgery and recovery. It is available from The Box of Delights Bookstore in Wolfville.

Eric L. Ross, M.Ed, MT-BC

M.Ed. (Candidate), MT-BC Music Therapist – Board Certified

Halifax, NS (Acadia University grad student in M.Ed.- Counselling program)

Art Form:

Music and music therapy

Philosophy statement:

Music has been a central focus throughout my life. I have long been aware of the power of music and its effect on thoughts, emotions, and behaviours. Its inspiring to observe clients benefiting from their involvement with music experiences. Using music as an agent of change in the therapeutic milieu with clients and engaging in arts-based research seem appropriate ways to share my love of music and the distinctively personal experiences it provides.

How did you find out about the ABRN? 

I heard about the ABRN through a faculty member who knew I was involved with music therapy. She was aware that my thesis investigates the use of a specific music therapy process as a form of self-care for counsellors. We agreed that this would be a great group to connect with!

What has being involved in arts-based research taught you?

Hearing of how other researchers are incorporating arts-based presentations of findings and engaging in arts-based research is inspiring and thought provoking—exactly what I need as a newbie researcher!

What is your hope for the ABRN? 

From my experience so far, this group of people is wonderfully creative and supportive. I hope that we continue to grow and create linkages with other like-minded groups in the pursuit of arts-based research.

Laurie Dalton

Director/Curator of the Acadia University Art Gallery, Wolfville NS Canada

Adjunct Art Historian in the Department of History & Classics

Her curatorial work emphasizes the role of university galleries as part of the critical academic space of a university, bringing in exhibitions of both contemporary and historical work that promote visual literacy. Her research interests lie in Canadian visual culture, heritage and exhibition history, in particular how meaning is a process of display, didactics and audience exchange.

Publications

• ‘Art Galleries, Academia, and Women in Fur Masks: A Case Study of Using Visual Art 
to Promote Engaged Classroom Learning’ co-author with Dr. Rachel Brickner. Spring 2012, Atlantis: Women’s Studies Journal.

• ‘Edinburgh 1886’, in John E. Findling & Kimberly D. Pelle eds.Encyclopedia of World’s Fairs and Expositions, London: McFarland & Company, 2008.

• ‘Guatemala City 1897’ in John E. Findling & Kimberly D. Pelle eds.Encyclopedia of World’s Fairs and Expositions, London: McFarland & Company, 2008.

Jacqui Gingras PhD, RD

Associate Professor, School of Nutrition
Ryerson University, Toronto ON Canada

Art Form:
Narrative/storytelling

Why did you choose that art form?
It is conducive to sharing findings since "a story’s drivers are complexity, uncertainty, and revision” (Aphramor & Gingras, 2009, p. 103).

What inspires your work? 
People's lives and the courage people have to share of their lives.

Why did you choose to present your research findings using an art form? 
I wanted the work to evoke emotions about the subject under scrutiny.

What have you observed about the reception of your work?
People have shared that they were moved by the stories of research participants; that their stories resonate with readers.

Book cover of "Longing for Recognition"

What has being involved in arts-based research taught you?
It has taught me that there are many forms that we can use to share our research findings. Research can be evocative and can be part of a transformational experience vis-a-vis dissemination.

What is your hope for the ABRN?
To connect people who are critical scholars with a penchant for creative inquiry.

Reference:
Aphramor, L., & Gingras, J. R. (2009). That remains to be said: Disappeared feminist discourses on fat in dietetic theory and practice. In E. D. Rothblum & S. Solovay (Eds.), Fat studies reader (pp. 97-105). New York: New York University Press.

Catherine Morley, PhD, PDt, FDC

School of Nutrition and Dietetics
Acadia University, Wolfville NS Canada
cmorley@acadiau.ca

Philosophy statement:

I am interested in the use of the arts to extend the reach of research findings to support individuals and families experiencing changed health status, and to invite conversations about eating with changed health status.

Art form: 
I work in textile arts (spinning, weaving, dyeing, surface design,sewing, needlework), and documentary film.

Why did you choose that art form?

My research is primarily about the experience of eating in families where someone is sick. I wanted to learn to make films long before the digital era made filmmaking so accessible. In 2007, my growing disgruntlement with my work as a dietitian, discouragement from some peers that the topic was "not worthy of study", I thought I would leave dietetics and enrolled in a diploma program in textile arts simply for the joy of it. I had always sewn and I wanted to expand my repertoire of what was possible what one could do with textiles and fibre. While in the Textile Arts program, I opted to extend my studies and do a certificate in Documentary Film. Much to my surprise, all of my assignments in both programs related to families and eating, and the effects of illness. “Eureka!”, thought I, only to find that the study and promotion of the arts and/in health was well underway (e.g., The Global Alliance for Arts in Health; Artist Health Network).

At The Table (3 piece wall hanging); conveys the  dynamics of family meals whenever someone is added or removed from a table

Close Up from 'At The Table' (this is the first window; the dots represent my family members' seats at the table during my childhood - I am represented by the small purple dot between my parents)

My position in the School of Nutrition and Dietetics provides opportunities for me to pursue my research interests, now including how to incorporate art-based learning opportunities into the courses I teach. These having included Nutrition and Disease I, Communications, Nutrition Education, and Nutrition Assessment. I am actively involved in promoting arts-based knowledge mobilization of research findings, and in regional, national, and international dietetics conferences. My not-yet-realized goal is to use arts-based approaches in participatory research with families/individuals experiencing changed health status.

Slaves To Biology (tapestry)

How did you find out about the ABRN?

I am part of the group that launched the ABRN at Acadia University along (with Dr. John Guiney Yallop (Education), Paula Rockwell (Music), and Laurie Dalton (Art Gallery/Art History)). I sought these folks out soon after I joined the faculty in 2011 in efforts to pursue my longstanding interests in the intersections between the arts, critical dietetics, and health services. Together, we were successful in receiving a 2012 Harrison McCain Foundation Award.

I choose to use art forms, and encourage students to do so, to make findings more accessible than when they are published in a peer-reviewed journal article. Not that these publications are not important, only that the audiences I am trying to reach (people living with illness) don’t typically read these sources.

What have you observed about the reception of your work?

I find that almost everyone to whom I show my work and that of students has an instant connection to the pieces revealed by their recounting of personal stories from their own lives or from the experiences of loved ones.

Not At The Table (this piece is about how having a family member living with a tubefeeding influences family feeding dynamics)

What has being involved in arts-based research taught you?
I have learned how easy it is to tap into ‘the flow’ ("the joy of complete engagement" per Mihály Csíkszentmihályi) when I work out ways to convey complex learnings through a textile or film piece. This is far more readily accessible through work in the arts than when I try to write a formal research report.

What is your hope for the ABRN?

My hope is that we will continue to grow as a connected and supportive community of practice.