Catherine Etmanski (catherine.etmanski@royalroads.ca) is a Professor in the School of Leadership at Royal Roads University, Victoria BC Canada.

Rationale

One of the requirements for the Master of Arts in Leadership (MAL) program is to undertake an action-oriented and engaged leadership capstone research project or thesis in collaboration with a partnering organization (e.g., the public, private, or non-profit organization, department, or unit where the student works). As mid-career professionals, many students complete the capstone requirement in the context of their own workplace. During the second year of their studies, faculty encourage students to find the methods and processes best suited to the context and culture of their partnering organizations. Therefore, aligned with this book’s theme of “engaging students in data gathering,” this chapter describes a workshop designed to introduce arts-based research in general and explore one method, Photovoice, for possible use in students’ capstone research. Moreover, this chapter demonstrates how offering a Photovoice experience in the classroom models its potential use as an applied research method for students, as well as a teaching strategy to deepen the conversations with students about the change process in organizations.

Arts-based methods draw upon symbolic ways of knowing. Rather than an overt description of reality, the symbolic images found in poetry, fiction, theatre, paintings, photographs, and so on can bring to the surface thoughts, concerns, desires, or insights that were not previously conscious (Davis-Manigaulte et al., 2006). When facilitated skillfully, arts-based processes can also serve to build trust, empathy, connection, and community (Etmanski, 2020). As students begin exploring research paradigms, methodologies, and methods, many are surprised to learn about the range of options available beyond the better-known surveys, interviews, and focus groups. Most graduate students in this program have never been exposed to arts-based methods, including Photovoice.

Scholars are increasingly calling for “research that more closely follows the imaginary and improvisational processes and practices of artists, poets, and musicians as compared with inquiry that is commonly associated with the logical-rational approaches in the sciences and social sciences” (Garoian, 2011, pp. 157–158). As Clover (2014) identified, “symbol, metaphor, and imagery play an important role in reasoning, explaining, and understanding the world enabling new connections between things concrete and things abstract” (p. 142). Such arts-based and arts-informed approaches to research have been gaining momentum in the academy and opening opportunities for creative processes (data collection and analysis) and products.

The method of Photovoice can be understood as a “process by which people can identify, represent, and enhance their community through a specific photographic technique” (Wang & Burris, 1997, p. 369). Photovoice promotes social change through both photography and a structured group process (Chonody et al., 2012; Langdon et al., 2014). It promotes “critical dialogue and knowledge about important issues through large and small group discussion of photographs” (Wang & Burris, 1997). In so doing, “Photovoice broadens the nature of photography from being a fine art form to being central to socially and politically engaged praxis” (Sutton-Brown, 2014, p. 170). This intent is in alignment with the engaged and action-oriented leadership capstones promoted in MAL (Etmanski et al., 2022).

As a research method, Photovoice enables “researchers and decision makers to visualize issues from participants’ point of view” (Kelly, 2016, p. 64) by putting “cameras in the hands of research participants, giving them a ‘voice’ to document their surroundings, [and] empowering them to construct the knowledge and representations of their own environment” (Falconer, 2014, p. 2). Wang and Burris (1997, p. 170) identified three key objectives of Photovoice that have been rearticulated in diverse ways over the years (Castleden & Garvin, 2008; Clover, 2006; Falconer, 2014; Gallo, 2001; Sutton-Brown, 2014; Wang, 1999; Wang & Redwood-Jones, 2001). These are:

1. to empower participants to identify for themselves their community’s assets, challenges, needs, or concerns;
2. to create a space for participants to critically dialogue, using the photos as an entry point; and
3. to have an impact on policy makers and enact community change.

Kelly (2016) identified the primary reasons for using Photovoice as follows: (a) the visual display is more impactful for audience members (especially decision makers) and can call attention to the issue more powerfully than a standard report (see also Heykoop et al., on knowledge translation in this collection), and (b) participants often find the method engaging and fun (p. 68). A transformative potential emerges from creating the conditions that allow people (in this case members of an organization) to see in new ways.

Photovoice is typically, though not exclusively, used with “marginalized populations that have been silenced in the political arena” (Sutton-Brown, 2014, p. 169). Examples are primarily found in health contexts (Falconer, 2014; Kelly, 2016; Wang, 1999; Wang & Burris, 1997), in the Global South (Falconer, 2014), and with youth (Dixon & Hadjialexiou, 2005; Holtby et al., 2015). There are exceptions, such as Massengale’s et al., (2016) account of using Photovoice as a pedagogical tool to support students preparing for helping professions. However, it is difficult to find documented examples of Photovoice used in organizational change contexts, despite increasing calls for creativity and innovation in leadership and change management (Amabile, 1988; 1996; Clerkin, 2015; Goldman et al., 2016; Henry & Mayle, 2002; Rickards, 1999). As such, this workshop introduced students to Photovoice; supported them in discerning whether this method was appropriate to their specific organizational context, audience(s), and topic; and explored whether it could support members of their organization to engage in a process of change. Students were invited to consider whether elements of community change documented in the Photovoice literature were transferrable to organizational change.

Overview

In preparation for this workshop, I asked students to bring a digital camera (phone; tablet, etc.) with them to class and come prepared to go outside.

We then engaged in a brief exercise in seeing from diverse perspectives. The image below (see Figure 1) was projected onto the classroom screen and students were asked: “What do you see?”

Figure 1

Sample image used in Photovoice workshop

Responses to this question ranged from: “blood,” “an oil spill,” “concrete,” and “a dilapidated neighbourhood;” to “a flower blossoming,” “the tenacity of lifeforce,” “Leonard Cohen’s ‘there’s a crack in everything,’” and “hope.” Even that the image was not in sharp focus became symbolic of blurred reality or confusion.

The purpose was to demonstrate not only that people see the same image differently, but also that paying attention to how others see the world (in this case, an image) can help to expand our own perceptions. When I asked: “Who is right?” not surprisingly, responses illustrated there was no one right answer and, therefore, truth was difficult to assess—a topic to which we returned in later conversations about epistemology and ontology.

I then asked students to go outside, camera in hand, and take a photograph that responded to the prompt: “the journey ahead.” Although many students interpreted this as related to their upcoming capstone project or thesis, the prompt was intentionally open-ended and left to interpretation.

I asked that students email their photos directly to me so that by the time everyone returned to the classroom I was able to project the images onto the screen.

Upon returning to the classroom, we then engaged in a similar dialogue about each photo as with the introductory activity. I invited others in the room to speak first about what they saw before inviting photographers to share their intended meaning. I inquired further into how hearing others’ interpretations of their photos affected them or changed their perspectives.

Based on David Diamond’s work (2004), as a facilitator, I often use the question: “What’s inside this for you?” to invite conversation. This question works on two levels: first it asks them to describe their experience of the learning activity, and second, it invites them to consider how their experience of the activity might represent larger lessons about the topic we are exploring. In so doing, it invites them to consider the symbolic potential of the activity (see Etmanski 2007, pp. 103–105 for more on this question). Through this process, we deepened our conversation about how knowledge and truth can expand and become co-created through an arts-based method such as Photovoice.

Aligned with the MAL program goals of conducting an action-oriented and engaged leadership capstone research project or thesis in collaboration with a partnering organization, we explored the contexts in which this kind of a method would be beneficial in supporting applied organizational research for change. We closed by discussing how this kind of method could be integrated into an overarching change process.

Reflection

I selected Photovoice as an example of an arts-based method for two reasons:

1. Now that mobile phone or tablet cameras are ubiquitous among Canadian students, it is a reasonably accessible activity to conduct; and
2. Having engaged with theatre-based research for my doctoral research (Etmanski, 2007), I am aware that some arts-based methods (e.g., theatre) can be perceived as more threatening than others. Indeed, even “the word art evokes [fear] in some readers” (Etmanski, 2020, p. 255). Given the ubiquity of cameras, I see photography and/or Photovoice as perhaps the least culturally threatening to the broad range of organizational settings where students work. Whereas facilitating a workshop about a theatre process maybe powerful and intriguing, through teaching in this Master’s program, I have come to understand that it is less likely that students would have the skills or desire to apply it in their own contexts.

Although the method did not resonate with all students, some opted to take it forward in their capstone research contexts. I have adapted this workshop to show how photo elicitation (e.g., with Visual Explorer ™ cards from the Center for Creative Leadership) can offer new ways of seeing and understanding the world.

The role of arts-based methods in building trust, empathy, connection, and community has become a key point of reflection for me. Over years of facilitating various experiential and arts-based activities, I have learned how essential it is to create an appropriate container for this kind of learning (see, Ahenkorah, 2021 on accountable spaces; Arao & Clemens, 2013 and Jones, 2021 on brave spaces; Bishop et al., 2019 on spaces of grace; or Etmanski, 2014 on creating the learning space). Whenever I facilitate an arts-based method, I spend some time discussing the sense of vulnerability that can arise when working through the arts. As described elsewhere (Etmanski, 2020),

creative and arts-based methods are deceptively powerful. On the surface, engaging with creative or arts-based methods may be perceived as fun, lighthearted, and playful. But make no mistake: the arts are powerful methods—more powerful than one might initially imagine. Although deep, personal, or emotional responses may not necessarily emerge through a creative or arts-based practice, should you engage with the arts, it is best to be prepared for a range of emotions or mental states to emerge. (pp. 257–258)

Therefore, in closing I will offer that, as researchers and educators, we have an ethical responsibility for the welfare of participants and need to be well-prepared to support individuals and groups respectfully, compassionately, and professionally through difficult emotional responses. In addition to this ethical preparation, the potential for vulnerability through arts-based methods can lead to trust-building and a deeper sense of connection among participants. This alone can be integral to any efforts to bring people together in support of positive change.

References

Ahenkorah, E. (2021). Safe and brave spaces don’t work (and what you can do instead). https://medium.com/@elise.k.ahen/safe-and-brave-spaces-dont-work-and-what-you-can-do-instead-f265aa339aff

Amabile, T. M. (1996). Creativity in context. Westview.

Amabile, T.M., (1988). A model of creativity and innovation in organizations. Research in Organizational Behaviour, 10, 123-167. http://web.mit.edu/curhan/www/docs/Articles/15341_Readings/Group_Performance/Amabile_A_Model_of_CreativityOrg.Beh_v10_pp123-167.pdf

Arao, B. &Clemens, K. (2013). From safe spaces to brave spaces: A new way to frame dialogue around diversity and social justice. In L. M. Landreman (Ed.), The art of effective facilitation: Reflections from social justice educators (pp. 135–150). ACPA College Student Educators International/Stylus.

Bishop, K., Etmanski, C., Page, M. B., Dominguez, B., & Heykoop, C. (2019). Narrative Métissage as an Innovative Engagement Practice. Engaged Scholar Journal, Issue, 5(2), 1–17.

Castleden, H., & Garvin, T. (2008). Modifying Photovoice for community-based participatory Indigenous research. Social Science & Medicine 66, 1393–1405. https://doi.org/10.1016/j.socscimed.2007.11.030

Clerkin, C. (2015). Creative leadership and social intelligence: The key to leading in the digital age. In M. Sowcik, A. C. Andenoro, M. McNutt, S. E. Murphy (Eds.), Leadership 2050: Critical challenges, key contexts, and emerging trends (pp. 175–187). Cambridge, MA: Emerald Group Publishing (International Leadership Association).

Clover, D. (2014). Facilitating and teaching feminist visual arts-based research. In C. Etmanski, B. Hall & T. Dawson (Eds.), Learning and teaching community-based research (pp. 135–149). University of Toronto Press.

Clover, D. E., (2006). Out of the dark room: Participatory photography as a critical, imaginative, and public aesthetic practice of transformative education. Journal of Transformative Education, 4(3), 275–290. https://doi.org/10.1177/1541344606287782

Davis-Manigaulte, J., Yorks, L. & Kasl, E. (2006). Expressive ways of knowing and transformative learning. New Directions for Adult and Continuing Education, 109, 27–35.

Diamond, D. (2004). A joker’s guide to Theatre for Living (Rev ed.). Headlines Theatre.

Dixon, M., & Hadjialexiou, M. (2005). Photovoice: Promising practice in engaging young people who are homeless. Youth Studies Australia, 24(2), 52 – 56.

Etmanski, C., (2014). Creating the learning space: Teaching arts-based research. In C. Etmanski, B. Hall, and T. Dawson, eds. Learning and teaching community-based research: Linking pedagogy to practice (pp. 265–284). University of Toronto Press.

Etmanski, C. (2020). Six reflections on feminist aesthetic practice. In D. E. Clover, S. Dzulkifli, H. Galderman, & K. Sanford (Eds.), A feminist adult educator guide to aesthetic, creative and disruptive strategies in museums and community (pp. 259–265). Victoria, Canada: An initiative of Gender Justice, Creative Pedagogies and Arts-Based Research, University of Victoria. https://onlineacademiccommunity.uvic.ca/comarts/feminist-adult-educators-guide/

Etmanski, C. (2007). UNSETTLED Embodying transformative learning and intersectionality in higher education: Popular theatre as research with international graduate students. [Doctoral dissertation. University of Victoria]. UVicSpace Electronic Theses and Dissertations. https://dspace.library.uvic.ca/handle/1828/233

Etmanski, C., Kyte, A., Cassidy, N., & Bade, N. (2022). Three examples of engagement through Photovoice. Engaged Scholar Journal, 8(1), 20–36. https://esj.usask.ca/index.php/esj/issue/view/5161

Falconer, J. (2014). Photovoice participatory-AR design and adaptations for adverse fieldwork conditions. SAGE research methods cases, 1–15. London, UK: Sage. https://dx.doi.org/10.4135/978144627305013519223

Gallo, M. (2001). Immigrant workers’ journeys through a new culture: Exploring the transformative learning possibilities of photography. Studies in the Education of Adults, 33, 109–117.

Garoian, C. R. (2011). The exquisite corpse of arts-based research. In, Denzin, N. K., Giardina, M. D. (Eds.), Qualitative inquiry and global crises (pp. 155-177). Left Coast Press.

Goldman Schuyler, K., Baugher, J. E., & Jironet, K. (2016). Creative social change: Leadership for a healthy world. Emerald Group.

Henry, J., & Mayle, D. (Eds.). (2002). Managing innovation and change 2nd ed..

Holtby, A., Klein, K., Cook, K., & Travers, R. (2015). To be seen or not to be seen: Photovoice, queer and trans youth, and the dilemma of representation. AR, 13(4), 317–335.

Jones, M. S. (2021). An invitation to brave space. In a. m. brown (Ed.), Holding change: The way of emergent strategy facilitation and mediation (pp. 80-88). AK Press.

Kelly, K. J. (2016). Photovoice: Capturing American Indian youths’ dietary perceptions and sharing behavior-changing implications. Social Marketing Quarterly, 23(1), 64–79. https://doi.org/10.1177/1524500416672188

Langdon, J. L., Walker, A., Colquitt, G., & Pritchard, T. (2014). Using Photovoice to determine preservice teachers’ preparedness to teach. The Journal of Physical Education, Recreation & Dance, 85(1), 22–27.

Massengale, K. E. C., Strack, R. W., Orsini, M. M., & Herget, J. (2016). Photovoice as pedagogy for authentic Learning: Empowering undergraduate students to increase community awareness about issues related to the impact of low income on health. Pedagogy in Health Promotion: The Scholarship of Teaching and Learning, 2(2), 117–126.

Rickards, T. (1999). Creativity and the management of change. Blackwell.

Sutton-Brown, C. A. (2014). Photovoice: A methodological guide. Photography and Culture, 7(2), 169–185. https://doi.org/10.2752/175145214X13999922103165

Wang, C. (1999). Photovoice: A participatory AR strategy applied to women’s health. Journal of Women’s Health, 8(2), 185–192.

Wang, C. C., & Burris, M. A., (1997). Photovoice: Concept, methodology, and use for participatory needs assessment. Health, Education and Behavior, 24(3), 369–387. https://doi.org/10.1177/109019819702400309

Wang, C. C., & Redwood-Jones, Y. A. (2001). Health Education & Behavior, 28(5), 560–572.

Author note: Thank you to graduates of the MA Leadership program: Nikki Bade, Alison Kyte, and Michelle Cassidy for their contributions to my understanding. See Etmanski, Kyte, Cassidy, & Bade (under review) for further information.

Appendix A Resources

Since Arts-Based Research has been a topic of great interest to me for nearly two decades, I began keeping track of resources several years ago. Please see this Special Issue of the Engaged Scholar Journal for several articles on this topic. Check out the reference lists for the articles that interest you most and book reviews at the end of the issue. See introduction of this special issue (and others listed below) for general framing of Arts-Based Research.

The following journal is open source so all articles available online free of charge:

Bishop, K., Etmanski, C., & Page, M. B. (Eds.). (2019). Engagement through the Arts. [Special issue]. Engaged Scholar Journal 5(2). https://esj.usask.ca/index.php/esj/issue/view/5122

See also this new open-source resource:

Clover, D. E., Dzulkifli, S., Galderman, H., & Sanford, K. (Eds.) (2020). A feminist adult educator guide to aesthetic, creative and disruptive strategies in museums and community. Victoria, Canada: An initiative of Gender Justice, Creative Pedagogies and Arts-Based Research, University of Victoria. https://onlineacademiccommunity.uvic.ca/comarts/feminist-adult-educators-guide/

Other Special Issues of Journals related to Arts-Based Research.

• 2020, Canadian Journal for the Study of Adult Education, 32(2), Learning and Teaching: Artful Narratives of Transformation https://cjsae.library.dal.ca/index.php/cjsae/index
• 2012, The International Journal of Lifelong Learning, 31(3) https://www.tandfonline.com/toc/tled20/31/3#.U3rD_CjzCBo
• 2011, Action Research, 9(1) http://arj.sagepub.com/content/9/1.toc
• 2010, Journal of Adult and Continuing Education, 16(2) https://journals.sagepub.com/toc/adua/16/2
• 2007, New Directions for Adult and Continuing Education, 116 http://onlinelibrary.wiley.com/doi/10.1002/ace.v2007:116/issuetoc
• 2005, Convergence, 38(4) https://journals.sagepub.com/loi/CON
• 2005, New Directions for Adult and Continuing Education, 107 http://onlinelibrary.wiley.com/doi/10.1002/ace.v2005:107/issuetoc
• 2002, The Alberta Journal of Educational Research, 48(3) https://journalhosting.ucalgary.ca/index.php/ajer/issue/view/4440

SAGE Handbook on the arts in qualitative inquiry

Knowles, J. G. & Cole, A. L. (Eds.). (2008) Handbook of the arts in qualitative inquiry: Perspectives, methodologies, examples, and issues. Los Angeles: Sage.

Other Helpful Books

Barndt, D. (Ed.) (2006). Wild fire: Art as activism. Toronto, ON: Sumach Press.

Cahnmann-Taylor, M., & Siegesmund, R. (Eds.) (2008). Arts-based research in education: Foundations for practice. Routledge.

Clover, D. E. & Stalker, J. (Eds.). (2007). The arts and social justice: Re-crafting adult education and community cultural leadership. NIACE.

Cole, A. L. & Knowles, J. G. (2008). Arts-informed research. In, J. G. Knowles & A. L. Cole, Handbook of the arts in qualitative research, (pp. 55-70). Sage.

McLean, C. & Kelly, R. (Eds.) (2011). Creative arts in research for community and cultural change. Detselig Enterprises.

McLean, C. (2010). Creative arts in interdisciplinary practice: Inquiries for hope and change. Detselig Enterprises.

McNiff, S. (1998). Art-based research. Jessical Kingsley.

Sullivan, G. (2005). Art practice as research: Inquiry in the visual arts. Sage.