In the right circumstances, a cartoon video can be an effective way to communicate research information. But what’s involved in developing a cartoon video?
This blog post is based on our experience as a Chinese-Australian partnership in developing an educational cartoon video (The Magic Glasses, link at end of post) which aimed to prevent soil-transmitted helminths (parasitic worm) infections in Chinese schoolchildren. We believe that the principles we applied are more broadly applicable and share them here.
Collaborations with scientists have become a major focal point for artists, with many scientists now appreciating the value of building working relationships with artists and projects often going far beyond illustration of scientific concepts to instead forge new collaborative frontiers. What is needed to better “enable” and “situate” arts–science partnerships and support mutual learning?
Our research looked at the facilitation of arts–science partnerships through the investigation of two unique collaborative projects, developed at two geographically distinct sites, initiated by artist Keith Armstrong. One was enacted with an independent arts organisation in regional Australia and the other at a university art gallery in Sydney, Australia.
How might the environmental humanities complement insights offered by the environmental sciences, while also remaining faithful to their goal of addressing complexity in analysis and searching for solutions that are context-dependent and pluralistic?
There is a long and rich tradition of scholarship in the humanities addressing environmental problems. Included under the term ‘environmental studies’ until recently, fields such as the arts, design, history, literary studies, and philosophy are now gathering under the new umbrella of the ‘environmental humanities’.
How can undergraduate and graduate students be helped to build their interdisciplinary collaboration capacity? In particular, how do they build capacity between the arts and other disciplines?
In 2018, I co-facilitated the annual, 3-day Emerging Creatives Student Summit, an event for approximately 100 undergraduate and graduate students from 26 universities organized by the Alliance for the Arts in Research Universities. Students’ majors ranged from the sciences, engineering, music, arts, and design.
The aim of the summit is to give students an opportunity to collaborate on projects that incorporate creativity and the arts.
Arts-based knowledge translation refers to the process of using artistic approaches to communicate research findings to target audiences. Arts-based knowledge translation continues to grow in popularity among researchers and knowledge mobilisers, particularly in the health sector, because of its capacity to reach and engage diverse audiences through the arts. But how might researchers, with or without experience in the arts, actually go about planning and implementing arts-based knowledge translation?
Twenty years ago, at one of the first research workshops I held for stakeholders, a participant from the local community put up his hand and asked when we were going to start making something. I obviously looked confused so he picked up the workshop flyer and pointed to the word ‘workshop.’ “You make things in workshops don’t you?” he asked.
At the time, I took this as a lesson in choosing your terminology with care when working with diverse groups of stakeholders. However, on looking back I wonder if I missed something else.
What can art contribute to participatory modelling? Over the past decade, participatory visual and narrative arts have been more frequently and effectively incorporated into scenario planning and visioning workshops.
We use arts-based techniques in three ways:
incorporating arts language into the process of visioning
delineating eco-aesthetic values of the visual and aural landscape in communities
engaging art to articulate challenges and solutions within local communities.
The arts based approaches we use include collage, drawing, visual note taking, map making, storyboarding, photo documentation through shared cameras, mobile story telling, performance in the landscape, drawing as a recording device, and collective mural creation.
They allow us to expand and deepen engagement strategies beyond the scope of traditional dialog tools such as opinion surveys, workshops, and meetings. And, they allow for both individual and collective work, from spending reflective time independently, to rejoining as a group to discuss process and products. They are also particularly effective in bicultural and multicultural settings.
Visual techniques can help foster a different type of discussion than one that is primarily verbal or quantitative because they involve participants in different patterns of thinking, questioning, and interacting.