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Background Chronic rhinosinusitis (CRS) significantly reduces quality of life (QoL), but data regarding the extent of its impact is sparse. Questionnaire‐based assessments of QoL may neglect aspects of complex patient experiences. Recent studies on asthma patients and other chronic conditions have used self‐expression through artwork to better depict patients' experiences. This study aims to analyze the experience of living with CRS by exploring common characteristics represented within artworks. Methods A prospective qualitative arts‐based study was conducted. Adults with CRS were included (n = 16). Disease severity and depression and anxiety were graded using standardized scales. Patient experience was evaluated using drawings and semi‐structured interviews. ChatGPT‐4, a generative large‐language model, was used to interpret interview transcripts according to the Common‐Sense Model for Self‐Regulation to identify themes. Results Analysis of artworks through interviews identified six main themes: “chronicity and adaptation,” “impacts,” “emotional toll,” “healthcare navigation and advocacy,” “resilience and personal growth,” and “complexity and nuance.” These reveal in greater detail a multifaceted and contradicting emotional landscape shaped by chronic illness. For patients who scored high on depression and anxiety scales, the emotional toll and impacts were more prominently depicted in interviews. Compared with similar studies conducted in patients with asthma, these results highlight the more prevalent difficulties of navigating the healthcare system for patients with CRS. Conclusion An arts‐based methodology enables in‐depth exploration of the impact of CRS on QoL, using large language models, a type of artificial intelligence, to identify common themes amongst individual experiences of CRS patients. Summary CRS impacts quality‐of‐life through its effects on physical, social, and cognitive function and often manifests as a conflicting emotional landscape. Our findings underscore several clinical implications including a need for integrated psychological support within the care framework for CRS patients and for patient‐centered care models that encourage patient involvement in decision‐making.

Background A significant challenge in Patient and Public Involvement and Engagement (PPIE) in health research is to include a wide range of opinions and experiences, including from those who repeatedly find themselves at the margins of society. Objective To contribute to the debate around PPIE by introducing a bottom‐up methodology: cultural animation (CA). Cultural Animation is an arts‐based methodology of knowledge co‐production and community engagement which employs a variety of creative and participatory exercises to help build trusting relationships between diverse participants (expert and non‐experts) and democratize the process of research. Design Three CA full‐day workshops for the research project “A Picture of Health.” Participants Each workshop was attended by 20‐25 participants including 4 academics, 5 retired health professionals who volunteered in the local community and 15 community members. Participants ranged in age from 25 to 75 years, and 80% of the participants were women over the age of 60. Results The CA workshops unearthed a diversity of hidden assets, increased human connectivity, led to rethinking of and co‐creating new health indicators and enabled participants to think of community health in a positive way and to consider what can be developed. Discussion Cultural animation encourages participants to imagine and create ideal pictures of health by experimenting with new ways of working together. Conclusion We conclude by highlighting the main advantages to PPIE as follows: CA provides a route to co‐produce research agendas, empowers the public to engage actively with health professionals and make a positive contribution to their community.

We are South African self-study researchers who started building our collaborative relationship as critical friends completing our doctoral studies. We have a keen interest in self-study research, and we all received our doctorates through self-study using arts-based research. Our collective self-study explores our doctoral work as critical friends teaching and learning using arts-based research in education. This article presents how we used memory work in a self-study project to elicit childhood memories for teacher-learner engagement and mentor-mentee knowledge sharing. We understand that a sociocultural theoretical perspective highlights the fundamental requirement of working together in educational contexts to make sense of collective and personal experiences. In addition, employing self-study research and revisiting our learning has assisted or even encouraged us to engage deeply with past life experiences to improve our teaching practice. We understand that our past experiences have the power to shape our teaching practices now and in the future. Although these experiences occur both inside and outside the classroom, the principles that we endorse remain the same: collaborative and interactive teaching and learning, and acknowledging the children's and our own earlier learning and backgrounds.

Abstract In this article, we aim to describe and demonstrate the use of a methodology for using arts-based techniques to co-produce knowledge with community members, thus making it accessible at both the theoretical and practice levels for social workers and social work educators. In this methodology, the arts are used not as a diagnostic tool or as fine art, but rather as a trigger for a reflective and socially critical dialogue with community members, with the aim of understanding how they experience their life situation. The proposed methodology includes three central compositional elements of art analyses: the inter-relationship between figure and background within a composition, the recourses and obstacles included in the picture background and the use of symbols and metaphors. The present manuscript illustrates this innovative analytical prism, providing examples of images and explanatory narratives of engaged and married young Muslim women in Israel, as self-defined by the participants rather than as an external anthropology. We further outline the implications of this methodology for other cases.

This article reports our experience of exploring the use of ChatGPT to artistically present a segment of qualitative data in a visual form for one of our previous studies. We recounted our engagement with ChatGPT and reflected on our emotions and thoughts throughout the interactive process with this AI- powered tool for image generation. Our narrative analysis highlights the agency of ChatGPT as an active contributor to the creative endeavor and emphasizes our critical role as researchers in interpreting the data and in critically evaluating AI-generated images within the context of our research. The paper suggests that AI-text-to-image function can potentially enhance researchers' engagement with qualitative data and empower the researchers to (re)present data in novel ways. Through a critical reflection of human-AI collaboration and researchers' collaboration with the involvement of AI, we discuss how utilizing AI as an arts-creation tool in arts-based methodology will possibly empower researchers to engage with visualization of qualitative data and add a complex, nuanced layer to the data analysis process.

Evaluating programs in rural communities can present challenges when large, observable successes, such as infrastructure additions, are limited due to resource challenges. These successes are often quantifiable and easily identified by external stakeholders. However, there are often intangible and social impacts that should be captured as successes of rural community-focused programs that may not fit the more quantitative methodology. Arts-based methodologies, like poetic analysis, can help capture the diverse impacts of a program, while also centering the voices of program participants in the evaluation itself. This study examined the use of poetic dialogues, an application of poetic transcriptions for focus group data, to highlight the socio-cultural, and sometimes intangible, program impacts from a rural food access and health promotion program. We collected data through focus groups with community coalitions implementing the program in four rural Georgia counties. We then crafted poetic dialogues to capture program impact, both for program evaluation as well as community engagement efforts. Merging a user-focused and appreciative evaluation approach with arts-based analysis allowed us to capture and communicate impacts that were intended to be more responsive to the individual and collective identities of rural community members impacted by the health promotion program. Implications for using poetic dialogues are discussed, as well as potential avenues for future research to expand this research area.

Even with well-prepared lectures, some of my students still struggled to understand some of the concepts of cell biology. I therefore wondered if an exploration of teaching methods involving the arts would help them to engage with the subject content in ways that made it more accessible, and help them to understand the concepts better. Building on earlier approaches of using collaborative learning, I requested students to discuss, plan, and present to each other on cell biology concepts using arts-based teaching methods. In groups of 4-6 members, they could use any strategy such as dance, drama, music, poetry, and drawing to teach the concepts. The students collaboratively prepared content for a concept of their choice and presented it using their chosen and developed teaching strategy. Some of the strategies that students seemed to enjoy using included rapping the concepts, songs, dance, role play, and poetry. A few students resorted to individual PowerPoint presentations. The hope was that the enjoyment would translate into students' familiarisation with and understanding of the concepts better than through traditional teaching. Although the approach demonstrated that students could teach these concepts in versatile and fun ways, it did not assess their understanding of the concepts presented.

We are South African self-study researchers who started building our collaborative relationship as critical friends completing our doctoral studies. We have a keen interest in self-study research, and we all received our doctorates through self-study using arts-based research. Our collective self-study explores our doctoral work as critical friends teaching and learning using arts-based research in education. This article presents how we used memory work in a self-study project to elicit childhood memories for teacher-learner engagement and mentor-mentee knowledge sharing. We understand that a sociocultural theoretical perspective highlights the fundamental requirement of working together in educational contexts to make sense of collective and personal experiences. In addition, employing self-study research and revisiting our learning has assisted or even encouraged us to engage deeply with past life experiences to improve our teaching practice. We understand that our past experiences have the power to shape our teaching practices now and in the future. Although these experiences occur both inside and outside the classroom, the principles that we endorse remain the same: collaborative and interactive teaching and learning, and acknowledging the children's and our own earlier learning and backgrounds.

This article proposes a conversation on the limits and possibilities of collectivizing the way in which we generate and inscribe knowledge within the terms of a political economy of knowledge production and circulation regulated by hierarchies of academic and non-academic classifications, as well as those that demarcate centres and peripheries domestically and internationally through racial–gendered distributions of authority. To this end, it explores a series of collective projects elaborated within the GlobalGRACE network in Brazil (Global Gender and Cultures of Equality), which experiment with residency methodologies designed to create the necessary infrastructure for a redistribution of power, knowledge, and authority in investigations on racial–gendered violence in the peripheries of Rio de Janeiro. As collaborators in this research–action project initiated in 2018 with the Observatory of Favelas of Rio de Janeiro, here, we mobilize two of these collective projects as case studies—the dance residency of Cia Passinho Carioca and the Free School of Arts ELÃ residency—so as to reflect on our ways of knowing and experiencing racial–gendered inequalities in context. In this way, it becomes possible to propose not only questions around the production, erasure, and appropriation of knowledge but also possibilities for the broad-based circulation of dissident knowledge practices and the subsequent displacement of established authorities in the field, notably by means of a disobjectification of subjects of knowledge and exercises in authoring in the first-person plural. This entry point into the conversation on who has the power to know and control the meanings of intersectional inequalities enables a focus on practice, pedagogy, and methods to unpack the ethical and epistemological questions at hand. By centring the problem of authorship, we argue that feminist and decolonial approaches to knowing, teaching, and learning need to effectuate redistributions of power and the construction of politico-epistemic infrastructure if we have any chance of cultivating the conditions needed for liberatory knowledge practices.

PurposeThe COVID-19 lockdowns (2020–2021) disrupted all aspects of usual functioning of the criminal justice system, the outcomes and impact of which are largely still unknown. The pandemic has affected individuals across the wider society, this includes a negative impact on the social circumstances of children and young people involved within youth offending services (YOS) (Her Majesty’s Inspectorate of Probation, 2020; Criminal Justice Joint Inspectorates, 2021). This population frequently represents those from marginalised circumstances and are rarely given the opportunity to participate meaningfully in the services they are involved in. The purpose of this study was to explore the experiences of the young people serving orders with the YOS during Covid19 lockdowns and requirements.Design/methodology/approachThis paper outlines a creative methodology and method used to uncover the experiences and perceptions of young people undergoing an order within a YOS during the COVID-19 lockdowns. The arts-based approach entailed a novel and creative method using a lyric artist to engage with young people through a virtual platform, supporting them to create lyrics about their experiences of the YOS during this time.FindingsThe artist developed a successful rapport with young people based on familiarity with, and passion for, music. He promoted their strengths, improving their confidence which was perceived to elicit more in-depth perspectives that might not have otherwise been obtained using more traditional methods. As such, the method and methodology outlined developed the young people’s social and communicative skills whilst producing meaningful feedback that can contribute to the YOS recovery plan and thus future of the service.Practical implicationsThis paper reports on a novel arts-based research methodology, implemented to capture meaningful data from participants during the COVID-19 pandemic.Originality/valueThis paper reports on a novel arts-based research methodology, implemented to capture meaningful data from participants during the COVID-19 pandemic.