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Metaphoric Methodology: Moving with Research and Writing

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Title: Metaphoric Methodology: Moving with Research and Writing
Language: English
Authors: Anna Lioliou, Juuso Tervo
Source: International Journal of Art & Design Education. 2026 45(2):305-324.
Availability: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
Peer Reviewed: Y
Page Count: 20
Publication Date: 2026
Document Type: Journal Articles
Reports - Descriptive
Descriptors: Figurative Language, Art Education, Educational Research, Educational Researchers, Writing (Composition), Research Methodology
DOI: 10.1111/jade.12593
ISSN: 1476-8062
1476-8070
Abstract: In this article, we discuss how metaphors and metaphoric attention to textuality have the potential to invite art education researchers to engage with methodological discussions aside from rationalities of academic legitimacy rooted in reason and mastery. Drawing from Gloria E. Anzaldúa, Kathrine McKittrick, Christina Sharpe, and other Black, Brown, and Indigenous scholars and writers, we introduce the concept metaphoric methodology and explore its potentials and possible pitfalls when engaging with multiple ways of knowing, sensing, imagining, and being through art education research writing. We begin the article by elaborating on the relationship between metaphors and methodology, specifically focusing on their shared etymological root in movement and the conceptual potential it holds for research and teaching. We continue by discussing how metaphoric methodology resonates with and partially diverges from artistic and arts-based approaches to research. To give an example of metaphoric methodology in practice, we then share an example of metaphoric research writing from the corresponding author's art classroom. We conclude the article with a critical reflection of metaphoric methodology and discuss its potential contributions to art education research methodologies.
Abstractor: As Provided
Entry Date: 2026
Accession Number: EJ1506683
Database: ERIC
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  Value: <anid>AN0194754545;q0t01may.26;2026Jun24.05:50;v2.2.500</anid> <title id="AN0194754545-1">Metaphoric Methodology: Moving with Research and Writing </title> <p>In this article, we discuss how metaphors and metaphoric attention to textuality have the potential to invite art education researchers to engage with methodological discussions aside from rationalities of academic legitimacy rooted in reason and mastery. Drawing from Gloria E. Anzaldúa, Kathrine McKittrick, Christina Sharpe, and other Black, Brown, and Indigenous scholars and writers, we introduce the concept metaphoric methodology and explore its potentials and possible pitfalls when engaging with multiple ways of knowing, sensing, imagining, and being through art education research writing. We begin the article by elaborating on the relationship between metaphors and methodology, specifically focusing on their shared etymological root in movement and the conceptual potential it holds for research and teaching. We continue by discussing how metaphoric methodology resonates with and partially diverges from artistic and arts‐based approaches to research. To give an example of metaphoric methodology in practice, we then share an example of metaphoric research writing from the corresponding author's art classroom. We conclude the article with a critical reflection of metaphoric methodology and discuss its potential contributions to art education research methodologies.</p> <p>Keywords: art education; metaphor; methodology; textuality; writing</p> <p>Gloria E. Anzaldúa once wrote that 'to be innovative and subversive, a writer must write what readers haven't been taught to read yet – a different and unfamiliar literary form – present an experience not yet articulated or portray a familiar one from a radically different perspective' (Anzaldúa [<reflink idref="bib4" id="ref1">4</reflink>], 110). We begin this article with Anzaldúa because we see that her call for 'a different and unfamiliar literary form' that one is yet to learn offers a path (οδός) to art education research methodologies (μέθ‐οδος) that deviate from the 'methodocentrism' of 'Western science' (Weaver & Snaza [<reflink idref="bib53" id="ref2">53</reflink>], 1056). For John A. Weaver and Nathan Snaza, one of the main problems of methodocentrism is that it stems from a 'belief that particular, pre‐formed methods can guarantee the validity of an intellectual investigation into the world by factoring out the vicissitudes of the observer's entanglement with the world' (1056). While for the past few decades, various branches of arts‐based research (Knowles & Cole [<reflink idref="bib25" id="ref3">25</reflink>]; Barone & Eisner [<reflink idref="bib7" id="ref4">7</reflink>]; Leavy [<reflink idref="bib28" id="ref5">28</reflink>]), arts‐based educational research (Cahnmann‐Taylor & Siegesmund [<reflink idref="bib11" id="ref6">11</reflink>]; Knight & Lasczik Cutcher [<reflink idref="bib24" id="ref7">24</reflink>]; Mulvihill & Swaminathan [<reflink idref="bib37" id="ref8">37</reflink>]) and artistic research (Biggs & Karlsson [<reflink idref="bib9" id="ref9">9</reflink>]; Hannula <emph>et al</emph>. [<reflink idref="bib23" id="ref10">23</reflink>]; Varto [<reflink idref="bib51" id="ref11">51</reflink>]) have broadened the means and aims of art education research beyond the epistemological confinements that Weaver and Snaza identify, the very proliferation of these approaches itself (see, for example, the introduction to Leavy [<reflink idref="bib28" id="ref12">28</reflink>]) can be seen to indicate a constant need to validate one's 'entanglement with the world' by giving it an identifiable academic form. This form, usually articulated as one's research methodology, validates this entanglement by fixing the relationship between ὁδός [odos] and λόγος [logos] and by doing so, assumedly ensures that one's research is closer to science than science‐fiction. In contrast, we see that Anzaldúa together with other Black, Brown and Indigenous writers who have questioned the Eurocentric imaginaries of Science (with a capital S), Theory (with a capital T) and Methodology (with a capital M) (Sandoval [<reflink idref="bib39" id="ref13">39</reflink>]; Sharpe [<reflink idref="bib41" id="ref14">41</reflink>]; Acuff [<reflink idref="bib1" id="ref15">1</reflink>]; McKittrick [<reflink idref="bib32" id="ref16">32</reflink>]; Wilson <emph>et al</emph>. [<reflink idref="bib55" id="ref17">55</reflink>]; Wilson [<reflink idref="bib54" id="ref18">54</reflink>]) offer art education researchers a possibility to orient their methodological imagination(s) away from dominant rationalities of academic legitimacy and keep the relationship between ὁδός and λόγος open to subversive forms of knowing and being.</p> <p>Combining Anzaldúa's words with our engagement with Kathrine McKittrick's 'black methodology' as a 'suggestion for living differently' (McKittrick [<reflink idref="bib32" id="ref19">32</reflink>], 19), Chela Sandoval's 'methodology of the oppressed' that 'cuts through grammars of supremacy' (Sandoval [<reflink idref="bib39" id="ref20">39</reflink>], 2) and Christina Sharpe's metaphoric analytics of 'wake work' (Sharpe [<reflink idref="bib41" id="ref21">41</reflink>], 13), we suggest an approach to art education research methodology that wanders off from the priority of λόγος in methodological discussions. By beginning anew from the very first compound of the term μέθοδος – με [me] – we introduce the concept <emph>metaphoric methodology</emph> (AUTHOR 1) and discuss how metaphors (μεταφορά) and metaphoric attention to textuality – a term by which we mean a constant and contesting movement between words and worlds in research writing – may help researchers in art education to articulate their 'entanglement with the world' in ways that do not assume mastery over it (Singh [<reflink idref="bib43" id="ref22">43</reflink>]). Or, to write this otherwise:</p> <p>To attend to the specificity of a word, to take this specificity apart, to imagine it otherwise, and to rearrange it. We have been taught that methodology offers a path (ὁδός) to reason (λόγος) – a destination that is known and desired beforehand and confirmed upon reaching it. In metaphoric methodology we stray away from the end and begin by picking up a small piece of a wor(l)d, με, that opens two wor(l)ds: μεthodology and μεtaphor. This small piece, before everything else, holds an array of meanings depending on its relation to other wor(l)ds within which it appears. So, already before methodology becomes a wor(l)d it suggests movement that, in certain constellations, becomes metaphoric. To this multiple, relational, and shifting meaning of wor(l)ds we set ourselves as art educators and researchers. This is how we move.</p> <p>Metaphoric methodology offers an approach to research writing that encourages to begin one's work anew; that is, to stay with the 'not yet' that Anzaldúa's connects with subversive and innovative writing. It does not claim to offer a full access to the wor(l)ds it studies, but to borrow from Édouard Glissant: 'enter[s] into the penetrable opacity of a world in which one exists, or agrees to exist, with and among others' (Glissant [<reflink idref="bib19" id="ref23">19</reflink>], 114). This makes metaphoric research writing a wor(l)d‐forming practice that moves with the ever‐changing conditions of knowing, sensing, and imagining wor(l)ds and their inhabitants, including the researchers themselves.</p> <p>Rather than a guideline, this article serves as an attempt to articulate how the subversive and innovative, metaphoric writing of the authors we draw from has informed our ways of making sense of art education in two contexts that differ not only from each other, but also from theirs. We both work as art educators: one as an art teacher in a public elementary school on the island of Crete and the other as an assistant professor in a large university located in the capital area of Finland. Both of us are interested in creative convergences between theory and practice, whether in teaching or research. Our identities and subject positions can be clustered under several, interconnected categories: European, White, middle class, educated, able‐bodied and cis. While these categories do not form a totalising, unified frame within which we both belong in a similar way, we acknowledge that they are markers of social and societal power that partake in our relationship with the wor(l)ds we craft and experience through art, education and research. Following Snaza's call to think 'what it means to affirm worlds that aren't [one's own] not by participating "in" them but rather by (at)tending to how [one's own] everyday practices enable or disenable those other worlds' persistence' (Snaza [<reflink idref="bib45" id="ref24">45</reflink>], 13–14), for us to engage with texts by Black, Brown, and Indigenous writers and scholars means to ask ourselves what forms of knowledge and ways of living we might not know how to read as art educators and researchers and why. Drawing from Julietta Singh, we see that learning to read other wor(l)ds entails 'a transformative act of becoming profoundly vulnerable to other lives, other life forms and other "things" that we have not yet accounted for or that appear only marginally related to us' (Singh [<reflink idref="bib43" id="ref25">43</reflink>], 67). As we see it, metaphoric methodology can offer a step towards such vulnerability in research and education. Hence, we do not claim authority nor authorship over metaphoric methodology: it simply names a constellation of wor(l)ds that have affected our teaching and research and continue to do so.</p> <p>This article proceeds in four parts. We begin by discussing the relationship between metaphor and methodology, particularly attending to the movement they both entail. To keep with Anzaldúa's call for innovative and subversive writing, we do that through a language that departs from the certainty of the academic form, and by doing so, begin to put metaphoric methodology in practice. Then, we return to the realm of academic research to discuss how the movement we affiliate with metaphoric methodology resonates with arts‐based and artistic research. We also articulate why we have chosen to draw specifically from Black, Brown, and Indigenous writers and scholars to conceptualise metaphoric methodology instead of arts‐based and artistic research alone. The third part of this article takes the reader to the midst of metaphoric methodology by showing what a metaphoric engagement with teaching art can look and feel like. This part draws directly from the teaching practice of our corresponding author. Finally, we end this article with a critical reflection of metaphoric methodology and its potential contributions to art education research methodologies.</p> <hd id="AN0194754545-2">Metaphoric movement</hd> <p>What is a good way to figure this out?</p> <p>μετα: after, middle, with, inside, that can signify location, participation, change, movement. (Βικιλεξικό [<reflink idref="bib57" id="ref26">57</reflink>], translation by the corresponding author)</p> <p>From <emph>με</emph> we move to <emph>μετά</emph> and <emph>μεταφορά</emph>, breaking down the specificity of these components and imagining them otherwise. This is how metaphoric methodology and its textuality occur. It is our guide for what we (make) sense. The word <emph>metaphorá</emph> is common in vernacular Greek, yet its use is diverse. In general, it means <emph>transport</emph>, but it can mean the transport of people, money, data, companies, homes and conversations. We choose to think with μεταφορά not only because it presents a multiplicity of wor(l)ds but because it has the potential to convey a non‐linear movement between meanings that meet, cross and depart from each other. We choose to write with μεταφορά because we care to (make) sense (of) the wor(l)d aside the certainty that λόγος provides. This is because we believe, as Clarice Lispector did, that 'writing is the method of using the word as a bait: the word fishing for whatever is not a word' (Lispector [<reflink idref="bib29" id="ref27">29</reflink>], 15). Therefore, μεταφορά guides us to figure out a methodological approach by revealing that a figuring of wor(l)ds can take place in writing.</p> <p>Engaging with a text that is metaphoric is like following the Aha Makav river that moves through the body of the earth, the body of the writer and the body of the text. In this case, the river is not a metaphor, being used by the writer solely in literary terms (Diaz [<reflink idref="bib18" id="ref28">18</reflink>]). Instead, it runs through land, body and text. This shifts the meaning and perception of metaphor and metaphoric to signify movement through wor(l)ds.</p> <p>We also contemplate metaphors as combined textual spaces that relate two somewhat concluded realities (AUTHOR 1). How does the sea and troubles relate to a sea of troubles? What do we mean when we say: <emph>The Mediterranean is a watery grave</emph>?[<reflink idref="bib1" id="ref29">1</reflink>] Or <emph>from the river to the sea</emph>?[<reflink idref="bib2" id="ref30">2</reflink>] We mean that metaphors are material (McKittrick [<reflink idref="bib32" id="ref31">32</reflink>]). When McKittrick discusses the relationship between science and stories and argues that storytelling has always been an important practice of knowing Black life, she reminds us that metaphors are risky: They can become completely delinked 'from their material underpinnings or histories' (McKittrick [<reflink idref="bib32" id="ref32">32</reflink>], 11). Indeed, <emph>The Mediterranean is a watery grave</emph> contains the risk of remaining a metaphor, detached from its materiality and the political forces that drown people at sea. What kind of material is a metaphor, then? For example, when Alexis Pauline Gumbs ([<reflink idref="bib22" id="ref33">22</reflink>]) chose to write about the enslaved who drowned in the Atlantic during the transatlantic slave trade, she transformed them into creatures whom marine mammals taught how to breathe underwater. Thus, the dead became <emph>undrowned</emph> in the historical, political and material conditions of their demise. Stories and studies like this open us to the continuous movement of the metaphoric. They keep us working with contradictions without stopping at their risks, but rather <emph>move</emph> us with and through their multiple possibilities.</p> <p>The process of storying is a process of knowing, and even if we can't (and should not) know all the mysteries of the wor(l)d, we story our unknowing. Sometimes these stories take up the descriptive form of academic work, and other times they become elusive poetry written on walls on the street. Altogether, metaphoric methodology creates new spaces out of the relations between and beyond categorised forms and disciplines, between knowing and not. Like poetry bringing us the news (Van Dyck [<reflink idref="bib50" id="ref34">50</reflink>]) and connecting us to the topicalities and timeliness of places, to the metaphoric and reciprocal relationship of words and worlds. The metaphoric methodology might also find form in music, which can breach assigned national identities and challenge the construction and organisation of space and time within the frame of national narratives that reinforce hatred towards the other (Van Dyck [<reflink idref="bib50" id="ref35">50</reflink>]). Music becomes a metaphoric movement that transcends confined time and space, like various genres of traditional Greek music are connected to much longer lineages and entanglements of cultures and identities than what the current national borders mark or the national history books write.[<reflink idref="bib3" id="ref36">3</reflink>] We are allowing these cues to form in the text. Moreover, familial, communal and cultural practices are recognised as methodological devices that shape our knowing, our not‐knowing and their in‐between. Like Chicana/o scholars that bring platicas and testimonios as methodologies in their academic work (Calderon‐Berumen <emph>et al</emph>. [<reflink idref="bib12" id="ref37">12</reflink>]; Calderon‐Berumen <emph>et al</emph>. [<reflink idref="bib13" id="ref38">13</reflink>]; Morales <emph>et al</emph>. [<reflink idref="bib35" id="ref39">35</reflink>]), decentering the expected source of knowledge and validating experiences storied through conversations that happen within spaces of comfort.</p> <p>If we source these creative practices in our work, they will source it back: not only in terms of making a reference, but in how they affect the form, the medium, and the outcomes of our research and teaching. For example, when engaging with Afro‐sonic practices of remixing and turntablism, we are not only thinking about how they break a fixed route and order between producers and consumers by indefinitely re‐creating with pre‐existing tunes (Campbell [<reflink idref="bib14" id="ref40">14</reflink>]), but we are also experiencing that break. We are hearing it, feeling it, dancing to it. In this way, Black methodology (McKittrick [<reflink idref="bib32" id="ref41">32</reflink>]) guides us to multifarious creativity that keeps on storying, imagining and practising identities that transcend the assigned ones of subordination, capture, failure, violence and death (Wilson [<reflink idref="bib54" id="ref42">54</reflink>]). It does it through moving in, with and between wor(l)ds.</p> <p>The metaphoric methodology does not grant a path that concludes a figure. Instead, we are learning to orient and figure out our shifting positions when encountering multiple wor(l)ds. We are navigating overlapping relations between various forms and feelings for our work in art, education and research to be more open towards the risk, the unknown and new beginnings. I [the corresponding author] am reminded by something that Mestre Alakolá once said during a seminar, that in the art of Capoeira Angola, there is a beginning, a middle and then a beginning again, interrupting the idea of a concluded mastery over one's artistic practice. He implies that there is no conclusion. That indeed 'art is not liberty; it is liberation' (Moser [<reflink idref="bib36" id="ref43">36</reflink>], x), a process of constantly moving according to and in contrast to the present. Besides, socio‐political movements are called movements for a reason: they move with, through and beyond dominant wor(l)ds.</p> <hd id="AN0194754545-3">Moving with research</hd> <p>As we suggested above, metaphoric methodology aligns with how arts‐based research, arts‐based educational research and artistic research have broadened the means and aims of academic work in, through and with the arts. These frameworks are certainly helpful when experimenting with how research turns (back) to writing and writing turns (back) to research in ways that keep wor(l)ds in question. For example, Candace Jesse Stout and Victoria Daiello discuss 'art‐based writing' that 'won't stick to the page. It rises and respires. It vibrates, filling the air with enticing overtones – suggestions, sensual connections and rememberings, associations toward the furthermore but not yet said' (Stout & Daiello [<reflink idref="bib47" id="ref44">47</reflink>], 609). This comes close to a/r/tography as a mode a 'living inquiry' that 'breathes ... [and] listens' (Springgay <emph>et al</emph>. [<reflink idref="bib46" id="ref45">46</reflink>], 899), opening one's research and writing to ever‐unfinished things, thoughts and trajectories.</p> <p>It is worth acknowledging that imaginaries of 'living' inquiry and perpetual change are not completely unknown to 'Western science' either. To use Thomas Kuhn's ([<reflink idref="bib27" id="ref46">27</reflink>]) terminology, both art and science have been claimed to have the inherent ability to produce novelties that disrupt established ways of thinking, acting and being in the world (Rogers [<reflink idref="bib38" id="ref47">38</reflink>]) and together allow us to engage with the world in new, untaught ways (Berger <emph>et al</emph>. [<reflink idref="bib8" id="ref48">8</reflink>]). However, this can be seen to promote a particular kind of movement that art and research ought to take: one that gains its λόγος from a historical temporality structured by subsequent intervals of rupture (AUTHOR 2). This not only emplots one's movement along the ὁδός of research according to 'Western ideas about history' (Tuhiwai Smith [<reflink idref="bib49" id="ref49">49</reflink>], 57), but also suggests that innovation and subversion derive from an imaginary position <emph>outside</emph> the allegedly normal course of time. This, in turn, means that artists, educators and researchers become seen as exceptional figures who can perceive, name and master the relationship between the known and the unknown (Silva [<reflink idref="bib42" id="ref50">42</reflink>]). Drawing from Ariella Aïsha Azoulay, such figures have been an integral part of 'imperial ontology' of European thought that emphasises 'the centrality of the persona of the discoverer and its homologues in the quest for knowledge – the inquisitive mind, the art connoisseur, the philosopher' (2019, 53). For Azoulay, disengaging oneself from such figures means to resist 'the imperial temporality that asks us to seek new solutions for a better future' (<reflink idref="bib44" id="ref51">44</reflink>), meaning that the legitimacy and validity of art, education or research should be sought elsewhere than from self‐induced 'break[s] in time' (<reflink idref="bib200" id="ref52">200</reflink>).</p> <p>By this, we are not suggesting that art‐based or artistic research would be caught up in such imperialist imaginaries of science or history (c.f., Cramer & Terpsma [<reflink idref="bib16" id="ref53">16</reflink>]; Kraehe & Brown [<reflink idref="bib26" id="ref54">26</reflink>]; MacGill [<reflink idref="bib31" id="ref55">31</reflink>]; Sharma & Alexander [<reflink idref="bib40" id="ref56">40</reflink>]). Rather, our intention is to further elaborate what kind of <emph>movement</emph> metaphoric methodology entails if we approach 'the politics and poetics' of research (Cabeleira [<reflink idref="bib10" id="ref57">10</reflink>]) not merely through the lens of academic work, but also through imaginaries and practices of power, both locally and globally. Following Wilson <emph>et al</emph>. ([<reflink idref="bib55" id="ref58">55</reflink>]), we consider this movement as a <emph>movement with</emph> multiplicity of knowledges – written, visual, oral, everyday, unexpected – that, together, have no one single direction but nevertheless have the potential to change the way one thinks, acts and lives. For example, when Sharpe operates through a metaphoric textuality of 'wake work' that is 'undisciplined' (2016, 13) in its combination of various registers, including personal, literary and theoretical, she seeks to 'resist, rupture, and disrupt' Black death's 'immanence and imminence' (<reflink idref="bib13" id="ref59">13</reflink>) across time and space – not from some generalisable, external position, but from <emph>within</emph> the very change she is after.</p> <p>Going back to McKittrick's ([<reflink idref="bib32" id="ref60">32</reflink>]) approach to metaphors, Sharpe's work demonstrates how metaphors are not merely rhetorical devices that operate in and through language, but deeply embedded in the social, political and material worlds from which they emerge – including the worlds that metaphors participate in creating (see also Smith and Katz 1993). Wilson ([<reflink idref="bib54" id="ref61">54</reflink>]) 'Black geospatial aesthetic inquiry' offers an insightful example of what this can mean in art education research. Conducting a slow and attentive reading that '[illuminates] an assembly of metaphors and materialities, working collectively to articulate the overall ongoing condition and circumstance of Black life as a predictable and constitutive aspect of existing in the shadows of antiblack violence' (2023, 126), Wilson shows how metaphors and storytelling offer an analytic for art education research that moves across and over frameworks and practices of meaning‐making and ‐unmaking when engaging with the multiple and overlapping life‐worlds in which art educators live and work.</p> <p>The <emph>movement with</emph> that we associate with metaphoric methodology directs us to engage with innovative and subversive forms of research aside from figures that seek to own and master knowledge (κατέχω[<reflink idref="bib4" id="ref62">4</reflink>]) – or what Sylvia Wynter calls 'the figure of the West's liberal monohumanist Man' (Wynter & McKittrick [<reflink idref="bib56" id="ref63">56</reflink>], 23) who might be as well teachers, artists or researchers – and instead focus on artistic, creative and scholarly practices of people and communities who are <emph>figuring out</emph> wor(l)ds that they move <emph>in</emph>, <emph>with</emph> and <emph>in‐between</emph>. Engaging with and submerging in various sites, sources and tempos of knowledge, such 'figuring out' unsettles the relationship between the signifier and the signified (Sandoval [<reflink idref="bib39" id="ref64">39</reflink>]) and attends to multiple <emph>signs o' the times</emph> (to paraphrase Prince) through writing. Since Anzaldúa's words are 'not <emph>about</emph> survival strategies, they <emph>are</emph> survival strategies' (Anzaldúa [<reflink idref="bib3" id="ref65">3</reflink>], xviii, emphasis added), to learn from such strategies means to learn from wor(l)ds that resist: that is, wor(l)ds that retain their opacity in the face of dominant, singular λόγος, and by doing so, invite us to come up with other forms of engagement and entanglement than mastery.</p> <p>If this is the case, what might metaphoric methodology look like in practice? In the next section, we offer an example of a metaphoric inquiry into the corresponding author's classroom. As a piece of research writing, it seeks not only to trace various movements across words and worlds that inform the corresponding author's teaching practice but also to write (with) these movements along an ὁδός that begins, proceeds and begins again.</p> <hd id="AN0194754545-4">What does it move like? Star constellations from the sea</hd> <p>While we share our work as artists, teachers and researchers, there might be the assumption that we act from a personal position that could be perceived as singular and which proceeds along a specific οδός (the artist, her interests and choices that she designs into a curriculum). These assumptions and perceptions are not necessarily untrue; yet they are not entirely and orderly performed under these titles nor along a single line of the path. Because our practices are not truly our own. Because there is a connection, relation and creation with what might make us forget our singularity. This is also how the methodology of the metaphoric moves in our work. For example, I as an artist and teacher have an urge to search and work between the main image, story, wor(l)d. Yet, this urge is not entirely my own, although it performs through what might be perceived as my singular body. I sense this as I move between writing this out, turning a concept into a lesson, the lesson turning and turning and turning back with more lessons. My body might look like a singular unit, yet what drives it is a plethora of synergies. These thoughts move formlessly, and other times they take a form. They become a story between not knowing and knowing; they turn into wor(l)ds; they transform the classroom. And this is not singular at all.</p> <p>"Star Constellation Guidelines" is one example where the plethora of synergies takes form in the metaphoric movement between the personal and the collective. Working with my 5th and 6th grade students, I ask them to create their personal piece of night sky that will be combined into a bigger one. Then, they paint, cut stars and collaborate by choosing, connecting and constructing a star constellation in their groups (see Figure 1).</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may26/jade12593-fig-0001.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12593-fig-0001.jpg" title="1 Process of Project "Star Constellation Guidelines". On a Table, There is An Art Project Consisting of a Painted Black Background With Small White Drips That Resemble a Night Sky. On Top Are Cut‐Out Yellow Stars in Specific Positions While We See the Hands of Two Students Holding Thin Rope and Trying to Place It On The Project. Next to Them, We See the Hands of Another Student Cutting Out Stars." /> </p> <p></p> <p>The movement of a tide, from personal to collective, grants a relationally reciprocal tempo to our movement. We tune into its rhythm and participate in making the rhythm. Our classes resemble the movement of a tide where our rhythm is affected by the relationally reciprocal movement between the personal and the collective. We are at sea, with a destination in mind, but the lesson is found between the predictability and unpredictability of the journey.</p> <p>The final task of the project is that each student must think and write down at least five guidelines they wish to have in our class. The guidelines appeared similar in a way that they reproduce what is taught: "Don't talk, don't run, don't eat, show respect." I could not have predicted this collective direction, yet this collective direction was asking for a possible redirection. I thought to ask each group to change their rules without using a negating word, or to describe respect through something we do instead of an abstract concept. For example, when discussing the guideline "Show respect" I asked students to think of how one actually does that. We started making connections by figuring out that respecting somebody might look like keeping quiet when somebody is speaking.</p> <p>At sea: familiar with its surface but unknowing of its depths. Similar to the relationship with my students; not knowing each other outside our assigned roles. Similar to the distance I felt having recently moved from studying in a Finnish university to teaching art in a Greek public elementary school. And currently, similar to the distance I feel being away from an academic environment and my estrangement with research. Yet, metaphoric methodology took (and gave) a different form <emph>between</emph> this distance. It gave the cue for a story, for a class, for a world and for these words. It was together (and not me alone as a teacher) that we realised a possibility of metaphors in art: to transform something as mundane as a list of guidelines into something creative that opens up a space – a realisation that was wor(l)ded during our class.</p> <p>A class at sea. With no single, captured figure in art and education. Wor(l)ds compose moments of sense, tidal figures that cannot be grasped as objects but rather experienced as subjects, like borders. 'Who knows the word borders is a foul translation for brethren?' (Wadud [<reflink idref="bib52" id="ref66">52</reflink>], 44). The sea implies something that challenges what is presumably figured and helps us position ourselves in the figuring that we story into metaphoric methodology. Like how practices of marine mammals such as echolocation move the writer and reader outside scientific guidebooks that describe them through colonial and racist language (Gumbs [<reflink idref="bib22" id="ref67">22</reflink>]). 'I had to focus not on what I could see and discern, but instead on where I was in relation, how the sound bouncing off me in relationship to the structures and environments that surround me locates me in a constantly shifting relationship to you, whoever you are by now' (Gumbs [<reflink idref="bib22" id="ref68">22</reflink>], 9). To move metaphorically means to make practice out of what we read <emph>and</emph> sense. So, how do we, as a classroom, make possible a reciprocal movement away from guidelines (as a materialised metaphor for dominating, figured‐out, concluded education)? To dare to learn how to be guided by different sensations, to orient ourselves relationally, in the figuring?</p> <p>Firelei Báez's art became the prompt to address these relations. I asked my students what a map is, which was, as expected, absolutely and totally a two‐dimensional projection of space on paper. I introduced them to other forms that challenge this dominant perception, such as Polynesian stick charts, Indigenous Australian Songlines and braided hair maps made by enslaved Africans in American plantations. In addition, we looked at various examples from contemporary art that use maps (MoMA [<reflink idref="bib34" id="ref69">34</reflink>]) before we moved to Báez, who paints creatures that challenge 'the establishment's notion of truthfulness and objectivity' by overwriting the traditional 'language of power' (Louisiana [<reflink idref="bib30" id="ref70">30</reflink>]). We discussed the possible symbology of Baéz's forms. Nature does not obey politically imposed borders, and animals and plants do not move and grow according to them. By using nature books in the library, the students combined elements and invented their own creatures that intervened the old maps of the school (see Figures 2 and 3).</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may26/jade12593-fig-0002.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12593-fig-0002.jpg" title="2 Process During The Project of Intervening on Old Maps While Studying Artist Firelei Báez. Large Maps Cover the Table and Approximately 5 Students Are Working on Their Own Paintings. There Are Palettes, Brushes and Tubes on the Table and On the Maps. On Each Map, the First Outlines Are Visible, and On the Closest One, There Appears to Be an Outline of a Creature With 4 Legs." /> </p> <p></p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may26/jade12593-fig-0003.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12593-fig-0003.jpg" title="3 Process During the Project of Intervening on Old Maps While Studying Artist Firelei Báez. Large Maps Cover the Table and Approximately 5 Students Are Working on Their Own Paintings. There Are Palettes, Brushes and Tubes on the Table and On the Maps. Some Colourful Creatures Become Visible on the Maps That Resemble Fish, Wings, Mermaids and Flowers." /> </p> <p></p> <p>Just before our map interventions, we had studied and worked with the "Diagonal" paintings by Tyeb Mehta and analysed the visual components of his work. Students noticed a line that looked to them like torn paper, a cut, while they also noticed that none of the bodies were pictured as whole. By discussing the historical and social background of the artist and comparing it to our own histories of partition, specifically comparing the Partition of India and Pakistan with the population exchange between Greece and Turkey, we made apparent other possible narratives of borders than the ones of the nation‐state that perpetuates enemies (Alexander [<reflink idref="bib2" id="ref71">2</reflink>]). The students designed and painted their own composition of borders and bodies by drafting sketches and practising mixing colours (see Figures 4 and 5). This was done while they were preparing for the annual celebration of Greek Independence; a ministry‐required celebration in schools that recounts the history of Greek independence and the founding of the nation through a very specific, patriotic lens.[<reflink idref="bib5" id="ref72">5</reflink>] Both Báez's and Mehta's work is inspired by the complex dynamics between socio‐political worlds, colonial, indigenous and imperial. In turn, the lesson asks me to draw lines between more material, connect and relate them, through metaphoric methodology.</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may26/jade12593-fig-0004.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12593-fig-0004.jpg" title="4 Process During the Project of Borders While Studying Artist Tyeb Mehta. On a Table, There Are 3 Works in Progress and Next to Each One a Sketch. The Students Are Transferring Their Sketches By Using paint Brushes. A Diagonal Line is Visible in All of Them and Some Body Parts." /> </p> <p></p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may26/jade12593-fig-0005.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12593-fig-0005.jpg" title="5 Completed Paintings of the Project of Borders Hung On a Wall. On an Indoor Column, 6 Completed Paintings Are Placed Vertically. There Are Different Colours and Compositions in Each One, But They All Share a Diagonal Line and Body Parts." /> </p> <p></p> <p>And then I look at what we learn together with younger students, 1st through 3rd graders. How attentive they are to the story of Alma Thomas and her reality as a child their age during USA segregation. Yet, how colours became her medium to resist derogation and instead focus on the beauty and happiness in the world (Tang [<reflink idref="bib48" id="ref73">48</reflink>]). The metaphoric is moving outside one reality to create another. To teach colour between the technical and the symbolic; that there are meanings in what we create. We move on to mix colours into gradient colours to blend parts of a painting together by looking at the work of Georgia O'Keeffe. Making forms by specifically avoiding using any colour straight from the tube (see Figure 6).</p> <p> <img src="https://imageserver.ebscohost.com/img/embimages/rdk/Q0T/01may26/jade12593-fig-0006.jpg?ephost1=dGJyMNXb4kSepq84yOvqOLCmsE6epq5Srqa4SK6WxWXS" alt="jade12593-fig-0006.jpg" title="6 Completed Painting of a Sunset At Sea While Studying Artist Georgia O'Keefe. A Painting of What Resembles a Sunset At Sea With Light and Soft Gradating Colours of Blue and Green in the Sea and Red, Orange, Yellow and Pink in the Sun and Sky." /> </p> <p></p> <p>Meanings are made in the intersection of wor(l)ds. I believe that the practice of art is the practice of figuring out life, lessons and meanings. The metaphoric movement between being given specific colours in tubes and when mixing them, entering realms of limitless possibilities that can be unfamiliar and exhausting (Báez [<reflink idref="bib6" id="ref74">6</reflink>]). Students call on me, unsure about which colours they should use or which ones to mix. And I help them figure it out the way they help me figure it out. This process can only be relationally reciprocal towards meanings, figures, words and worlds that are already here but also are not yet (Anzaldúa [<reflink idref="bib4" id="ref75">4</reflink>]; McKittrick 2020).</p> <p>As we mark the end of this school year, I ask my students for feedback. I am surprised that a large number of them chose our first project, "Star Constellation Guidelines", because at the time we did not know or trust each other, and I felt that the project might have been too demanding for the students. Here, at the same sea we started in, only now we have been together. Here at the end, we are reminded of the beginning. "Open eyes, ears, mind," was one of the guidelines the students wrote next to a star of their constellation.</p> <hd id="AN0194754545-11">Conclusions</hd> <p>Throughout this article, we have discussed metaphoric methodology as a way to reflect one's 'entanglement with the world' (Weaver & Snaza [<reflink idref="bib53" id="ref76">53</reflink>], 1056) through 'innovative and subversive' (Anzaldúa [<reflink idref="bib4" id="ref77">4</reflink>], 110) research writing. Approaching methodology as a path (οδός) unbound by a single dominant reason (λόγος), we see metaphoric methodology as an opportunity to slow down one's movement along the οδός of research in art education and to pay attention to the multiple beginnings – social, political, conceptual, material – it entails. This shift from the logic of arrival to departure is a way to attend to wor(l)ds that we do not yet know how to read or write while constantly reminding ourselves about the importance of learning to read and write wor(l)ds otherwise.</p> <p>Theorising and practising metaphoric methodology as we have in this article certainly has its limits. Being raised and educated in and by wor(l)ds that have naturalised extractivist approaches to difference, we acknowledge that our ways of attending to other wor(l)ds through art and research might be much less vulnerable than we would like to believe. Indeed, the meandering movement between wor(l)ds can easily fall under the imperial logic that Azoulay ([<reflink idref="bib5" id="ref78">5</reflink>]) criticises if this movement is reserved only for some at the expense of others. Considering the increasingly stronger hold that nationalism and xenophobia have in political imaginaries and legislation across the globe, the vulnerability we associate with metaphoric movement is without a doubt unequally distributed. This is why we wish to underline that our aim is not to romanticise the uncertain movement that metaphoric methodology entails, whether in theory or practice. Its paths are not always pleasant, easy or devoid of risks.</p> <p>Yet, we do not see another way to proceed but through. Going through the risk of making mistakes; going through colonial mindsets and actions; going through the possibility of confronting and changing them. Our close attention and engagement with various forms of knowledge and practice is guiding us to a figuring that takes place within our bodies, our texts and our classrooms. For us, this means to make sense of art education – whether in classrooms or research contexts – along a path suggested by McKittrick: 'What if there is not a learning outcome? What if we taught and wrote not as problem solvers who count and assess variables (and creative texts can, at times, be theorised as variables) but as intellectuals who, with all our hearts, believe in opacity and giving on and with rather than finding, grasping, and having?' (McKittrick [<reflink idref="bib32" id="ref79">32</reflink>], 117) We see that the movement through wor(l)ds that metaphoric methodology entails may guide our teaching and research into the density of what we (do not) know and (do not) sense (yet).</p> <p>Another possible pitfall of metaphoric methodology has to do with expectations laid to research itself. By constantly beginning anew – not from some imaginary point outside of time but from within the ever‐changing wor(l)ds we live through – it might not produce clearly definable research outcomes. This obviously begs the question: if this is so, is metaphoric methodology anything more than a narcissistic endeavour into one's own uncertainties as a researcher? To answer such concerns, we would like to quote Julietta Singh at length:</p> <p>I am suggesting that it is false to imagine ourselves as masters of languages, authors, bodies of texts, areas. We must abandon mastery in order to give ourselves up to wider and less hostile horizons. ... I am not insisting that we all avoid a skilled relationship to our intellectual fields. Rather, I am advancing a practice of vulnerable engagement, a practice of opening ourselves up to our dependence on other discourses, peoples, beings, languages (that we know and do not yet know), and things that give rise to the ways that we think and the claims that we make. (2018, 90–91)</p> <p>Following Singh's call for 'a practice of vulnerable engagement,' we consider it important to expose our research and teaching – including theories, concepts, methodologies and methods – to wor(l)ds that we cannot nor wish to master but are nevertheless entangled with and dependent on. By doing so, we might begin (anew and anew) to rehearse other legitimacies than determinate proofs and outcomes. This does not mean that metaphoric methodology is anti‐science or would lie beyond any academic critique. Rather, it encourages us to ask what kind of wor(l)ds we work with in our research and teaching, how, and what our research and teaching might become if we began them from other wor(l)ds. As we see it, these are all methodological questions – questions that metaphoric methodology puts forward by beginning its οδός perpetually anew.</p> <p>When listening to Paulinho da Viola ([<reflink idref="bib17" id="ref80">17</reflink>]) singing about denouncing himself as a helmsman and by doing so, giving credit of navigation to the sea, we feel ourselves and our practice resonate with his song. Metaphoric methodology moves away from the idea(l) that, as art educators and researchers, we must be experienced helmsmen who tame the sea, towards an active and practical engagement that 'não sou eu que me navega, quem me navega é o mar.'[<reflink idref="bib6" id="ref81">6</reflink>] We move in honour to the things that move us. Relational reciprocity. Our artistic, educational and textual practices express different aspects of these movements that we experience and are yet to experience.</p> <ref id="AN0194754545-12"> <title> Footnotes </title> <blist> <bibl id="bib1" idref="ref15" type="bt">1</bibl> <bibtext> On June 14, 2023, a boat carrying around 800 people sank outside the Greek town of Pilos with 700 people drowning. The incident highlighted once again the migration crisis and the necropolitics of the fortress Europe. Investigations showed that the Hellenic Coast Guard denied the pleas of help and let the boat sink, a practice that seems to be common in the maritime borders of Europe (Counter‐Investigations [15]). Politician Alexis Tsipras questioned the dominant narrative of the incident, using the metaphors of the sea as a watery grave and connecting the metaphor to its materiality and to the political responsibilities that led to the incident (Smith & Henley [44]).</bibtext> </blist> <blist> <bibl id="bib2" idref="ref30" type="bt">2</bibl> <bibtext> Palestine will be free. We understand that this phrase is extremely charged. While it circulates as a metaphor demonstrating solidarity towards the Palestinian people, it has a very material basis in the land and its people. For some, it means liberation, and for others, it suggests genocide. In the time of writing this article, a genocide is taking place in Gaza to destruct the materiality of Palestinian freedom.</bibtext> </blist> <blist> <bibl id="bib3" idref="ref36" type="bt">3</bibl> <bibtext> One of the many examples is the genre of Rebetika and specifically from the Kafe Aman that demonstrates the entanglement between what is now Greece and Turkey or West and East. Listening to this music while reading Sarah Green's ([20], [21]) work on borders: https://<ulink href="http://www.youtube.com/watch?v=SHR‐Ti9bdsw">www.youtube.com/watch?v=SHR‐Ti9bdsw</ulink>.</bibtext> </blist> <blist> <bibl id="bib4" idref="ref1" type="bt">4</bibl> <bibtext> Κατέχω: to have, possess something. 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She holds a MA degree in Nordic Visual Studies and Art Education from Aalto University and is currently working as an art teacher in greek public schools. She has initiated and participated in various projects that intervene spaces through art education. She is interested in self‐organized and community initiatives and how art education can continue being in solidarity when it comes to challenging dominant narratives and systems.</p> <p>Juuso Tervo is Assistant Professor in Arts‐Based Research and Pedagogy at the Department of Art and Media at Aalto University, Finland. His research combines historical and theoretical inquiries in art and education, drawing from fields such as literary theory, philosophy of education, and philosophy of history.</p> </aug> <nolink nlid="nl1" bibid="bib53" firstref="ref2"></nolink> <nolink nlid="nl2" bibid="bib25" firstref="ref3"></nolink> <nolink nlid="nl3" bibid="bib28" firstref="ref5"></nolink> <nolink nlid="nl4" bibid="bib11" firstref="ref6"></nolink> <nolink nlid="nl5" bibid="bib24" firstref="ref7"></nolink> <nolink nlid="nl6" bibid="bib37" firstref="ref8"></nolink> <nolink nlid="nl7" bibid="bib23" firstref="ref10"></nolink> <nolink nlid="nl8" bibid="bib51" firstref="ref11"></nolink> <nolink nlid="nl9" bibid="bib39" firstref="ref13"></nolink> <nolink nlid="nl10" bibid="bib41" firstref="ref14"></nolink> <nolink nlid="nl11" bibid="bib32" firstref="ref16"></nolink> <nolink nlid="nl12" bibid="bib55" firstref="ref17"></nolink> <nolink nlid="nl13" bibid="bib54" firstref="ref18"></nolink> <nolink nlid="nl14" bibid="bib43" firstref="ref22"></nolink> <nolink nlid="nl15" bibid="bib19" firstref="ref23"></nolink> <nolink nlid="nl16" bibid="bib45" firstref="ref24"></nolink> <nolink nlid="nl17" bibid="bib57" firstref="ref26"></nolink> <nolink nlid="nl18" bibid="bib29" firstref="ref27"></nolink> <nolink nlid="nl19" bibid="bib18" firstref="ref28"></nolink> <nolink nlid="nl20" bibid="bib22" firstref="ref33"></nolink> <nolink nlid="nl21" bibid="bib50" firstref="ref34"></nolink> <nolink nlid="nl22" bibid="bib12" firstref="ref37"></nolink> <nolink nlid="nl23" bibid="bib13" firstref="ref38"></nolink> <nolink nlid="nl24" bibid="bib35" firstref="ref39"></nolink> <nolink nlid="nl25" bibid="bib14" firstref="ref40"></nolink> <nolink nlid="nl26" bibid="bib36" firstref="ref43"></nolink> <nolink nlid="nl27" bibid="bib47" firstref="ref44"></nolink> <nolink nlid="nl28" bibid="bib46" firstref="ref45"></nolink> <nolink nlid="nl29" bibid="bib27" firstref="ref46"></nolink> <nolink nlid="nl30" bibid="bib38" firstref="ref47"></nolink> <nolink nlid="nl31" bibid="bib49" firstref="ref49"></nolink> <nolink nlid="nl32" bibid="bib42" firstref="ref50"></nolink> <nolink nlid="nl33" bibid="bib44" firstref="ref51"></nolink> <nolink nlid="nl34" bibid="bib200" firstref="ref52"></nolink> <nolink nlid="nl35" bibid="bib16" firstref="ref53"></nolink> <nolink nlid="nl36" bibid="bib26" firstref="ref54"></nolink> <nolink nlid="nl37" bibid="bib31" firstref="ref55"></nolink> <nolink nlid="nl38" bibid="bib40" firstref="ref56"></nolink> <nolink nlid="nl39" bibid="bib10" firstref="ref57"></nolink> <nolink nlid="nl40" bibid="bib56" firstref="ref63"></nolink> <nolink nlid="nl41" bibid="bib52" firstref="ref66"></nolink> <nolink nlid="nl42" bibid="bib34" firstref="ref69"></nolink> <nolink nlid="nl43" bibid="bib30" firstref="ref70"></nolink> <nolink nlid="nl44" bibid="bib48" firstref="ref73"></nolink> <nolink nlid="nl45" bibid="bib17" firstref="ref80"></nolink>
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  Data: Metaphoric Methodology: Moving with Research and Writing
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– Name: Author
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  Data: <searchLink fieldCode="AR" term="%22Anna+Lioliou%22">Anna Lioliou</searchLink><br /><searchLink fieldCode="AR" term="%22Juuso+Tervo%22">Juuso Tervo</searchLink>
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  Data: <searchLink fieldCode="SO" term="%22International+Journal+of+Art+%26+Design+Education%22"><i>International Journal of Art & Design Education</i></searchLink>. 2026 45(2):305-324.
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  Data: Wiley. Available from: John Wiley & Sons, Inc. 111 River Street, Hoboken, NJ 07030. Tel: 800-835-6770; e-mail: cs-journals@wiley.com; Web site: https://www.wiley.com/en-us
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  Data: Y
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  Data: 20
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  Label: Publication Date
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  Data: 2026
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  Data: Journal Articles<br />Reports - Descriptive
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  Data: <searchLink fieldCode="DE" term="%22Figurative+Language%22">Figurative Language</searchLink><br /><searchLink fieldCode="DE" term="%22Art+Education%22">Art Education</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Research%22">Educational Research</searchLink><br /><searchLink fieldCode="DE" term="%22Educational+Researchers%22">Educational Researchers</searchLink><br /><searchLink fieldCode="DE" term="%22Writing+%28Composition%29%22">Writing (Composition)</searchLink><br /><searchLink fieldCode="DE" term="%22Research+Methodology%22">Research Methodology</searchLink>
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  Data: 10.1111/jade.12593
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  Data: 1476-8062<br />1476-8070
– Name: Abstract
  Label: Abstract
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  Data: In this article, we discuss how metaphors and metaphoric attention to textuality have the potential to invite art education researchers to engage with methodological discussions aside from rationalities of academic legitimacy rooted in reason and mastery. Drawing from Gloria E. Anzaldúa, Kathrine McKittrick, Christina Sharpe, and other Black, Brown, and Indigenous scholars and writers, we introduce the concept metaphoric methodology and explore its potentials and possible pitfalls when engaging with multiple ways of knowing, sensing, imagining, and being through art education research writing. We begin the article by elaborating on the relationship between metaphors and methodology, specifically focusing on their shared etymological root in movement and the conceptual potential it holds for research and teaching. We continue by discussing how metaphoric methodology resonates with and partially diverges from artistic and arts-based approaches to research. To give an example of metaphoric methodology in practice, we then share an example of metaphoric research writing from the corresponding author's art classroom. We conclude the article with a critical reflection of metaphoric methodology and discuss its potential contributions to art education research methodologies.
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  Data: 2026
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  Data: EJ1506683
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        Value: 10.1111/jade.12593
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      – Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 20
        StartPage: 305
    Subjects:
      – SubjectFull: Figurative Language
        Type: general
      – SubjectFull: Art Education
        Type: general
      – SubjectFull: Educational Research
        Type: general
      – SubjectFull: Educational Researchers
        Type: general
      – SubjectFull: Writing (Composition)
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      – SubjectFull: Research Methodology
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      – TitleFull: Metaphoric Methodology: Moving with Research and Writing
        Type: main
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          Name:
            NameFull: Anna Lioliou
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          Name:
            NameFull: Juuso Tervo
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            – D: 01
              M: 05
              Type: published
              Y: 2026
          Identifiers:
            – Type: issn-print
              Value: 1476-8062
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              Value: 1476-8070
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              Value: 45
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            – TitleFull: International Journal of Art & Design Education
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