Context and Aims

We are three South African teacher educators from different cultural, racial, and gender backgrounds. We explore, question, and theorise lived educational experiences using self-reflexive methodologies such as self-study, and arts-inspired methods such as poetry and visual arts. Academic work by Inbanathan focuses on educational leadership and management, Daisy on teacher identities, and Kathleen on professional learning. Inbanathan is interested in developing self-reflexive and arts-based scholarship in educational leadership, which traditionally relies on more conventional methods and methodologies. Daisy’s scholarship aims to cultivate a fertile ground for people to experiment with aesthetic-ethical entanglements of the self and its moral imperative. Kathleen’s work includes understanding and supporting teachers and other professionals as inspired, creative learners who lead contextually appropriate change in conversation with others.

We are committed to fostering self-reflexive, polyvocal research learning communities to create new spaces for innovative inquiry that contributes to educational and social change. Accordingly, we have worked as coeditors on six educational research collections over the last seven years (Pillay et al., 2021; Pillay et al., 2015; Pillay et al., 2016; Pillay et al., 2017a; Pillay et al., 2019; Pithouse-Morgan et al., 2020).

The Self-Study of Teacher Education Practices (S-STEP, n.d.) 2023 Castle Conference call has encouraged self-study researchers to pause and reflect mindfully to integrate new learnings from the past, present, and future. That call also prompted us to take a step back and reconsider our editorial initiatives. We recognised that we had gone into each endeavour with a distinct goal. However, we had been so busy doing the work that we had not taken the time to consider our editorial projects as a whole. Later, we were further intrigued by the American Educational Research Association president’s 2023 Annual Meeting call (Milner, 2022), which encouraged educational research editors to “embrace their responsibilities to be transformative and innovative in how research is shared with others” to advance justice and equity (para. 7). These calls inspired us to interrupt our research collaboration trajectory and reexamine our editorial practice. We saw this as part of our ethical responsibility in public higher education. In particular, we were interested in what had motivated our editorial work over time, and why this mattered to us as academics committed to addressing critical and contested issues of self and social change for the public good. We decided to pause consciously, and intentionally reflect, asking: “What can we learn about our academic motivations from revisiting our editorials?” and “Why does this matter?”

Self-study was our chosen methodology because it emphasises critical self-awareness as an essential component of contributing to academic knowledge (Feldman, 2009). We wanted to contribute to scholarly discussions in which others have used collaborative self-study to investigate the motivation for their self-reflexive academic work (e.g., Grant & Butler, 2018; Samaras et al., 2015). We were inspired by Grant and Butler’s (2018) argument that investigating their research “drive” (p. 326) could help academics “more fully understand their experiences and understand if and how their work has been self-healing, supportive of social justice, or promoting other positive changes in identity and practice” (p. 329). And we were intrigued by Samaras et al.’s (2015) contention that researching the “why” of their scholarship could be a way for academics to enhance personal autonomy “within the tensions and practical exigencies of contemporary university life” (p. 256) and to “[forge] a resilient language to facilitate the reimagining of the university of the 21st century” (p. 247). Accordingly, we believe our study will be of interest to academics who have ever wondered what drives them, or why self-awareness is crucial for impactful research.

In what follows, we give an overview of the professional and philosophical stance underpinning our editorial projects. Then we explain how our self-study was built around the literary arts-based method of poetic inquiry and discuss the quality standards we looked for. Next, we describe our data sources, the six editorials. We show how we used pantoum, tanka, and lantern poems for representation, analysis, and meaning-making. To close, we consider the significance of our self-study.

Professional and Philosophical Stance

We began this self-study by reflecting on what we already knew about our editing approach. We agreed that editing enables and highlights interesting scholarly dialogues, debates, and discursive practices that push methodological, theoretical, disciplinary, and contextual boundaries. In our editing projects, we purposefully included graduate students, early-career academics, and senior scholars from various settings and fields of knowledge. This cross-border academic collaboration was especially energising in light of how apartheid forced us to live in separate educational, physical, and social worlds as Indian (Inbanathan and Daisy) and white people (Kathleen). Under apartheid, we almost certainly would not have met one another, let alone collaborated on exciting projects.

As we have previously articulated (Pithouse-Morgan et al., 2022), our partnership is founded on the conceptualisation of reflexive ubuntu (Harrison et al., 2012). Ubuntu’s central tenet is the interpersonal process of being and caring for others (Reddy et al., 2014). Our understanding of this Southern African indigenous ethical philosophy orients us personally and professionally as relational and always open to self-transformation. In addition, we are committed to an ethos of polyvocality (creative interaction and interdependence among many voices) in educational research to bring about positive change in ourselves and how we approach knowledge for the public good (Pithouse-Morgan et al., 2014; Pithouse-Morgan & Samaras, 2019).

Methods

Arts-Inspired Self-Study

Self-study researchers often develop creative methods to move their research forward (Pithouse-Morgan & Samaras, 2020; Whitehead, 2004). The literary arts (Dobson, 2010; Galman, 2009), the performing arts (Meskin & van der Walt, 2014; Weber & Mitchell, 2002), and the visual arts (Weber, 2014; Weber & Mitchell, 2004) have all influenced this methodological innovation. Arts-based self-study research captures things that are hard to put into words, fosters empathy, encourages self-reflection, elicits emotions, and keeps people interested (Weber, 2014).

Over time, we have built a strong working relationship based on mutual trust and respect, allowing us the freedom to experiment with and conceive novel research approaches, drawing inspiration from the arts. Hence, we chose collective poetic inquiry as a literary arts-inspired self-study approach. We drew on our past experiences with poetry as a way for people to create together and self-reflect as a group (Pillay et al., 2017b; Pithouse-Morgan et al., 2015; Pithouse-Morgan et al., 2014).

Like other art forms, poetry can operate on a spectrum, as Young (1982) has pointed out. Poetry that meets literary and artistic standards can be found near one end. On the other end, experimenting with poetic modes of expression can foster a “poetical mode of thinking” (Freeman, 2017, p. 72) without the goal of producing exceptional poems (Pithouse-Morgan, 2021). We concentrated on making and communicating poetry as research rather than on writing extraordinary poems. Each step of our poetic self-study process was built on the previous one, and evolved through collective decision-making. We had weekly meetings (a few in-person and many online) and email exchanges for over a year.

Trustworthiness

We aimed to be transparent about our research process, explain our discoveries, and demonstrate how we considered others’ ideas when writing this paper (LaBoskey, 2004; Mena & Russell, 2017). We solicited feedback from three critical friends to strengthen our work, conscious of the criticisms of self-study researchers for solipsism and navel-gazing (Samaras & Freese, 2006). Six months into the study, we presented our work-in-progress during an in-person meeting with these colleagues with whom we have worked on many self-study projects. Our 90-minute conversation helped us see things from different angles, gave us fresh ideas, and helped us to put what we were thinking and feeling into words.

Data sources

This self-study relied on data from our six coauthored editorials. Each edited collection is summarised in turn below.

Our special issue of Journal of Education (Pillay et al., 2015) demonstrated how autoethnography can provide sociocultural insights into how teachers, academics, and researchers in higher education negotiate their roles. The autoethnographic accounts illustrated how academics can use creativity to resist depersonalising and disconnecting higher education discourses.

Academic Autoethnographies: Inside Teaching in Higher Education (Pillay et al., 2016) is an edited book that presented creative and analytical tools for studying university educators’ different identities, experiences, and practices. We encouraged readers to get involved with autoethnographic research as a complex and transformative way to learn about academic selves and teaching in higher education.

Our subsequent edited volume, Object Medleys: Interpretive Possibilities for Educational Research (Pillay et al., 2017a), resulted from an international effort by academics, from different places and fields of knowledge, to learn more about the connections between people and things. The book showed how studying education through the meanings we give to objects, or take from them, can result in new and different ways of reworking and rethinking that could inspire social change.

Then, our themed issue of the journal, Educational Research for Social Change (Pillay et al., 2019), demonstrated how creative interactions with objects can lead to new ways of knowing. It revealed how thinking with objects could inspire change in oneself and others, contributing to a larger agenda of social change and transformation.

In another Journal of Education special edition (Pithouse-Morgan et al., 2020), we investigated the generative intersection of self-reflexive research and methodological ingenuity. Human experiences, relationships, and emotions were explored in novel ways to generate new knowledge for educational and societal change.

In Alternation, our most recent themed journal issue (Pillay et al., 2021), we focused on academics’ innovative approaches to depicting, analysing, and theorising their lived experiences in response to social cohesion-related contestations in higher education. The articles captured the human experiences, interactions, and emotions in higher education that shape academic identities and social cohesion or fragmentation.

Our Poetic Representation

We used a poetic mode for data representation and analysis. First, as shown below, we made a found poem out of each editorial to capture its spirit. Found poems are composed of text from data sources, reassembled into poetic form (Butler-Kisber, 2005). We reasoned that these found poems would function as research poems. As Langer and Furman (2004) have indicated, research poems can be used to compress data, providing concise and evocative representations. Writing research poetry can also help researchers gain insight into the breadth and complexities of the data (Langer & Furman, 2004).

We chose the French Malaysian pantoum poetry format for our research poems. This format’s repeating lines permit the recurrence of the most prominent or emotionally evocative elements (Furman et al., 2006). We assigned two editorials to each author to bring our diverse viewpoints into a conversation. After sharing our pantoums and explanatory descriptions, we merged them in a single document to view them as combined data representations.

The Pantoum Poems and Descriptions

As explained above, to represent our data (our editorials), we individually wrote two found poems to encapsulate what we saw when reviewing our coauthored work. A brief explanatory description followed each pantoum, based on two simple prompts: “What does the pantoum have to say?” and “What is the significance of this?”

Values of vulnerability, reflexivity, and empathy contribute to a qualitative difference in our research learning, teaching, and scholarship in self-reflexive inquiry. Critical conversations help to inform generative and socially relevant concepts and ideas to resist oppressive and marginalising traditions. Acting with hope is productive resistance.

Mutual trust and understanding strengthen our collaborative scholarship. As expressed through innovative research practices, creative thinking is central to our research and scholarship processes and outcomes. Theorising lived experiences serves as a foundation for our experiments to gain deeper insights into “who we are” and “why” and as a catalyst for critical inquiry with others to learn “what we do” in our daily practices.

We bring our histories, personal and professional experiences, and perspectives to our collaborative work. Scholarly work can be joyful. Through play, we develop new ways of researching and knowing. Our self-reflexive work has made us think about who we are as researchers and how we can serve others.

In conventional educational research, the researcher holds power. Using novel methods, such as object inquiry, can reconfigure the power dynamic by giving participants agency and voice. So, we can learn more about others. Learning from others increases social justice, change, and transformation. Working with new methods creates spaces for scholars from different disciplines to collaborate and incorporates disciplinary lenses into everyday stories our participants and we tell.

Curiosity is vital in self-reflexive research. By trying new ideas and methods, researchers become aware of their preconceptions and seek alternative perspectives. Play and imagination help researchers become more inquisitive, fun, inventive, and open to exploring their identities and forming relationships. These traits can help them identify new study routes, opening doors to addressing educational and social problems.

People must struggle with themselves, challenge the status quo, and create new opportunities for themselves and others to create safe spaces for people to disagree and communities that can only grow when people value differences. Consider what might happen if academia were a space where people could try new things, wrestle with their identities, and imagine new ways to be in a world full of possibilities, hope, and innovation.

Our Poetic Analysis

As the first layer of analysis, we worked individually to write interpretive poems (Langer & Furman, 2004) to capture and express our subjective reactions to the medley of research poems and descriptions. We selected the Japanese five-line tanka poetry format, with a pattern of five, seven, five, seven, seven syllables per line (Furman & Dill, 2015). Tanka poems are historically concerned with expressing human emotion and personal voice (Breckenridge, 2016).

Tanka Poems and Descriptions

The first layer of analysis involved writing interpretive poems to express our reaction to the pantoum poems and descriptions. We each composed a tanka poem and a brief explanation.

Inbanathan’s Tanka and Description

We aim to produce new knowledge through creative methods. While this type of research is not always popular in academia, we persist. It is rewarding and exciting because we always learn something new. Examining our thoughts and actions makes us realise that our scholarly work must transform us and have a social impact.

Playfully deconstructing the singular, autonomous human allows other voices to emerge, highlighting our entanglement and the complexity of everyday experiences. Reclaiming everyday space helps to resist hegemonic and normative discourses and practices. Liberating our essentialised limits allows us to make ethically responsible teaching and research choices.

Curiosity encourages us to try new things, learn, and face new situations. It inspires and innovates us. Curiosity can lead people to others interested in self-directed, wonder-driven research. These encounters offer experimentation, encouraging us to play. This sparks new perspectives, voices, and untold stories.

Our Poetic Outcomes

After reading the tankas and their descriptions, we each wrote a lantern poem communicating ideas from the tankas and descriptions. This served as a second analysis layer. With a pattern of one, two, three, four, one syllables per line, the five-line Japanese lantern poem resembles the shape of a Japanese lantern (Pithouse-Morgan & Samaras, 2019). We expected this compact poetry form to push us to focus on the most personally meaningful ideas in our tankas and descriptions (Pithouse-Morgan & Samaras, 2019).

We combined the three lantern poems in a poetry cluster (Butler-Kisber & Stewart, 2009), which we considered in light of our guiding questions: “What can we learn about our motivation as academics from revisiting our editorials?” and “Why does this matter?” We also returned to Grant and Butler's (2018) and Samaras et al.’s (2015) arguments about the potential value of investigating the impetus for self-reflexive scholarship.

While preparing for our discussion, Daisy (a visual artist) extemporaneously created a visual poetic response. We see Daisy’s creation as a dialogic assemblage. Dialogic assemblages are multidimensional collages of pieces that talk to each other and have multiple meanings (Pahl, 2017). Below (Figure 1), we present the lantern poem cluster, accompanied by the visual poetic assemblage with Daisy’s artist’s statement.

Figure 1

Lantern Poem Cluster and Visual Poetic Assemblage

Daisy’s Artist’s Statement

The visual poetic image assembles the vibrant mattering that enfolds and entangles as we reflect on the learnings we lived, shared, and experienced across the six issues. The life-affirming moments at/across each nodal moment of editorial work are about finding joy in difference—words, ideas, perspectives, concepts, knowledge, and values. The image captures the complexity and the messiness, the dark, risky moments, and delicate threads of joy—all assembling in a frenzied moment of knowledge-making, and for seeking out new pathways for living and learning in academia today and for what may exist in the future. It is about that moment.

Understandings From the Lantern Poem Cluster and Visual Poetic Assemblage

We had a 90-minute online discussion about the poetry cluster and assemblage. Our conversation was automatically recorded and transcribed. The essence of our dialogue was then extracted and condensed into three short paragraphs, each describing how our understanding of our academic motivations has evolved through revisiting our editorials. Next, we each discuss this in terms of our scholarly interests: academic leadership (Inbanathan), academic identities (Daisy), and academic learning (Kathleen).

Inbanathan

Editorial work involves the practice of academic leadership. Leadership is about vision, influence, and change (Connolly et al., 2017). Our experience in our six editorials is that how we envision the editorial project has to be fluid and subject to continual revision as it evolves. Our lines of sight and influence must be contingent on what authors and reviewers bring into the polyvocal space we open up. In this scholarly space, we are sometimes not the expert knowers of what is brought before us. Hence, we need to make shifts in the direction and the type of influence we exercise as editors. Our passion for editorial work is sustained by seeing our academic leadership as a fluid assemblage where multiple voices and epistemological, ontological, and methodological perspectives are mediated.

Daisy

Learning about identities through editorial work illuminates the potential of each moment of creative knowledge-making experience as a space for assembling new stories and meanings of self: who I want to be and what kind of scholarship I want to do. The multifacetedness of editorial work makes available the vibrant materiality of identity (re)making as unpredictable, playful, and exciting (Ros i Solé et al., 2020). Editorial work, as a momentary assemblage of/for identity making, illuminates the response-abilities editors exercise, serving as contact nodes for germinating new lines of thinking, doing, and being academic. The complex editorial process of assembling and holding the diverse, delicate, web-like threads of difference momentarily in place makes the alterity of self possible as creative, agentic, and socially response-able in a university setting. Across the six editorials, the openings for vibrant identities (versus singular fixed versions of who academics are, and what scholarship is relevant) find space to resist productively, and “‘difference’ is seen in a continuum” (Ros i Solé et al., 2020, p. 405).

Kathleen

We did not intend to publish six editorials in seven years. We gained momentum and moved quickly from one project to the next. We initially had a plan for each project, but the unknown takes over when you edit a collection. Editorial projects are experiments. We dispersed seeds without knowing what would happen to them. We had no idea what we would discover as we created spaces for people to bring their new work, and we revelled in our vibrant ignorance. As Jack Whitehead (2008) put it, our learning had a “life-affirming energy” (p. 103). Editing multiple collections involves multi-phased, polyvocal learning that has fluid parameters. This complex, extended learning has become part of our personal and professional lifeblood.

Scholarly Significance

How might this account of our collective poetic self-study be helpful to others? We aimed to write this paper transparently and expressively to demonstrate our research process. Methodologically, revisiting the edited collections and composing pantoum, tanka, and lantern poems was a creative analytical practice (Richardson, 2000), enabling us to make sense of our 7-year-long multifaceted editing experiences. We gradually distilled our responses to the guiding questions by using progressively concise poetic forms (Furman & Dill, 2015). Daisy’s extemporaneous assemblage complemented the unfolding poetic process. By composing the series of poems, we have made more visible, and accessible, our “understanding in flow” of the motivations for our editorial projects (Freeman, 2017, p. 86). And readers are invited to enter our poetical thinking’s “felt space” (Freeman, 2017, p. 73). Self-reflexivity prompted by the arts can affect the protagonist and the audience, making a modest yet meaningful contribution to a more extensive educational change movement. We hope that other academics curious about what motivates them will find our collaborative process an inviting entry to developing their own creative analytical practices.

This paper has further demonstrated how new awareness, brought about by co-creative poetical thinking, deepened our insight into our scholarly motivations and how we understand and enact academic leadership, identities, and learning through editing. Editorial articles and collection editing are not always valued as highly as other forms of publishing for academic performance monitoring or promotion. Nonetheless, we are committed to ongoing engagement and time for editorial work. Our self-study highlighted the value of editorial work as a necessary intellectual activity for us. We were able to articulate the impact editing has had on our academic growth and generativity. And we appreciated how it enabled us to connect with, and learn with, many others. Consequently, we are re-energised to pursue collaborative editing initiatives. We hope our self-study will inspire others to pursue editorial or other scholarly paths that nourish their academic souls.

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