This blog post focuses on my approach to using poetry as an analytical tool in a recent empirical study. There is an exciting body of research highlighting the potential for incorporating poetry into the various stages of the research process. Writing and sharing poems can be an effective data collection method, whereby poems are constructed by/with participants to explore their stories, feelings and memories. Poetry can also be used as an analytical/interpretative lens – for example, Carr (2003) created poems to document the experiences of family members of hospitalised relatives, transforming interview transcripts into poetry. Researchers can also use poetry to disseminate educational research and extend the tone and scope of research communication. The growing emergence of poetry in research, underpinned by arts-based research, is also connected to theoretical insights by postmodern, poststructural and feminist theories, which invites transformative and inclusive possibilities for research that goes beyond hegemonic and traditional forms of knowledge (Cutts & Sankofa Waters, 2019).

My PhD research explored children’s experiences and perspectives of belonging and school inclusion. I explored the interconnectivity in discourses on self-identification, otherness and school inclusion in multilingual and multicultural spaces. The methods included focus groups, children’s artwork, co-analysis with participants, and dance and drama workshops. As part of the data analysis process, I chose to experiment with poems. This process involved going back and forth between the transcriptions, the NVivo coding, and looking closely at the participants’ artwork and what they said about it.

To begin the process, I experimented with free-verse poetry, whereby I attempted to use poetry to identify connections between participants’ comments, further identify themes and keywords, and document my own reflections and feelings as I delved into the data.

Then, I began experimenting with structure and specific words and phrases. I used linguistic devices such as repetition to illustrate aspects that the participants felt strongly about or things they mentioned frequently. I experimented with using short, snappy lines or long, stream-of-consciousness lines to imply the tone of voice and the atmosphere of the workshops. I selected six poems to include in my thesis. Below is one example, which takes verbatim the words of the participants:

Surprise!

Something for you

It belongs to me and

I own it, just mine, not sharing

I may share it sometimes

My life, my bed

My things

The first part of this poem reflects Aasab’s comment: ‘belonging is something for you, it’s like a surprise for you and we have to keep it’. I was interested in her view of belonging as a ‘surprise’. The exclamation mark was used to convey her excited tone of voice. The repetition of ‘my’ – ‘my life, my bed, my things’ – was utilised to highlight how participants often distinguished between what is ‘mine’ and ‘yours’.

‘Through poetry, I was liberated from the structured form of academic writing; I could experiment with themes, form, language, tone and imagery to interpret and represent the children’s comments about belonging and school inclusion.’

The notion of material possessions and human–object relationships was significant in the findings. Furman and colleagues (2007) note that poetry can be a powerful tool for communication through the playfulness of metaphor, alliteration and visual elements. Through poetry, I was liberated from the structured form of academic writing; I could experiment with themes, form, language, tone and imagery to interpret and represent the children’s comments about belonging and school inclusion. I found that poetry as an analysis tool gave me enthusiasm for and confidence in my data.

Reflecting on my research approach, I advocate that poetry can serve as a valuable analysis tool for research, and it can be utilised as part of a multi-level approach. Poetry can be a powerful tool for communicating the researcher’s reflections and interpretations of the data and representing the voices of participants in engaging ways. Importantly, I was not seeking to create a single narrative through the poetry. Poetry is open to interpretation; it is evocative and invites emotional engagement. Like my data collection methods – which invited collaboration, imagination and contradictions among participants – the poetry was an interesting tool that enabled multiple narratives, opinions and clarifications for the researcher and audience.

To conclude, I quote poet and academic Neil McBride (2009, p. 43):

‘[Poetry] questions, it leaves frayed edges and loose writes. It draws out the hidden, the spiritual, the underlying rhythms of life that we swamp with information, noise and news channels.’

Holly will be presenting at the BERA Conference 2024 and WERA Focal Meeting on Monday 9 September at 12:45pm for a symposium panel on ‘Migration and Education across the Four Nations of the UK’. 

References

Carr, J. (2003). Poetic expressions of vigilance. Qualitative Health Research, 13(9), 1334–1331. https://doi.org/DOI: 10.1177/1049732303254018

Cutts, Q., & Sankofa Waters, M. (2019). Poetic approaches to qualitative data analysis. Education Publications, 145. https://doi.org/10.1093/acrefore/9780190264093.013.993  

Furman, R., Langer, C., Davis, C. S., Gallardo, H. P., & Kulkarni, S. (2007). Expressive, research and reflective poetry as qualitative inquiry: A study of adolescent identity. Qualitative Research, 7(3), 301–315. https://doi.org/10.1177/1468794107078511

McBride, N. (2009, December 3). Poetry cornered. Times Higher Education, 1(925), 42–44.  https://www.timeshighereducation.com/features/poetry-cornered/409334.article