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Research proposals, written consent forms, participant information sheets, letters of intent, briefs and proposals on university headed paper are all claims to power, neutrality and control in the research process. Though ethically imperative, this course is an opportunity to reflect upon these “fetishes of consent” (Wynn and Israel, 2018) and the unequal power relations they may produce between participant and researcher. Employing creative methods within the research process, from start to end, is an opportunity to communicate meaningfully with all stakeholders; from a struggling mother with low literacy levels in a Mumbai slum, to a time conscious policy official in Cape Town who refuses to glance past the first paragraph of your research proposal. The ability to communicate complex and often abstract ideas beyond an academic audience is pivotal to doing research with impact, and it is also a vital part of a decolonial agenda. While “the proof of the [decolonial] pudding” is arguably identified in how research is analysed and presented (Hitchings and Latham, 2020:392), it is crucial that methodologies are subject to critical reflexivity, and foster knowledge exchange between scholars, practitioners, and respondents.

In this course we will explore a variety of “creative methods” that have been developed for use in the field, and to generate empirical data. This course then goes further, to explore ways of incorporating creativity throughout the research process in areas such as stakeholder engagement, participant recruitment, consent processes, and gatekeeper conflict during data collection and research dissemination. As part of the course, you will make a simple means for creative outreach such as a video, presentation, drawing, or video recording (etc.) that communicates your research to intended stakeholder(s). We will think critically about intended audience demographics (i.e. elderly, working mothers, young people, peasant farmers, NGO workers or city officials) and reflect upon the creative materials we have produced as a group and discuss its methodological implications. The goal is not to use creative practice as simply another empirical data gathering tool, but to address the hierarchies within academic processes and knowledge production. Creative practice is an opportunity to build new communication strategies that foster the reflexivity, flexibility, and wonder of the unknown within co-production, enabling us to move towards more equitable ways of building and cocreating knowledge.