18 - Slow stitch: reflexive creative analysis and meaning making

Summary

Introduction

While there are an increasing number of texts exploring creative research methods (Gauntlett, 2007, 2018; Smith and Dean, 2009; Mannay, 2016; Kara, 2020), few provide detailed explorations of the in- practice use of creative analysis. My use of the term creative analysis, in this chapter, refers to analysing data creatively rather than analysing creative data.

Accordingly, this chapter focuses on one element of my doctoral research, namely stitching as a tool within creative, reflexive, thematic analysis. Stitching is threaded throughout every stage of my work, from the literature review through to analysis and dissemination, because it is an inherent part of my identity as a crafter as well as a researcher. There are plentiful ‘how- to books’ on creative research (as will be discussed) but few that go into detail about the in- practice lived experiences of creative analytical approaches. This chapter aims to offer:

• • a combination of theoretical and reflexive positionings;

• • some ‘how- to’ guidance in using sewing as a tool for creative analysis;

• • discussions and thoughts on what worked well (or did not) and why;

• • and, finally, some potentials for developing this stitching approach.

As well as sharing my reflections on this approach, I am keen to encourage reflection on the part of the readers. Consequently, I encourage readers to utilise reflexive approaches during, and after, reading this chapter (whether through stitching or another method) in relation to their own responses and thoughts.

Background to the research project

When the COVID- 19 pandemic took hold, popular media reported global increases in everyday making and creativity (Brignall, 2020; Kurutz, 2021). The ‘Crafting during Coronavirus’ research project utilised diary methods over a ninemonth period in 2020, to explore everyday making during crisis, as recorded, understood, and explained by makers themselves (Clarke and Watson, 2020). The study involved 313 makers, aged 21–84 years, from 19 countries. Creative diary data were collected, comprising over 23,000 files, including textual diaries (physical and digital), images and videos of making, and tangible crafted items. These materials were explored using reflexive thematic analysis via both textual and textile means (Braun and Clarke, 2022b).