Emotion Curves: Creativity and Methodological “Fit” or “Commensurability”

Jim Donaghey,Fiona Magowan

doi:10.1177/19408447211002768

Abstract

The “emotion curve” is a creative methodology that asks research participants to express in graphic form changes in their emotional responses over time, reflecting on a given time period or on a particular activity or event (in our case, music-based activities). This methodology was developed as part of our research with community music-making NGO Musicians Without Borders at their “Music Bridge” participatory music and movement training program in Derry/Londonderry, Northern Ireland. This article discusses how the “post-conflict” context of our research, and our engagement with the principles of prefiguration and participatory action research, shaped the development of this innovative methodology, paying particular attention to achieving methodological “fit” (or commensurability) with the practices, objectives, and ethos of our research partners. This creative and “fitting” (or commensurate) methodology has been the basis of a “mutually transformative dialog” with our research partners.

Highlights

The Sounding Conflict: From Resistance to Reconciliation1 project seeks to integrate interdisciplinary arts and social research methodologies to develop new and complementary modalities of research participation, and to evaluate the effectiveness of their application
Our strand of the project has focused on the “Music Bridge” music facilitation training program in Derry/Londonderry, delivered by international NGO Musicians Without Borders (MWB),2 which aimed to equip participants with community music facilitation skills through a 3-year course, delivered in four training sessions throughout each year
We offer some insights into how the “emotion curves” creative methodology was developed in partnership with MWB, especially in terms of practical, objective-sharing, and ethical considerations

Summary

Introduction

The Sounding Conflict: From Resistance to Reconciliation1 project seeks to integrate interdisciplinary arts and social research methodologies to develop new and complementary modalities of research participation, and to evaluate the effectiveness of their application. Approaching research into community music-m aking from this prefigurative analysis makes a great deal of sense, as a critical tool, and in terms of developing a commensurate research methodology, and this has the potential for a wide range of applications, not limited to post-c onflict contexts.

Results

Conclusion