by Kate Carruthers Thomas
The call for papers for the SRHE 2019 Conference slid into my inbox not so long ago, marking the point in the year when the mind must focus in the short-term, in order to benefit from all things Celtic Manor in the longer term! The conference theme: Creativity, Criticality and Conformity in Higher Education invites debate on transcending the traditional and building an innovative research culture. The theme is timely in view of my own recent experiments involving graphics and poetry in social sciences research.
One year ago, I sat with a mass of rich qualitative data I’d collected for Gender(s) At Work, a research project investigating gendered experiences of work and career trajectory in higher education (HE). I’d interviewed 50 members of staff, identifying as female, male and gender non-binary, working in academic and professional services roles within one UK university. I set about analysing the data using Massey’s theory of geographies of power operating within space. I wanted to explore ways in which gender operates as a ‘geography of power’ within HE and the extent to which participants’ diverse and complex lived experiences trouble the prevailing career narrative of linear, upward trajectory.
Clear space soon emerged between the rhetoric of gender equality and lived experiences in the workplace and throughout working lives. Despite decades of equal opportunities legislation and institutional equality policies, the glass ceiling remains a feature of our sector. Elements of less familiar career archetypes: the glass cliff (Ryan and Haslam, 2005; Bruckmuller et al, 2014); the glass escalator (Williams, 2013; Budig, 2002) and the glass closet (Merriam-Webster, 2018) also surfaced in the transcripts. These metaphors, archetypal and architectural – were something of a gift to a researcher concerned with the relationship between space and power. I found myself experimenting – you might call it doodling – with visual representations of the glass ceiling, escalator, cliff and closet.
Using the visual was not completely new territory for me; as a doctoral student I had employed visual mapping as a research tool (Carruthers Thomas, 2018a) and tentatively used abstract diagrams as aids to explaining my theoretical framework and findings (Thomas, 2016), but I hadn’t picked up a pencil with intent since school art lessons. Nevertheless, four cartoon characters emerged from my doodles; embodiments of gendered dis/advantage in the HE workplace.
Throughout the Gender(s) At Work project, I had been disseminating emerging findings through conference papers and PowerPoint presentations. I had written a chapter about my research methodology (Carruthers Thomas, 2019a). As academics we anticipate and reproduce such formats; they keep the academic wheels turning and form the building blocks of academic credibility. With data collection complete however, I was unsure that the temporal and structural constraints of these conventions were going to do justice to the volume of complex personal narratives entrusted to me by research participants. I was also becoming increasingly drawn towards McLure’s argument for
immersion in and entanglement with the minutiae of the data … an experimentation or crafting … a very different kind of engagement with data from the distanced contemplation of the table that is the arrested result of the process.
(McLure, 2013: 174-175).
In March 2018, the Sociological Review explicitly invited unconventional contributions to its conference: Undisciplining: Conversations from the Edges. Still enjoying my experimentation with cartooning, I decided to explore the possibilities of communicating my research findings through a ‘graphic essay’ entitled My Brilliant Career? An Investigation. This would be in the format of a large-scale, hand-drawn comic strip conforming to the structural conventions of an essay or article. My proposal was accepted and the work began! The learning curve was precipitous!
In June 2018, I exhibited My Brilliant Career? An Investigation at Undisciplining (Carruthers Thomas, 2018b) in the impressive surroundings of BALTIC Gateshead. The four A2-sized panels remained on display throughout the three days of the conference. It was strikingly different, communicating my research this way rather than hothousing it in a 20 minute Powerpoint presentation. Many delegates returned to the exhibit several times to look, bring colleagues, take photographs, ask questions. I engaged in discussions not only about the medium, but about the research process and findings too. And I myself engaged anew with the work, as an exhibit, rather than a cherished work in progress. I later translated the four panels into an A1-sized academic poster, displayed at the SRHE 2018 Annual Conference.
Meanwhile, another call for unconventional conference contributions in the form of poetic and performative work, had come from the Art of Management and Organisation (AoMO). This triggered a second experiment in creative criticality resulting in Glass, a long poem also based on the Gender(s) At Work data. Unlike graphic art, in poetry I do have a track record (Carruthers Thomas, 2018c), but had not considered blurring the boundary between poetry and academia until this call. Yet, as an academic my research practice involves collecting, analysing, distilling and presenting data. My research is a form of enquiry seeking enhanced intelligence and evidence to advocate organisational, structural and cultural change. As a poet, I follow a similar process to create a poem. More, or less, consciously I collect data: ideas, questions, emotions, sense phenomena, then manipulate language and sound to distil the data into poetic form. Glass brings these practices together.
To write it, I returned yet again to the interview transcripts, creating a poem comprising four sections – ceiling, escalator, closet and cliff – using participants’ words and a narrative framework featuring the researcher’s voice, using original poetry. Glass was deliberately written as a piece to be performed, another first, as I had only previously written poems for the page.
Even now, even now in my meetings
I’m still faced with wall to wall suits.
And I still hear my colleagues repeating
the proposal I tried to get through weeks ago
(extract from Cliff, Glass 2018)
Glass and My Brilliant Career were created independently of one another, in different media but they draw on the same research data. This is not all they share. Both involved an extended process of analysis and representation; repeated revisiting of the data and work in painstaking detail. Both explicitly draw on and draw in, the affective, bringing the potential for surprise, humour, anger and pain into the room without apology. Finally, both also required me to allow myself to be vulnerable to audience resistance, discomfort, critiques on multiple levels and questions of academic validity.
Largely positive responses to the graphic essay and the research poem at those conferences set me thinking about ways to signpost the potential of creative approaches in social science research more widely and led to another experiment in academic practice. I designed a multi-modal dissemination programme to take the findings of Gender(s) At Work out to UK universities and research institutes. The programme featured six ‘options’ from which host institutions could select, mix and match: the exhibit My Brilliant Career? An Investigation; the research poem Glass; a conventional Powerpoint presentation of the research findings: The Workplace Glassed and Gendered and another giving an illustrated account of my emerging graphic social science practice: The Accidental Cartoonist. Building on both the research findings and visual methods, I also designed two participative workshops. Mapping Career challenged participants to develop meaningful visual alternatives to the reductive metaphors of career ladder and pipeline and On The Page explored the way simple visual and graphic methods might be used in research and teaching. I publicised the programme via email across the UK HE sector.
The response was extraordinary. Since November 2018 I’ve visited universities and research institutes from Edinburgh to London; Cambridge to Bangor. Audiences have included academics in all disciplines, professional services staff, senior management, conference delegates, Athena SWAN teams, women’s networks and mentoring groups, postgraduate and undergraduate students. I called the initiative the ‘gword tour’ after my blog the g word (that’s g for gender). Six months, 30 ‘gigs’ – all that’s missing is the T-shirt!
One day I might be discussing Gender(s) At Work aims, research methods and findings to Athena SWAN leads and women’s networks; on another I’ll be delivering the Mapping Career workshop at a staff conference. I’ve presented The Accidental Cartoonist to academic developers and EdD students and encouraged academics to experiment with visual methods in their research and teaching practices in the On The Page workshop. Glass has been performed at some unlikely venues, including the Wellcome Sanger Genome Campus, the Stansted Airport Novotel – and to audiences somewhat larger than those at the average poetry reading!
How will you crack the glass enclosing some,
exposing some, blinding others
to their privilege?
Reflect on it.
(extract from Epilogue, Glass 2018)
Throughout the gword tour I have diligently handed out structured feedback forms (in return for a free postcard), providing me with a continuous feedback loop and resulting in adaptation and tweaking of individual sessions throughout. Now the tour has concluded, a large pile of completed forms await me and I’m looking forward to getting the bigger picture. Meanwhile I’m already musing on two questions which have arisen throughout the past year. Firstly, whether and how addressing familiar topics through unfamiliar media can disrupt audience expectations and dislodge habitual responses to tricky subjects such as gender equality; secondly, whether what I have described in this blog constitutes being ‘differently academic’.
By ‘differently academic’ I mean taking the opportunity to sit with our data for longer, deliberately to approach it from different angles, to explore its creative dimensions. I mean bringing data to diverse audiences, in diverse ways over an extended period, a process which has only further energised and deepened my engagement in the original research questions. Audience after audience has grilled me on my research rationale, process, findings, limitations and implications. Each time, their questions, comments and challenges have pushed my analyses further and opened new lines of enquiry.
I fully intend to publish my reflections on these questions in conventional academic formats: papers, articles and chapters.It may be that creative, critical work in our field can only gain academic legitimacy through this route.Meanwhile, other opportunities have arisen. Glass was published in the Sociological Fiction Zine in May 2019 (Carruthers Thomas, 2019b). I am currently working on a set of visuals for a new academic research centre and will be poet-in-residence at an academic conference in November 2019. The SRHE call for papers defines creativity as ‘transcending traditional ideas, rules, patterns, relationships’. I hope to continue to be creative and critical in my academic work, not for transcending’s sake, but ‘to create meaningful new ideas, forms, methods, and interpretations’.
SRHE member Dr Kate Carruthers Thomas is Senior Research Fellow and Athena SWAN Project Manager at Birmingham City University firstname.lastname@example.org @drkcarrutherst Blog: – the g word https://thegword2017.wordpress.com/
Bruckmüller, S, Ryan, M, Rink, F and Haslam, SA (2014) ‘Beyond the Glass Ceiling: The Glass Cliff and its Lessons for Organizational Policy’, Social Issues and Policy Review, 8(1): 202-232
Budig, M (2002) ‘Male Advantage and the Gender Composition of Jobs: Who Rides the Glass Escalator?’, Social Problems 49(2): 258-277
Carruthers Thomas, K (2018a) Rethinking Student Belonging in Higher Education: From Bourdieu to Borderlands, Abingdon: Routledge
Carruthers Thomas, K (2018b) My Brilliant Career? An Investigation. Graphic Essay exhibited at Undisciplining: Conversations from the Edges Sociological Review, Gateshead, BALTIC. June 2018
Carruthers Thomas, K (2018c) Navigation, Blaenau Ffestiniog, Cinnamon Press.
Carruthers Thomas, K (2019a) ‘Gender as a Geography of Power’ in G Crimmins (ed) Resisting Sexism in the Academy: Higher Education, Gender and Intersectionality, Basingstoke: Palgrave Macmillan
Carruthers Thomas, K (2019b) Glass. Sociological Fiction Zine, Edition #5 http://www.sofizine.com.
McLure, M (2013) ‘Classification or Wonder? Coding as an Analytic Practice in Qualitative Research’, In Coleman, R and Ringrose, J (eds) Deleuze and Research Methodologies, Edinburgh: Edinburgh University Press. Chapter 9. pp.164-183.
Merriam-Webster (2019). [online] Available from https://www.merriam-webster.com/dictionary/glass%20closet Accessed 28 May 2019.
Ryan, M and Haslam, A. (2005) The Glass Cliff: Evidence that Women are Over-Represented in Precarious Leadership Positions, British Journal of Management, 16(2): 81-90
Thomas, K (2016). Dimensions of belonging: rethinking retention for mature, part-time undergraduates in English higher education, PhD thesis, Birkbeck, University of London
Williams, M (2013) ‘The Glass Escalator, Revisited. Gender Inequality in Neoliberal Times’, Gender & Society 27 (5): 609–629