How to … share research and evaluation findings through performance
How to … share research and evaluation findings through performance
By
Dr Martin Glynn, Birmingham City University
It is common for findings from research and evaluation to be shared in reports and articles. But what other creative methods could we use? And how can we reach new audiences?
In this guide, Dr Martin Glynn showcases his innovative approach to “data storytelling”, drawing on his experiences as a researcher, dramatist and educator. By using performance as a method of dissemination, he highlights how it is possible to share findings in a direct and immersive way.
The guide includes tips on how to jumpstart your creative process while also outlining how you can engage practitioners to present your research and evaluation in alternative ways.
Read the guide below, or download (PDF document) by clicking the button above.
So you want to perform data?
The genesis for performing my research data emerged from years of frustration at not finding a suitable outlet for disseminating research findings back to the constituencies I had collaborated and co-produced them with.
Coming from a performance background, I had always used creativity as a narrative device to undertake research in accessible and culturally responsive ways. This guide builds on my experience of using the same creativity in reporting my findings.
The turning point for me came through residencies working with prisoners in maximum security prisons where I used applied theatre as the conduit for personal and collective change and became involved with the creation and production of ethnodrama.
“Ethnodrama consists of dramatized, significant selections of narrative collected through interviews, participant observation field notes, journal entries, and/or print and media artefacts.”
(Saldana, 2005).
Ethnodrama focuses on the meanings that individuals give to their lived experiences in dramatic form. In responding to issues of power and inequality, it enables individuals and communities to both narrate and interpret their lived experiences through the dramatization of research data. At its best, it operates as an unmuting of the silent and invisible.
In 2016, I was invited to a conference in New Orleans. On the way there, I stared at my 20-minute, 8-page conference speech on mass incarceration, and decided I didn’t want to present it in the usual way. So, I took my conference paper, deconstructed it completely, rhymed the themes, and applied jazz hip-hop.
Left Bank Leeds. Photo by Sally Molineaux
The outcome was ‘data verbalization’. Data verbalization is about ‘communicating’ and ‘disseminating’ research data using performance approaches and techniques.
I had finally found a way to ‘perform’ and ‘speak’ research data in a way that spoke back to my collaborators. It is an approach that can work for any kind of research or evaluation as an alternative to the written report.
About this guide
Each stage of this guide requires:
- careful planning
- time management
- resourcing
It may be used by a research artist, like myself, or by managers or evaluators who might want to work with artists, to find more creative and participatory ways to share their learning from research or evaluation with others.
How to start the creative process
1. Selection
Select some research or evaluation you have already undertaken (this may be in the form of raw data, or a report, journal article or book chapter). For example, let’s take this short journal extract:
Maruna, S (2017)
Desistance as a Social Movement, Irish Probation Journal Volume 14, 5-20
At the heart of desistance research is a very simple idea: people can change. Although crime has long been understood as a ‘young man’s game’ (and here the gender choice is intentional), criminal justice policy and practice, especially in the US, has unfortunately been based on the notion that the ‘offender’ is somehow different than the ordinary person and ‘once a criminal, always a criminal’ (Maruna and King, 2009).
Desistance research, in this context, was a recognition of the vast number of ‘false positives’ in this pessimistic assumption of risk. That is, most of the people we label as ‘offenders’ actually spend only a short time in their lives involved in criminality.
2. Highlighting
Read through your chosen material several times, to gain an insight into the story contained within the research or data. On becoming familiar with the overall narrative drive of it, highlight key phrases and important words. Next, transfer the highlighted information to index cards and group them into categories.
Maruna, S (2017)
Desistance as a Social Movement, Irish Probation Journal Volume 14, 5-20
At the heart of desistance research is a very simple idea: people can change. Although crime has long been understood as a ‘young man’s game’ (and here the gender choice is intentional), criminal justice policy and practice, especially in the US, has unfortunately been based on the notion that the ‘offender’ is somehow different than the ordinary person and ‘once a criminal, always a criminal’ (Maruna and King, 2009).
Desistance research, in this context, was a recognition of the vast number of ‘false positives’ in this pessimistic assumption of risk. That is, most of the people we label as ‘offenders’ actually spend only a short time in their lives involved in criminality.
3. Phrases
Structure your phrases and words into categories. By making a detailed list, you will begin to see connections. In doing so, you will have laid the foundation for developing the phrases and words into a story.
4. Rhymes
Creating rhymes is the most rewarding part of writing any lyric, but the most frustrating if it doesn’t work. To write rhyme well takes practice. The careful use of the right word at the right time can make or break a piece of work.
To avoid forced rhyming (rhyme made because you can’t find the right word to match another) use a dictionary, thesaurus, and rhyming dictionary to assist you.
Tips to get the most out of your rhymes:
- Rhyme is a science all of its own. Study every form.
- Don’t be lazy. Use your words and rhymes wisely.
- Learn how to edit rhymes.
- Break the rules once you know them.
- Don’t be too clever. Make the rhyme suit the form.
- Let it go if it's not working.
- Be economical with your rhymes.
5. Story construction
Construct verses using your selected words and phrases:
"At the heart of desistance, we know that many offenders shift 'N' change
'N' the perception that crime is a 'young man's game' clearly remains
Whilst criminal justice policy 'N' practice still sees the 'offender' as not ordinary
'Once a criminal, always a criminal', makes many of them both tired and weary
Desistance also recognises 'false positives' 'N' pessimistic assumptions of risk
However, those we label as 'offenders', their time involved in criminality is brisk"
6. Working with creatives
Depending on your skill set and background, you may decide to involve an artist from the outset to help you write or edit your piece. You then need to think about:
• Do I want music, visuals, etc. to support my words?
• Who is my audience and where will they encounter this work?
• Will the performance be immersive or digital?
• Should I present my piece as a dramatic monologue?
Even if you are an assured performer, you may want to consult with a producer, director, or a trusted friend who can support you in exploring the most effective way to bring your idea to the public’s attention.
I, for example, supplement my theatre skills by working with music producers as I’ve discovered that the use of sound and music amplifies my messaging on platforms such as YouTube, Spotify and iTunes, etc. Details of this process are added at the end of the guide as they won’t be relevant for everyone.
How do I find a producer to work with?
- Using your social media network can be an effective way to find collaborators.
- Alternatively, search online for artist networks in your area. These groups often hold meetings, post opportunities and create both in-person and online spaces.
- Personal referrals can be helpful. It is also a good idea to ask for work examples and references.
- If you are looking for a music producer, check out these tips from Tunedly:
https://www.tunedly.com/blog/findingaskillfulmusicproducer.html
7. Developing an impact strategy
How will you share your performance? When developing a dissemination strategy, scope out at what has been done before. Recognising the effort that goes into successful dissemination, you need to be clear that you have used the right tools, struck the right balance among available tools, and received sufficient user feedback.
With ‘data verbalization’ there are a range of measures that can be used, including social media platforms, various digital apps, recorded responses captured on camera phones, etc. This approach can be invaluable for planning future strategies as well as revealing important impact that can be posted directly online and shared with sponsors and funders.
In using more digitised approaches to capturing responses, you could attract potential sponsors who are trying to connect to the same demographic. You can also synthesise all this information into a lesson learned or best-practice document, which can also be adapted into a ‘data verbalization’ story.
Messages are at the heart of any dissemination strategy. Messages should be direct and simple and explain the problem the research sets out to address, as well as any solutions.
8. Creating connections
In using data verbalization, it’s possible to disrupt the conventional understanding of how research and evaluation findings are disseminated and to consider different ways to connect with audiences.
No one method can lay claim to holding the answers of how best to report research findings. When considering the most effective method, you may want to bear in mind:
- What methods have you used in the past and what audience was reached?
- Do you want to connect with an established or new audience?
- What is the purpose of relaying your research or evaluation findings?
- Do you want to open up a dialogue around the findings?
However, whatever your approach, through challenging assumptions and adopting creative approaches to dissemination, there is the possibility to occupy space outside of your comfort zone, open up discussions and ultimately articulate the story contained within the research or data in a more compelling and powerful way.
About the contributor
Dr Martin Glynn is Winston Churchill Fellow, criminologist, dramatist, screenwriter, children’s author, and data storyteller with over 40 years’ experience of working in criminal justice, public health, and educational settings.
Dr Glynn was recently awarded lifetime achievement awards from Equal Equity and the National Youth Agency, as well as the recent Birmingham’s Multicultural Business and Community Champions Awards.
Dr Glynn is currently a lecturer in criminology at Birmingham City University.
Explore Martin's work:
You can find Martin’s work on the following platforms:
