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).

Let's start our tale about researching in a pandemic with the beginning of a story:

We invite you to imagine how you might tell the rest of this story, or indeed to go ahead and write it. We ask you to then reflect on what emotions this scenario evokes for you. The research we describe in this chapter stemmed from emotional responses – personally felt, and witnessed – to a global crisis, and specifically to an unprecedented ‘lockdown’ of normal life. In response to the COVID-19 pandemic, the UK and Āotearoa/New Zealand (NZ) went into full lockdown at the same time (24 and 25 March 2020, respectively). The research we describe took root in several emotion-filled (virtual) conversations related to media coverage of high-profile public figures breaching the COVID-19 pandemic lockdown rules. We also witnessed and discussed friends and strangers online justifying why it would be okay for them to bend or break lockdown rules, alongside people urging others not to rush to judgement. Our emotional responses reflected many experiences and positions. We were personally significantly impacted: one of us was shielding (isolated at home) due to health risk; one was ordered home from overseas by their employer, disrupting several months of planned work and travel; and one has three teenage children whose lives have been upended by the sudden closure of schools/universities, with huge impact on their wellbeing. We are also natural rule followers – when we see those rules as working for collective good. Further, as critics of neoliberalism, we saw this rule bending or breaking as evidence of the privileging individual entitlements over collective interests.

What we were witnessing on the news and in online social spaces not only frustrated and angered us, it piqued our curiosity as psychologists. As a group, we have training in social psychology, where rule breaking and conformity are core concerns, and interests in health and wellbeing. That piqued curiosity led us to explore how NZ and UK residents made sense of rule breaking and compliance in relation to the COVID-19 pandemic lockdown.

Introduction

When COVID-19 emerged globally, researchers had to renegotiate research methods, their relationship with time and the unprecedented blurring of work and home. This raised questions of how to conduct methodologically and ethically sound creative research whilst being sensitive to lived experiences. Addressing this led to a focus on crafting and the potential benefits of diaries for capturing thoughts and feelings. There is a wealth of literature affirming the creative use of diaries (Välimäki et al, 2007; Kara, 2015; Mannay, 2016; Meth, 2017; Herron et al, 2019). However, diaries are time and energy consuming. This chapter offers a new insight into the ‘in-practice’ use of diaries through the ‘Crafting during Coronavirus’ research project.

‘Crafting during Coronavirus’

When fears around COVID-19 started to take hold, Naomi saw that her Instagram feed was flooded with ‘lockdown making’ and ‘coronavirus creativity’. We did not want people's narratives of making during this crisis to be lost and we wanted to bear witness to their thoughts and experiences as well as their makes. People's experiences and thoughts are diverse, complex and subjective so creative methods, allowing participants to tell their story in their own words and in their own time, are both ethical and credible (Brinkman, 2012).

Following ethical approval from the University of Bristol, the ‘Crafting during Coronavirus’ (CDC) research project was shared on social media platforms from 4 April 2020 with a weblink to Naomi's website with project information (Clarke, 2020). Having an established online presence enabled participants to legitimize Naomi's identity and experience. Naomi, a PhD student and crafter with 23 years’ experience, utilized her creative connections to extend the reach of the research. Relying on digital connections is complex. It can be beneficial for enabling access to a broad geographical dispersion of participants more cost-effectively than most qualitative methods (Kara, 2015). It can also, however, bias the sample towards those with digital access and technical know-how (Duffy, 2002). In total, 576 people signed the participation consent survey. All participants were emailed with an individual ‘welcome’ message including the ‘diary template’, information about the diary sections, time frames and encouragement to make the diary their own. Of the 576 participants, 120 withdrew. Of the remaining 456, 317 actively participated by regularly sharing their diaries, crafting, making and experiences.