Monday, June 16, 2014

Exploring Data Collection - Part 5

This blog post concludes my data collection exploration and in this post I will answer the remaining Why, When, Where and How questions regarding the data collection for this project.



Why

Why will I collect data in the way I have decided?

I discussed my research into different data collection methods in a previous post and now I want to explain my reasons for choosing a case study research approach by highlighting the pros and cons of each method:



As I explored different methods I swayed from one to another, at first I thought maybe a phenomenological approach was best, exploring the phenomenon of inclusive arts practice here and in the UK, but this didn't seem to satisfy the need to explore what was happening in terms of the how and why in inclusive arts in the two places. It didn’t allow for a comparison between the two in terms of human thoughts and actions either. Some methods seemed too inflexible for this project such as the grounded methods; this also required an intense amount of time collecting data to prove a theory in one area. At one point the ethnographical method seemed a good fit, but again it was focused on one area and looked more at the behavior within the culture and the reasoning, rather than allowing for an exploration in to personal experienced and attitudes and a comparisons of these from different places. In the end I settled on a case study approach. This method would give me the freedom to explore and discuss what was happening in terms of inclusive arts work at Epic Arts and then see how these practices and the attitudes that support them compared to those in the UK.


Why have I chosen to select some people and not others for interviews?


I have chosen the people I will interview for a number of reasons. The first being the aims and objectives of my project. The questions focuses on the perceptions, experiences and practices of activity participants, facilitators and programme managers of Epic Arts Cambodia and congruous organisations in the UK. So I needed to focus on these people at Epic Arts and also will look for the same in the UK:

  • Activity participants
  • Facilitators
  • Programme managers
Knowing the structure of Epic Arts in Cambodia, it was easy to identify these three groups of people. The second reason for selecting the subjects was due to time constraints. It would not be possible to interview all of the people in these three groups within the time scale so I needed to select people to reduce the time needed. I did this by trying to select a wide spread of subjects to ensure that the data was collected from a range of people whether they were male, female, Khmer, Western, disabled, non-disabled etc. I wanted the subjects to reflect the different people at Epic Arts, so I ensured that I interviewed a higher number of Khmer people as the organisation employs most Cambodian nationals and only a few westerners. This is the spread of interviewees:

  • Male – 17
  • Female – 12
  • Khmer – 20
  • Non-Khmer - 7
  • Disabled – 14
  • Non-Disabled – 13 

To ensure that I can collect data that is similar to this in the UK, I can use these numbers as a guide to determine whom I will interview. I have displayed the details in a spreadsheet to enable me to replicate the participants as closely as I can when in the UK.



  
When

When will I do the interviews/observations?



Regarding my planned timeline for the project, I will collect data in Cambodia during June, July and August and in the UK during November and December. I have been able to put together a timetable for interviews and observations in Cambodia (see previous blog post), but I can’t do the UK timetable at present as we are still in the process of confirming dates. I will be able to do this next month.

Where

Where will the data collection happen?



This is probably the easiest question to answer. Data collection will happen at Epic Arts Cambodia and then in congruous arts organisations in the UK that will include the following:








Where will I record and store my data?


I will use audio and video recording equipment to keep track of the data I collect and I will keep this on my computer and a back-up disk. Some of information will be shared, along with my thoughts on the public blog. This will act as a platform for my ideas and also a way of recording data for further analysis later.


How

How will I do the interviews/observations?

In order for the interviews and therefore the data collected to be high quality data that can accurately be read and analogized I need to insure that all interviews are conducted in the same way. I need an ‘Interview Protocol’;

“…..the rules that guide the administration and implementation of interviews ….the instructions that are followed for each interview, to ensure consistency between interviews and thus increase the reliability of the findings”.
(Boyce. C and Neale. 2006. p5)

I will do this though the interview guide that I discussed in my previous blog. I will then refer to the guide at each interview and observation to ensure that each one happens in the same way.


How will I record the data and how will I organize it for analysis?


As I have mentioned previously, I will video and audio record my interviews and observations and also take descriptive notes on a situation that is observed or the interviewee. Once each interview or observation is done, I will record the answers and notes in a table for each question, including details of when and where the data collection took place. This way I will have all the data related to that question in one place. Here is an example:




Once all the data collection is complete in Cambodia I will be able to decipherer the main themes and then begin to arrange notes and quotes in to tables that collate the themes together. Because I am a visual learner and it helps to see my ideas in front of me in physical form, so I may use post-it notes to keep a record of information gathered and be able to arrange these in to themes on a board or even on a washing line. As much as I enjoy research, as a creative I need to make things fun and visually interesting to encourage me and inspire me, so if I can get creative about the way I arrange or code my research I think it will really help me. Something like these ideas might be helpful for me.






References

Boyce. C and Neale. (2006) Conducting In-Depth Interviews: A Guide for Designing and Conducting In-Depth Interviews for Evaluation Input. Pathfinder International. USA


Sunday, June 8, 2014

Exploring Data Collection - Part 4

In this blog post I will explore the final 'What' questions regarding data collection for this project. In between the text I will share some art work created by the Inclusive Education programmes here at Epic Arts Cambodia. This work has been created by students from the Inclusive Arts Course and the Special Education Programme and is displayed and for sale in the Epic Arts Cafe in Kampot.
Art by an Inclusive Arts student - Epic Arts

What do I need to do before I hold the interviews?

First I need to decide on who my participants will be, this was covered in a previous blog post:


http://everypersoncounts.blogspot.com/2014/04/discovering-how-i-will-collect-my-data.html



But I also need to know more about how to hold an interview, what techniques will I employ and what will I need to know or practice before I interview people one-to-one.

I have not conducted research interviews before, but I have conducted job interviews and student assessment interviews, but I suspect a research-based interview will be different. One of my first thoughts was to look at advice and information about interview techniques. I found this table helpful in understanding methods for interviewing:


(Steinar, 1996, p137)

(Steinar, 1996, p138)
The key points I learnt from this were that I must be knowledgeable about my subject and know the ins and outs of it so that I am prepared is I am ever challenged or questioned about the subject. I need to know up-to-date information about inclusive arts and current discussions surrounding it. From looking at the information above, I also was reassured about my choices surrounding structure of the interview and ensuring clarity of questioning. 


Art by an Inclusive Arts student - Epic Arts
I am aware that I must be sure to allow my interviewees the space to talk and not to interrupt. But I am also aware that if I get a particularly talkative person in the interview, I may need to interrupt in a sensitive way in order to keep the interview on subject. I need to be aware of my body language and the way in which I convey that I am listening, being open and attentive and be careful not to convey that I am either closed, bored or not listening. Linked to this area is the aspect of remembering, I must be engaged and focused all the way through the interview so that I recall information shared by the subject and be able to re-produce it if required later in the interview, I will make simple notes along with the audio tape to help with this during the interview itself.

Art by an Inclusive Arts student - Epic Arts
In addition to reading about interview techniques, I was also very fortunate to be contacted by Dr Amanda Rogers from Swansea University who was in Cambodia researching for a PhD. 



She was exploring arts and Cambodian culture and wanted to interview someone from Epic Arts about what we do. I jumped at the chance, as not only would it spread the word of Epic Arts, but also give me the chance to experience a research-based interview.

The interview was very enjoyable and a lot more informal than I expected. The atmosphere was relaxed and there was space to share ideas and also some challenging questions to really get me thinking. Amanda had a list of questions, but these guided her rather than strictly structuring the interview. This allowed for the interview to go in a direction that the questions and answers took it in, but Amanda was also careful to keep the interview on track. She shared a little of her findings along the way and this made me feel like I was helping her and adding to the overall picture she was building, whilst this also encouraging me to share more.
 
Art by a Special Education student - Epic Arts
After the interview I felt like I had genuinely enjoyed the experience and I wasn’t nervous or in a position where I felt I would be ‘caught-out’ by giving a wrong answer. The questions were also well worded and I understood what she wanted me to talk about without any restrictive academic language that might have meant I was unclear. Overall it was a good experience and I learnt a lot about creating a relaxed atmosphere for the interview. From these two learning sources I have highlighted some aims for my interviews:

I will:
  • Be organised
  • Be flexible
  • Be accommodating
  • Be clear
  • Be relaxed and informal
  • Find a quiet place to hold interviews
  • Up hold good ethical procedures during interviews and observations
  • Explore answers from the interviewee deeply
  • Make interviewees feel safe
  • Share my learning and thought about what the interviewee has shared
My interviews will be:
  • Informal
  • Focuses
  • Relaxed
  • Enjoyable
  • Free and flexible but with clear direction
My interviewees will:
  • Feel relaxed
  • Feel like they are contributing
  • Feel able to talk freely
  • Understand the questions clearly
  • Not feel guilty about sharing honest thoughts and feelings
  • Feel they can trust me
  • Know how they have helped the research process
  • Have access to the blog and the final report at the end of the project

Art by an Inclusive Arts student - Epic Arts


What do I need to conduct the interviews?


Firstly I need a timetable for interviews and observations in Cambodia, this is easy as I have access to the weekly and monthly timetables at the organisation in Cambodia. To create one for the UK, I will need to wait until dates and bookings for the UK Tour are confirmed next month to enable me to make a timetable for UK based interviews and observations. Here is the timetable for the Cambodia based interviews and observations:







The second thing that I will need to ensure that my interviews and observations are conducted in the right way and the same way each time is to create an Interview Guide with the steps and processes that need to be followed. The guide will also need to contain all the documents I need such as the information sheet and the consent forms and also questions I will ask. Here is the Interview Guide I have created and will print and use throughout the data collection process:






As well as the guide containing the processes and questions, it will contain the following information sheet and consent forms in Khmer and English that will be photocopiable for each interview or observation:

 Information Sheet for Cambodia and the UK





 Consent form UK





Consent form UK - SEN





Consent form Cambodia





Consent form Cambodia - SEN





As I say in my information sheet, all images will be subject to the Epic Arts Photography and Social Media Policy, I will include a copy of this policy extract in the Interview Guide, so that participants in the data collection may read this.

Photography and Social Media 
(Child and Vulnerable People Protection Policy)


Please feel free to contact me with any questions and/or advice via email: laura@epicarts.org.uk. You can also subscribe to this blog by adding your email address to the area on the right of this blog.

Thanks


References

K.Steinar. (1996) Interviews: An Introduction to Qualitative Research Interviewing. London. Sage



Thursday, May 29, 2014

Exploring Data Collection - Part 3


This blog post will focus on the questions that will form interviews and observations in order for me to collect data for my research project.


What will I need to ask in interviews  to collect the right data?



I discovered in my initial reading that I will need two types of questions – a central question and then a selection of sub questions that divide the central question in to smaller segments to encourage more detail. In looking into the questions I will need to ask, I believe that it is important for me to create a clear set of questions to provide a framework for my interview, but at the same time I do not want to become fixed on the questions. I must use the questions I devise as a guide and give myself the freedom to interact with the subjects on a human level and leave space within the interview to allow for the dialogue to evole:


"The research interview is an interpersonal situation, a conversation between two partners about a theme of mutual interest. It is a specific form of human interaction in which knowledge evolves through a dialogue."(Steinar,1996 p125)


The interviews and observations that I will conduct will form the majority of my research, therefore I must generate my questions by reviewing my objectives and ensuring that I gather the correct data from my subjects that is required to achieve my aims. 


"As with any field research, case research relies on a core set of questions relating to the objectives of the case writer. It is best to outline those questions and to follow that outline. The case writer should allow for follow-up and in-depth questioning when responses from those being interviewed show promise in developing a greater understanding….." (Naumes, 1999, p52)

After consulting my objectives for the project I was able to define three central questions for my interview subjects. In order for me to engage in a deeper interview with them, I then divided the three central questions in to a selection of sub questions. Here are the results:


Questions - CAMBODIA 



Central Question -  Number 1:


What do you think are the attitudes people need to enable successful inclusive arts practice? (This can be followed by a repeat of the question asking for any more attitudes)


Sub Questions:
  1. Have you ever seen the attitude of…(insert example given in previous answer)….in practice at Epic Arts?
  2. Can you give an example of when you have seen the attitude of (insert example given in previous answer)…. in practice at Epic Arts?
  3. Have you ever personally experienced the attitude of…(insert example given in previous answer)….in practice at Epic Arts?
  4. Can you give an example of when you have personally experienced the attitude of (insert example given in previous answer)... in practice at Epic Arts?
Central Question - Number 2:

What do you believe are the personal attitudes that you display that enable you to create successful inclusive arts practice at Epic Arts? (This can be followed by a repeat of the question asking for any more personal attitudes)

Sub Questions:
  1. Can you give an example of when you applied your attitude of …..to your personal practice at Epic Arts?
Central Question - Number 3:

What do you think are the attitudes people have that could hinder successful inclusive arts practice? (This can be followed by a repeat of the question asking for any more attitudes)

Sub Questions:
  1. Have you ever seen the attitude of…….in practice at Epic Arts or outside of Epic Arts?
  2. Can you give an example of when you have seen the attitude of………. In practice at Epic Arts or outside of Epic Arts?
  3. Have you ever personally experienced the attitude of…….in practice at Epic Arts or outside of Epic Arts?
  4. Can you give an example of when you have personally experienced the attitude of…….in practice at Epic Arts or outside of Epic Arts?

Questions - UK



Central Question -  Number 1:

What do you think are the attitudes people need to enable successful inclusive arts practice ? (This can be followed by a repeat of the question asking for any more attitudes)


Sub Questions:
  1. Have you ever seen the attitude of…(insert example given in previous answer) ….in practice at your organisation?
  2. Can you give an example of when you have seen the attitude of ...(insert example given in previous answer)... in practice at  your organisation?
  3. Have you ever personally experienced the attitude of...(insert example given in previous answer)…….in practice your organisations?
  4. Can you give an example of when you have personally experienced the attitude of….(insert example given in previous answer)…. in practice your organisation?
 Central Question - Number 2:

What do you believe are the personal attitudes that you display that enable you to create successful inclusive arts practice at your organisation? (This can be followed by a repeat of the question asking for any more personal attitudes)

Sub Questions:
  1. Can you give an example of when you applied your attitude of …(insert example given in previous answer) ..to your personal practice your organisation?
Central Question - Number 3:

What do you think are the attitudes people have that could hinder successful inclusive arts practice? (This can be followed by a repeat of the question asking for any more attitudes)

Sub Questions:
  1. Have you ever seen the attitude of…(insert example given in previous answer)….in practice at your organisation or elsewhere in the UK?
  2. Can you give an example of when you have seen the attitude of…(insert example given in previous answer)….in practice at your organisation or elsewhere in the UK?
  3. Have you ever personally experienced the attitude of……(insert example given in previous answer)….in practice at your organisation or elsewhere in the UK?
  4. Can you give an example of when you have personally experienced the attitude of……(insert example given in previous answer)….in practice at your organisation or elsewhere in the UK?


Simplifying the Questions

As I spent time writing the questions and sub questions above, I became very aware that I was using a lot of detailed language. I began to realise that some of the subjects I would be interviewing would struggle to understand what the questions were about. In Cambodia, there is also the added complication of translation between English and Khmer and also Khmer, English and Cambodian Sign which contains only simple words and structure. I became aware that some of these questions could become nearly impossible to communicate and overall were not inclusive of everyone I wanted to interview, I ran the risk of 'excluding' people or intimidating them and this is the very last thing I want to do. My research is about inclusive arts, so it is very important to me that all aspects are in fact inclusive to the core. This feeling was supported by the advice of Steinar;

"The abstract wording of the research question would hardly lead to off-the-cuff answers from high school pupils. The academic research questions need to be translated into easy-going, colloquial form to generate spontaneous and rich descriptions." (Steinar, 1996, p130)

Steinar uses a table to show how research questions can be 'translated' so that interview subjects understand what they are being asked and therefore the best data can be collected:


(Steinar, 1996, p131) 

I felt I needed to simplify my questions in order to ensure that my interview subjects understood the questions and particularly in the case of Cambodia, that questions could be easily translated to be understood. I created a similar table to Steinar of my initial questions:



I then was able to look at the questions and create a simplified, 'translated' version for Cambodian subjects:




I added in Question 1, "How would you describe inclusive arts?", in order to 'set the scene' and determine personal understanding of the term and I also moved the order of the questions as I felt it would be easier for people to discuss their personal attitudes and thoughts first before discussing those of the people around them. I then adapted these questions to fit with subjects in the UK:



The tables I created above will provide the basis for the interview guide that I will need to create to accompany any interview I conduct.


What do I need to ask myself during and after activity observations to collect the right data?




In the same way that I have set out a plan and structure for my interview question, I feel that in order to implement successful and focused observations, I need to do the same for myself for the observations I conduct. This will ensure that I am able to collect clearly defined data that will be easier to analyse. Without this structure or organisation of thoughts and questions, I feel I may go 'off-course' in what I am recording. Using my objectives again I created a set of questions to guide my observations:

Observations in Cambodia and the UK

Central Question 1:

What am I witnessing that shows successful inclusive arts practice?

Sub Questions:
  1. What activities are taking place?
  2. What interactions am I seeing between people?
  3. What reactions am I seeing?
  4. What makes me think the practice is successful?
Central Question 2:

Am I witnessing anything that may be hindering successful inclusive arts practice?

Sub Questions:
  1. What activities are taking place?
  2. What interactions am I seeing between people?
  3. What reactions am I seeing?
  4. What makes me think that successful practice is being hindered?
Central Question 3:

What am I learning about the inclusive arts practice within this activity at this organisation?

I put this in to the same format as the interview questions for ease and so that I can add them to my interview guide:


From this I was able to create a form to collect the field-notes from the observations I conduct. This is important as it will make recording data easier and these notes will accompany video footage of the session that is observed, so I can then refer to my notes and the footage when I come to analyse the results:






References:

Naumes.W.(1999). 3rd Edition. Art and Craft of Case Writing. London. Sage


K. Steinar. (1996) Interviews: An Introduction to Qualitative Research Interviewing. London. Sage.