“The Heartbeat of Hamilton”
Traditionally, children’s “voices” have been underrepresented in the field of cultural geography. Rather, “adultist views” dominate. In this article, we describe the methodological process of undertaking a comprehensive, participatory action visual methodologies project known as the Hamilton Photovo...
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2015-11-01
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doaj-d924a424e257446f88d55cb753b6df0c2020-11-25T03:24:02ZengSAGE PublishingInternational Journal of Qualitative Methods1609-40692015-11-011410.1177/160940691561156010.1177_1609406915611560“The Heartbeat of Hamilton”Fiona Moola0Jay Johnson1Jennifer Lay2Seychelle Krygsman3Guy Faulkner4Children’s Hospital Research Institute of Manitoba, Manitoba, Winnipeg, CanadaFaculty of Kinesiology and Recreation Management, University of Manitoba, Manitoba, Winnipeg, CanadaPolicy, Planning, and Innovation, Toronto, MetrolinxPolicy, Planning, and Innovation, Toronto, MetrolinxCIHR-PHAC Chair in Applied Public Health School of Kinesiology University of British ColumbiaTraditionally, children’s “voices” have been underrepresented in the field of cultural geography. Rather, “adultist views” dominate. In this article, we describe the methodological process of undertaking a comprehensive, participatory action visual methodologies project known as the Hamilton Photovoice Project (HPP) with children from low socioeconomic status neighborhoods in Hamilton, Ontario, Canada. We also discuss the lessons that we have learned along the way. The purpose of the HPP was to investigate how children in downtown Hamilton experience their metropolitan landscape. Specifically, we examined walking routes for the purposes of identifying desired environmental changes that may increase the use and enjoyment of community walking routes and spaces along routes. In doing so, we discuss what was learned from the methodological process of collecting and working with children’s visual productions, including how children appear to use visual methods. Although children’s visual productions appear to convey complex emotional, social, and political sentiments about their spatial experiences and desired environmental changes, the methodological process is invariably constrained by the institutions that govern and police children today during the research process. Thus, this study contributes toward the ongoing dialogue about the merits and tensions inherent to using children’s visual productions as a way to capture perceptions toward place.https://doi.org/10.1177/1609406915611560 |
collection |
DOAJ |
language |
English |
format |
Article |
sources |
DOAJ |
author |
Fiona Moola Jay Johnson Jennifer Lay Seychelle Krygsman Guy Faulkner |
spellingShingle |
Fiona Moola Jay Johnson Jennifer Lay Seychelle Krygsman Guy Faulkner “The Heartbeat of Hamilton” International Journal of Qualitative Methods |
author_facet |
Fiona Moola Jay Johnson Jennifer Lay Seychelle Krygsman Guy Faulkner |
author_sort |
Fiona Moola |
title |
“The Heartbeat of Hamilton” |
title_short |
“The Heartbeat of Hamilton” |
title_full |
“The Heartbeat of Hamilton” |
title_fullStr |
“The Heartbeat of Hamilton” |
title_full_unstemmed |
“The Heartbeat of Hamilton” |
title_sort |
“the heartbeat of hamilton” |
publisher |
SAGE Publishing |
series |
International Journal of Qualitative Methods |
issn |
1609-4069 |
publishDate |
2015-11-01 |
description |
Traditionally, children’s “voices” have been underrepresented in the field of cultural geography. Rather, “adultist views” dominate. In this article, we describe the methodological process of undertaking a comprehensive, participatory action visual methodologies project known as the Hamilton Photovoice Project (HPP) with children from low socioeconomic status neighborhoods in Hamilton, Ontario, Canada. We also discuss the lessons that we have learned along the way. The purpose of the HPP was to investigate how children in downtown Hamilton experience their metropolitan landscape. Specifically, we examined walking routes for the purposes of identifying desired environmental changes that may increase the use and enjoyment of community walking routes and spaces along routes. In doing so, we discuss what was learned from the methodological process of collecting and working with children’s visual productions, including how children appear to use visual methods. Although children’s visual productions appear to convey complex emotional, social, and political sentiments about their spatial experiences and desired environmental changes, the methodological process is invariably constrained by the institutions that govern and police children today during the research process. Thus, this study contributes toward the ongoing dialogue about the merits and tensions inherent to using children’s visual productions as a way to capture perceptions toward place. |
url |
https://doi.org/10.1177/1609406915611560 |
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