Komal Ansari, Sanaullah Ansari, Saima Jaffri


Much like teaching methods, research methodologies can be embraced in varied formats. The choice of such methods must, however, be aligned with the nature of the area of studies being researched. Often seen as an apparentmove away from the mainstream to the adoption of unconventional research paradigms, Creative Writing has emerged as a discipline outside the rest of the academic realm.  It  is  seen  as  a  form of studies that dwells on the research-oriented yet “subjective”  practice  of writers. Being thus, Creative Arts research in general and Creative Writing research content in particular tend to shy away from the more acknowledged manner of investigating problems, collecting data, and presenting conclusions in a proper research format. In standard research, a brief statement of the aims, theoretical framework, literature review, methodology, concrete analyses leading to conclusive results, etc., are deemed the necessary parts of an empirical paper. In Creative research, the priority on the contrary is diverted to the exhibition of creative products and artefacts, which are the discipline’s focal tool of trade. Artistic practice is deemed to be used asthe principal research method, without necessarily utilizing the problem identification-exploration-investigation-analysis-conclusion frame, which is completely unlike the qualitative, quantitative, or other existing research methodologies. This article will explore two novelpractice-oriented inquiry methods that have now come into focus in Creative Arts Research. Each ensues from the traditional “interpretative” philosophical paradigm, yet eventually leads to a “Performative” data creation and analysis strategy, which is unlike the traditional qualitative and quantitative data collection modes.

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