There is a principle we apply at JASS, born from Feminist Popular Education called “Meet Women Where They Are.” Since I have been at JASS, I think about this and its application quite a bit, especially in Monitoring, Evaluation and Learning. A recent trip to a weaving community in Guatemala made me think about the number of times where “meeting women where they are” is inherently linked to creating art together, including weaving.
As a method of data collection, it is a no brainer. Art traverses written and spoken language, but exists in all cultures. For example, in thinking about weaving, indigenous cultures, whether in Australia, South America or Africa have created everything from textiles to baskets since modern history. Outside of its utility, they are spaces for women to gather, gossip and build each other’s power, and build collective power, together. This is why they are also wonderful spaces for expression of power through art.
If we continue with the example of weaving, it is also a form of context analysis. Weaving is a demonstration of what locally harvested materials can be used to form products. In a world of increasing climate disasters, production and extractivism; lands, waters and locally harvested materials are changing. Weaving materials are changing in terms of when materials can be used, whether they can still be used, as well as how they are being used, demonstrating climate resilience as well as response.
Furthermore, different patterns, colours and styles demonstrate feelings and emotions. More often than not, weaving is an expression of both inner and outer power. When asking women about what their art says, they will usually have a corresponding story that describes what is happening in their family lives, communities and their personal battles – yet another moment to capture data for the individual and collective. In fact, the art that women produce is often in response to what is happening in their world – responding to the global and environmental context as well as individual experiences of structural violence. Art can be seen similar to Photovoice as a method of data collection. Though, Photovoice often requires training and understanding of the tools. When trying to meet women where they are, I would encourage the use of artwork they are already familiar with.
In qualitative data collection, we ask participants reflective questions – trying to capture what change, if any, has taken place. It is a key moment for reflection and process. Weaving, similarly, is a method of meditation and processing. In the repetition of weaving, the participants are able to process, converse and reflect during these group activities. Thus, sitting with women as they are weaving is a way to collect reflective and process data – to understand what women are discussing and what they are reflecting upon. More importantly, in the artwork, women are able to express their processing and reflection through patterns, colours and materials.
