744580 research-article2017
QIXXXX10.1177/1077800417744580Qualitative InquiryLahman et al.
Original Article Qualitative Inquiry 1–15 © The Author(s) 2017 Reprints and permissions: sagepub.com/journalsPermissions.nav https://doi.org/10.1177/1077800417744580 DOI: 10.1177/1077800417744580 journals.sagepub.com/home/qix
IRB as Poetry Maria K. E. Lahman1, Eric D. Teman2, and Veronica M. Richard3
Abstract In this series of poems, the authors reflexively explore experiences with the institutional review board (IRB) through the use of various poetic forms, including autoethnographic, literature review, artifact, blackout, typewriter, concrete, cutout, photographic, and collage. Areas of the authors’ individual research lines are with children, adolescents, and lesbian, gay, bisexual, transgender, queer, questioning, and ally (LGBTQQA+) participants, which are groups federally designated as vulnerable in research. Author experiences with these groups are reflected in the poetry and the perspectives of being reviewed by, reviewers of, and chairs of IRB. Keywords blackout poetry, collage, concrete poetry, cut-up poetry, institutional review board, IRB, photo poetry, research poetry
Drinking the Kool-Aide Maria “What is culture in a kindergarten classroom, drinking Kool-aide from a wine glass?” First semester, first month professor, wishing to start first follow-up study to dissertation research wishing . . . IRB request titled, Kindergarten Culture: Gender and Socialization in the Classroom The question from the IRB reviewer caused tenure to feel slippery in my grasp. Blood pounding in my face, shortened breath, hearing the questions as deeply sarcastic, the deep ignorance, apparent now, was elusive.
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University of Northern Colorado, Greeley, USA University of Wyoming, Laramie, USA 3 Concordia University Chicago, River Forest, IL, USA 2
Corresponding Author: Maria K. E. Lahman, University of Northern Colorado, McKee Hall Box 124, Greeley, CO 80631, USA. Email:
[email protected]
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Qualitative Inquiry 00(0) Somehow, I joined IRB, first member, now chair. If you can’t beat them, join them . . . that has made all the difference. Eric
Institutional Review Boards (IRBs) Keep Sex in the Closet1 Maria IRBs exert a chilling effect on sexuality research. Sexuality researchers have historically been vulnerable, pervert, pedophile. Under guise IRBs exclude sexual minorities from research, deny voice, reproduce inequality. It is the sexual subjects themselves whom IRBs consider
Lahman et al. too vulnerable to speak. Sexuality researchers tend to avoid projects IRBs routinely blocked; adult sexual minorities, particularly LGBTQ communities.
REJECTED Participants wanted to be identified in a study about OUT and PROUD. Proposal rejected by the IRB. Study to explore impact of the military policy, Don’t Ask, Don’t Tell, on day-to-day lives of gay servicemen. IRB wrote, because policy prohibited military personnel from disclosing homosexuality the risks [were] too great. Could not grant approval. Denied sexual citizenship by federal military policy and opportunity by the IRB to exercise political agency and speak out even anonymously. REJECTED.
IRB Mission Creep Critics point out new industry of IRB professionals having little or no research experience [are causing] mission creep. Design modifications, surveys could not include any identifying information [to] prevent the unanticipated “outing” of participants. Sexual identity of participants was construed as clandestine and shameful. GLBTQ people are mentally vulnerable. Certain questions expunged. Objected to asking questions about sex life. IRB wanted nothing to do with an investigation of gender/sexuality among high school students. IRB reviewers even object to commonly used language. Remove the word “queer” from the IRB title and recruiting materials. Queer [is] potentially offensive.
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Alleged Vulnerability IRBs presume sexuality is “risky,” prohibit production of sexual knowledge silence voices of diverse sexualities— knowledge might challenge cultural fears about sex. IRB practices disadvantage sexuality research wresting sex out of politics and history denying the possibility of social change. Timeless, taboo, sex remains outside (un)knowable.
Perceived Protection Veronica Ethics . . . Rule Enable—restrict give access—exert power based on existing habits and familiar routines steeped in that which came before shrouded by that which governs the institution value judgments made change the knowablea change the relations change the protected locked out locked in Conventions—the ties that bind. Assurance.
Picture taken by Chris Kirby a
Stark (2012, p. 5)
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A Good Ol’ Boys’ Club Eric A Ph.D. in research methods. Published in top journals . . . Articles on ethical issues in research. Taught research ethics classes. Presented on ethics in vulnerable populations. “Can I be part of the IRB?” I ask. “No; it’s by invitation only,” I’m told. What? Who’s more qualified than a research professor? I think to myself. Ignorance on my part apparently. More ignorance on their part? Who are these IRB reviewers, I wonder. I do a quick search to find out. Oh, OK, I say to myself. I see. No wonder the types of questions and suggestions that come back from the IRB! They haven’t a clue! How many IRB reviewers have heard of . . . Autoethnography, for example?! I wonder when (if?) I’ll be invited into their club. Eric
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IRB–Laughable or Laudable? Eric Too disgusting to serve in your military. Blue discharge. Dumped in San Francisco. We stayed. We fought. You bloodied us. You beat us, but could not beat us down. You killed us, but could not kill us off. Harvey Milk. Castro. A ray of hope. Black Cat Café. Beat Culture. You made us vulnerable. Now you want to protect us? Laudable? From what? You? To interview a gay man about this experience? EXPEDITED REVIEW. You closet us further. You keep our stories hidden. Because you’re concerned about our safety? Really? Laughable? You stifle us. You alter history. Repulsive. Not black and white. Veronica Situational. Cultural. Sexual. Global. Dynamic. Responsive.
Picture taken by Chris Kirby
Boundaries blurred. Voices deferred. Transgressions occurred. The word of 45 CFR 46 incurred.
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Child of IRB Maria Some say the IRBs imperialistic, colonistic nanny police state means children are being researched less. Maybe we do not care . . . After all, haven’t we always asked Mom, Dad, teacher, principal, counselor, preacher: what children think, experience, want?
What I Do Is Research, Too Eric Interviewing queer youth about their coming out experiences. That’s not research, says the dean. You’re going to have to do . . . A survey, I ask? Sure, that works.
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Qualitative Inquiry 00(0) I want to believe get so frustrated I told I used at the used, thanks to use from create vulner power Research Beware BENEFICENCE
I am part of the I feel I am on a new professor to be w ay bl ame for the hard work. all of my knowledge which to chan ge. able are ful. Ethics ers should eth ical RES PECT
risk. Maria
research with children cannot be permitted legally not considered able to engage in contracts. children are considered vulnerable coercion undue influence Child as worthy and capable of recognition respect voice children and young people as persons right to be heard afforded research acknowledges right of children and young people to have a say in partnership with caring, skilled adults justice engages critically with well-attested ethical principles of
solution, but I ly fooling myself. the other day that so angry I was the messenger, no Then it occurred to me to publish. A platform h elp T he a lso are culturally situated. be culturally responsive. colonistic imperialism. JUSTICE
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Lahman et al. respect, benefit attending to the complex ethical issues promotes importance of dialogue more reflexive approach. animals. Children have frequently been used in research Often without fully understanding research. Children were considered property Had no choice but to do what they were told to do. Research subjects. Convenient to scientists Many children, especially those without parents, Were used in a wide variety of experiments Scientists used own children in research. Infectious diseases. Research to treat smallpox, measles, pertussis, syphilis, gonorrhea. Infect healthy children with sexually transmitted diseases Inducing scurvy in healthy infants Using poor and retarded children conditions for animals Willowbrook Note. This poem is created entirely from writing by IRB on the history of children in research.
Narcissus’ Practice: A Poem for Four Voices Veronica The following poem is meant to be read from left to right, line by line. Different voices are used for each different “character.” If lines occur for two or more characters, they are to be said at the same time. Advisor— Consent. Be specific. State the topic is about Race. That is not clear You said it was. My job is to protect the participants. What is the topic then? Stating children is not enough.
Researcher—
It’s about identities. It’s not about race. My job is to protect the participants. …. Black or African American.
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Withholding information is not an option Unless you can justify. …. * * * * * * Dean— I am withdrawing my approval for Access. You were being misleading. You need a separate letter written to me for Access. Outline your intent. * * * * * * Advisor— Researcher— It’s ... about Race. It’s not about Race. Reveal this to the Gate Keepers and participants. But it’s about all the identities one holds. I get that, but That is not clear. The participants need to be Aware. I will list the possible identities, including Race. Okay. * * * * * * Advisor— Deans— —IRB Denied. Who is this person? Who is this person? He approached us. We met the criteria. Make clear Your role NON affiliation! Why at our institution? We met the criteria. Why not at his institution? Why not at his institution? It’s about the criteria for context and sample. Make clear Your Institution. We will be seen as racists. We will be seen as racists. Really? Have you reviewed his proposal? I have. And Add in ample discussed his debriefing procedures. procedures. * * * * * * Advisor— Researcher— I have explained the purpose. I will follow all protocols. I am working on getting signatures. Approved. Approved. * * * * * *
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Narcissus Veronica A fatal look in the spring Our Reflection… Gazing… Participants protected. Yes. Right? Protection of the Self. Yes. Right? Protection questioned. We were/are Mesmerized by: the Job the Position the Ivory Tower the Power the Esteemed Beauty Purpose questioned. Recognition of Reflection: Do We pine away to Apathy… Do We rise above to Responsiveness… Response questioned.
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IRB and Child in Research Maria
Methodological Notes on IRB as Poetry As part of a conference presentation about our frustration with IRB review of “vulnerable” groups, we developed research poetry and autoethnographic accounts to interrupt the scholarly text and allow new ways of considering old issues. Concurrently, Maria was teaching a class session about how researchers might use concrete poetry as a way of representing research poetry. These experiences became a series that seemed to obviously be called IRB as Poetry with the juxtaposition of these words delighting us. We offer some methodological notes about the poetic process and products.
Autoethnographic Poetry The poems in this series, Drinking the Kool-Aide, A Good Ol’ Boys Club, and What I Do Is Research Too, are examples of autoethnographic poetry, and more specifically researcher experience poetry (Lahman et al., 2010) as the topics are directly related to research. In this type of poetry, the researcherpoet speaks intimately with the reader about experiences that would not usually be accessible or relayed in such a manner in the field of research. In the field of literature, this type of poem may be termed lyric poetry or narrative poetry where a brief experience or a full story, short or long, is conveyed.
Appropriated Poetry IRBs Keep Sex in the Closet which draws completely on Irvine’s (2012) research is an example of poetry variously termed found poetry (Prendergast, 2006), literature review poetry (Prendergast, 2006), appropriated poetry (Lahman & Richard, 2015), and archival poetry (Lahman & Richard, 2015). In this type of poetry, a source of words is reappropriated in some fashion. Here the source is cited research literature that is condensed and formed as poetry in an effort to offer a new perspective to the reader. It is thought that the poetry may shed light on an important matter in an additional or novel way.
Qualitative Inquiry 00(0) build on the essence of the desired message through the visual. Adding visuals to research can be problematic in the eyes of IRB. For example, gaining permission to use visuals from photographers and determining if people in the photographs need to give permission are aspects of contention during IRB reviews.
Blackout Poetry The poem by Eric that has words marked out in black and starts with the words Not approved is a blackout poem. The original material being blacked out was newspaper articles so this poetry may also be termed newspaper blackout poems. Blackout poetry seems to have recently been created by Austin Kleon (2014) and has been described as, at its most basic . . . crossing out the words you do not want. Any newspaper article will work as, in fact, will any piece of writing. The point is that you have only the words, letters, punctuation, and spaces in the chosen piece to work with. (Ladenheim, 2013, p. 46)
The term blackout refers to the use of an indelible black pen to completely mark out a word so it cannot be seen. Blackout is such a trend or rage now one can see it in many places from Pinterest to curriculum ideas to people blacking out unwanted tattoos. Critical researchers may wish to consider the word black more deeply when applying this type of poetry. Maria has considered the idea of mark out poetry and sees similarities to art poetry called erasure poetry. Authors may also wish to consider allowing a portion of a marked-out text or image to be partially visible as Maria has in the collage poem, IRB and Child in Research. The partially marked-out section can provoke increased interest and focus the audience’s attention on an aspect of the author’s work that is critical. Also, a related area of the term blackout is to consider what has been “blacked out” of history in relation to persons of Othered orientations (Lahman, 2008). Finally, there is the meaning of blackout where one loses consciousness. As readers can quickly see, there is much potential fruitful discussion regarding this poetry form.
Photo or Visual Poetry
Concrete Poetry
Veronica has extensive experience working with photo images in research and research representation (e.g., Richard & Lahman, 2015). In the poems Perceived Protection and Not Black and White, she sought to bring another dimension to this project. Through visual poetry, a photograph or image can either enhance a poem or can be used to generate a poem. To enhance or generate a poem, words are conjured using a photograph or image, adding concrete and metaphorical comparisons for abstract ideas. In this way, the researcher-poet is able to refine the language or
A poem in the concrete method calls for an equal consideration of the words the poet employees and the shape and spacing the poet chooses. e. e. cummings and Ezra Pound are notable concrete poets readers may be familiar with. In concrete poetry, the visual elements of the poem may be said to take precedence even over the words. These visual elements include the use of white space (poets.org, 2004). The poem Maria created that is an image of the letters IRB is an example of concrete poetry. Concrete poetry may be defined as
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Lahman et al. pattern, or shape poetry . . . an arrangement . . . in which the typographical effect is more important in conveying meaning than verbal significance. It is sometimes referred to as visual poetry, a term that has now developed a distinct meaning of its own. (https://en.wikipedia.org/wiki/Concrete_poetry)
Meyer (2017) says, I argue that concrete poetry may be more easily digested than other forms of poetry because it enlists visual images to help shape the reader’s interpretation. Both scholars and laypersons who do not consider themselves poetry aficionados can understand concrete research poems without undue . . . burden . . . for those of us who have been socialized not to think of ourselves as artists or poets, the creative experience of writing a concrete poem may reawaken a passion for drawing or writing that has been long dormant. When I mention this project to friends and colleagues they often recall an experience that they had with concrete poetry in grade school. (p. 50)
Some say concrete poetry relates more to the visual than to the verbal arts. Maria thinks in research concrete poetry the emphasis needs to be equally on the verbal and visual. In research, Meyer (2017) is an excellent example of the power of concrete poetry. Meyer created poetry from transcripts of interviews with parents of children with mental illness. One of the poems is shaped as a casserole dish, and within the text, one hears the anguish of parents who never received the comfort and nurturing from others that might occur when one’s child is physically injured or has a socially acceptable problem. Meyer’s poem underscores the deadly silence that occurs around mental illness which often remains taboo to discuss.
Typewriter Poetry Typewriter poetry is the style of the poem True Vulnerability written by Eric that we open this series with. Typewriter poetry is a form, born out of the sixties concrete poetry movement discussed above. Typewriter poets draw on a technology that, while seemingly historical, can still be accessed but is not heavily utilized. Poets explore use of varying paper mediums, letter case, and faded ink styles (http://www.typewriterpoetry.com/about/). The poems seem to be written instantaneously with little forethought and no editing. However, as research poets begin to utilize this style, we recommend rewrites and edits. Of course, the look of typewriter poetry may also be copied through the use of word-processed fonts. Researcher-poets may wish to experiment with these ways to capture and convey data and experiences.
Poetry in Multiple Voices The poem Narcissus’ Practice: A Poem for Four Voices is written in the style of multivoiced poetry. Veronica, inspired
by Fleischman (2008), sought to draw on and represent the many and varied responses she has heard and had to the IRB review process. Multivoiced poetry may draw on different voices from a data set or experiences but unlike a collective poem will keep the perspectives distinct as each voice is meant to engage the reader with different views.
Cut-Up Method and Collage Poetry The poem titled risk. is a type of cut-up method poem (Burroughs, 1963). When creating cut-up or collage poems, the poet considers existing text reflexively or suspends their current deep understanding by repositioning and then reconsidering the text. The cut-up method is often followed by •• cutting the text into quarters •• labeling the section number 1 to 4 starting at the top left, moving right, and then down to the bottom left and right again •• switching section 1 with 4, and 2 with 3 •• reading across the sections as one would normally read prose while eliminating words that do not feel salient. At this point, some poets move words or change features such as capitalization Maria decided it would be interesting to leave capitalization and punctuation as it was for the first few drafts, and ultimately, this is the form she chose to stay with. When writing the poem risk., Maria chose to use U.S. federal guidelines for research with children and the history of horrific research these guidelines emerged from. She was intrigued to see the first word on the newly arranged page was risk. with a period. The word risk in lowercase with a period following immediately resounded with her as the title for the poem as it seemed to reflect the tension between being a protector of children and yet advocate how powerful children are. The cut-up method has similarities to the blackout poetry Eric employed (see Figure 1). The main differences seem to be moving the cut text and the end result of the scratched-out image in Figure 1 not being the final poem. Therefore, we think poets could blend these two methods depending on what they want the final result to be. In a postmodern manner, poets may also wish to layer the various effects achieved from different versions of the poem as seen in the collage poem Maria created, IRB and Child in Research. As authors, the different poetic structures and ways of conveying text and voice allowed us to consider and express our experiences with IRB in new ways. We hope readers will reflexively engage with these poems as they work with us and IRB to protect without stifling participants and much needed research.
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Figure 1. Cut-up method.
Acknowledgment
Note
The authors would like to thank Dr. Irvine for her important contribution and allowing them to present her findings as poetry.
1. This literature review poem is drawn completely from Irvine (2012).
Declaration of Conflicting Interests
References
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Burroughs, W. (1963). Notes on vaudeville voice and the cut up method. In L. Jones (Ed.), The moderns: An anthology of new writing in America (pp. 345-348). London, England: Corinth Books. Fleischman, P. (2008). Big talk: Poems in four voices. Cambridge, MA: Candlewick Press. Irvine, J. M. (2012). Can’t ask, can’t tell: How institutional review boards keep sex in the closet. Contexts, 11(2), 28-33.
Funding The author(s) received no financial support for the research, authorship, and/or publication of this article.
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Lahman et al. Kleon, A. (2014). Newspaper blackout. New York, NY: HarperCollins. Ladenheim, M. (2013). Engaging honors students through newspaper blackout poetry. National Collegiate Honors Council, 10, 45-54. Lahman, M. K. E. (2008). Always othered: Ethical research with children. Journal of Early Childhood Research, 6, 281-300. Lahman, M. K. E., Geist, M. R., Rodriguez, K. L., Graglia, P. E., Richard, V. M., & Schendel, R. K. (2010). Poking around poetically: Research, poetry, and trustworthiness. Qualitative Inquiry, 16, 39-48. Lahman, M. K. E., & Richard, V. M. (2015). Appropriated poetry: Archival poetry in research. Qualitative Inquiry, 20, 344-355. doi:10.1177/1077800413489272 Meyer, M. (2017). Concrete research poetry: A visual representation of metaphor. Art/Research International: A Transdisciplinary Journal, 2, 32-57. Prendergast, M. (2006). Found poetry as literature review: Research poems on audience and performance. Qualitative Inquiry, 12, 369-388. Richard, V. M., & Lahman, M. K. (2015). Photo-elicitation: Reflexivity on method, analysis, and graphic portraits. International Journal of Research & Method in Education, 38, 3-22.
Stark, L. (2012). Behind closed doors: IRBs and the making of ethical research (morality and society series). Chicago, IL: University of Chicago Press.
Author Biographies Maria K. E. Lahman, PhD, is a professor in the Department of Applied Statistic and Research Methods at the University of Northern Colorado, where she teaches qualitative research. Her specialty area is the advancement of ethical qualitative research with an emphasis on diversity, young children, and research representation. Eric D. Teman, JD, PhD, is an assistant professor in the School of Counseling, Leadership, Advocacy & Design at the University of Wyoming. He teaches methods courses in both qualitative and quantitative paradigms. His areas of interest include ethical and methodological concerns inherent in studying LGBTQQA populations. Veronica M. Richard, PhD, a graduate of University of Northern Colorado, is an associate professor of reading, language, and literacy in the Department of Literacy, Early Childhood Education, Curriculum, Language, and Literacy at Concordia University Chicago. Her scholarship areas of emphasis are adolescent literacy, disciplinary literacy, visual and poetic data collection and representation, and the advancement of ethical research seeking to honor and highlight participant voices and to give voice and space to those who are silenced due to status quo processes.
