We outline a community and partnership-based evaluation of a theater program for Indigenous youth using arts-based body-mapping approaches in Saskatoon, Canada, and explore the methodological limitations of the narrator or artistвЂ™s voice and representations to translate personal visual-narratives and personal knowledges they hold. Following Lewis (2010), he calls for researchers to 'listen better' to children's voices, not only attending to which is easy for adults to hear (because it accords with adult agendas or is expressed in adult terms) but also listening to silence and that which is unspoken and not readily 'identifiable, tangible or observable' (p.ДЄt the interface of Western and Indigenous research methodologies, this paper revisits the place of the вЂњpersonalвЂќ and вЂњautobiographicalвЂќ self in qualitative visual research. Just as narrative theorists have increasingly argued against assumptions of narrative coherence (e.g., HyvГ¤rinen, 2010), Spyrou (2016) argued for recognition that child voice defies singularity and clarity, rather than existing as something static and true, which can be 'captured' if only we can find the appropriate methodology.

Post-structural approaches such as longitudinal narrative methodology have particular value in this regard, because attention to the situated and co-constructed nature of talk reveals the ways in which the narrator's positions and characterisations may shift across different interviews or even different moments within an interview (Boddy, 2014 Phoenix, 2013).

Narrative coherence definition