Research methodology

Figure 1.1 - McNiff, J., (2001) Flow chart, drawn by me, depicting the Action Research Methodology

Action Research Methodology
The Action Research methodology is a method of practitioner-based research that was developed by professor Jean McNiff. It is a method of research which requires the scholar to do research on themselves, which makes it a self-reflective practice. The researcher starts by developing a plan, acting according to the plan, observing the outcomes of the action taken, and reflecting on what has happened, before cycling back to the planning stage. The action research methodology results in continuous learning and growth because of its helical nature.

My plan
My plan is to study the different types of Islamic arts, in order to identify areas of interest that I can then draw inspiration from to design and create jewellery. With each piece or concept that I work on, the action research methodology will be applied. The method of execution will be to plan my piece, make the piece, recognise and document my observations, then reflect on how it links back and contributes to my research topic. Once a piece or prototype is complete, the next planning phase will be initiated.

Ebon Heath and Mona Ibrahim

Figure 2.4 - Heath, E. Ibrahim, M., (2009). Listening with the eyes. A leather body sculpture in Arabic.

This is a body art piece made by Ebon Heath in collaboration with Mona Ibrahim. In this piece, Heath used a long strip of leather with Arabic calligraphy laser cut out of it (see figure 2.4). I think that he used Arabic calligraphy in a unique way where, the message that he is trying to convey through his works are written on the pieces, quite literally. This is a very literal way to approach a topic but is something that I have considered before.

On his website, Heath (2009) explains, "My typographic sculptures liberate letters from the confines of the two-dimensional page (or screen) to express their unique content in three-dimensional space." Although Islamic art makes use of typography in more than just paper, I think his point is that the message you are trying to convey through your art can be represented as the art itself.

In an article from the My Modern Movement online media, Heath says, “If we adorn ourselves with positive mantras of words, how does that give us reminders of things to value and keep dear?” (Heath 2009). This statement resonates with me because it is my intention to create jewellery that represents the things I value, which is Islam and all of its teachings.

Contemporary Jewellery

There is a lot of discussion around the definition of contemporary jewellery. To help understand this concept, I will be looking at the definition of jewellery and contemporary jewellery as defined in papers written by Bruce Metcalf, Kenneth Quickenden and Roberta Bernabei, who talk about the functions of jewellery.

Bruce Metcalf wrote an essay titled "On the Nature of Jewellery" which defines the three major functions of jewellery: 

1. Indication of social status.

2. Redeemable/portable wealth.

3. Spiritual mediation. 

I consider these three functions discussed by Metcalf to relate to traditional jewellery, although not exclusively. Contemporary jewellery goes beyond just these three functions mentioned by Metcalf (1989), and now involves itself in current societal and artistic trends, extending the creation of jewellery to be more of a statement of artistic expression, and less of a practical piece of art, as explained by Anne Douglas (Quickenden 2000).
 
Roberta Bernabei looks at jewellery for the purpose of social commentary, where the jewellery becomes a vehicle for the delivery of prevalent social conditions. Sensitized jewellery, is the other topic that Bernabei touched on, where she explains that this kind of jewellery primarily deals with the sensitizing of materials into poetic artefacts (Bernabei 2011:33,37).

Looking at the functions mentioned above, I feel like my jewellery falls under the category of spiritual mediation but from a religious perspective. I am using my jewellery as a means of connection with Allah (God) which I consider to be worship in the form of creating. I also relate to Bernabei's concept of sensitized jewellery, because I have been very conscious about the kind of materials and techniques that I use in my jewellery as I intend for them to contribute to specific aesthetic I am trying to achieve.

Types of Islamic art

Figure 4 - Sanders, P., (2012) Moroccan tiles.

After researching numerous types of traditional Islamic art, I chose to focus on a variety of six. These six topics were studied because the qualities they possessed are points of personal interest, but do not fall into a specific category together. Although many of the different types of art that I have chosen do share decorative elements such as Arabic calligraphy, which can be found in Architecture, Islamic tiles (seen in figure 4) and jewellery, they all still carry their own sense of uniqueness.

Here is the list of types of Islamic art I have researched:

• Architecture
• Calligraphy of the Arabic script
• Ceramics
• Embroidery
• Henna
• Jewellery