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I offer Double Dutch Methodology (DDM) as an alternative way of thinking about qualitative research and as a set of methodological strategies. This essay is my attempt at providing a useful way to think about and practice being a researcher. Essentially I hope to provide a piece that I would have appreciated reading when I was just starting to conduct ethnographic research with youth of color in an urban context. To that end, I begin by sharing the components of the metaphorical Double Dutch Methodology. The first part of DDM involves “learning the ropes” (Gaunt, 2006, p. 37), or critically exploring researcher positional-ity. For example, what are the intersecting identities that researchers bring to the research context? And, what are the multiple roles and shifting orientation that a researcher may experience during the research process? The second component of DDM includes “plant[ing] both feet” (Gaunt, 2006, p. 174), or considering the main theoretical standpoints on which DDM or a humanizing qualitative research approach is based. Specifically, what theoretical lens(es), conceptual framework(s), or set of principles informs DDM as a new way of thinking about and doing research? Finally, the third component of DDM entails “keeping time and rhythm,” or engaging in participant observation that is complicated, contextually stylized, and improvisational. In particular, during fieldwork, how and when do qualitative researchers, utilizing the method of participant observation, engage as “a participant observer at times, an observer at other times, and a participant at still other times” (Paris, 2011, p. 8)? Moreover, a Double Dutch Methodology is concerned with privileging the everyday interactions, voices, and experiences of the participants. This kind of approach to research invites reflexivity, relevance, and reciprocity, which is transferable to researchers in other disciplines, in particular scholars of color who are struggling with the notion of needing to be “distant” and “neutral” observers in spaces or research contexts that include participants from oppressed or marginalized communities.

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I offer Double Dutch Methodology (DDM) as an alternative way of thinking about qualitative research and as a set of methodological strategies. This essay is my attempt at providing a useful way to think about and practice being a researcher. Essentially I hope to provide a piece that I would have appreciated reading when I was just starting to conduct ethnographic research with youth of color in an urban context. To that end, I begin by sharing the components of the metaphorical Double Dutch Methodology. The first part of DDM involves “learning the ropes” (Gaunt, 2006, p. 37), or critically exploring researcher positional-ity. For example, what are the intersecting identities that researchers bring to the research context? And, what are the multiple roles and shifting orientation that a researcher may experience during the research process? The second component of DDM includes “plant[ing] both feet” (Gaunt, 2006, p. 174), or considering the main theoretical standpoints on which DDM or a humanizing qualitative research approach is based. Specifically, what theoretical lens(es), conceptual framework(s), or set of principles informs DDM as a new way of thinking about and doing research? Finally, the third component of DDM entails “keeping time and rhythm,” or engaging in participant observation that is complicated, contextually stylized, and improvisational. In particular, during fieldwork, how and when do qualitative researchers, utilizing the method of participant observation, engage as “a participant observer at times, an observer at other times, and a participant at still other times” (Paris, 2011, p. 8)? Moreover, a Double Dutch Methodology is concerned with privileging the everyday interactions, voices, and experiences of the participants. This kind of approach to research invites reflexivity, relevance, and reciprocity, which is transferable to researchers in other disciplines, in particular scholars of color who are struggling with the notion of needing to be “distant” and “neutral” observers in spaces or research contexts that include participants from oppressed or marginalized communities.

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operational: observing representations of the mural, naming through reflection of ideas and experiences

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walking to the library, understanding what was happening around us, see what the mural was about,
understanding the topic that was being discussed and find doors to enter that topic with an open-mindedness

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Got a note pad and pen to take notes

Walked to the library in a group

Sat down in designated room that had chars and desks

Took notes of what I observed until I was in the room

Next time instead of waiting to get to the room/event I can take notes beforehand

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Analytical: Observing everyones reaction to the name of the painting. Why everyone reacted the way they did.

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The shift of being in the community room to the unveiling area.  Moving between spaces.

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analytical
next steps: interviewing the participants about their feelings toward the mural and how their experiences relate to their naming choices

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the use of English and Spanish to come to develop the name of the mural, the use of emotions to create names, asking why we chose the names for the mural , the meaning behind it

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Operational: walked to the library as a class. First stopped at the mural area and then walked down to the community center. Erika Verba, head of LAS department, led students and faculty in a process of naming the mural. She did this by asking for input, and voting on a name at the end of the session. Once the naming session was over, the people in the community center were led to the mural area again to see the reveal.

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Analytical: Analyzing details of the environment and participants. Letting my own observations form my ideas and perspective about the space and those who were involved with tonight's event.

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Analytical: Analyzing details of the environment and participants. Letting my own observations form my ideas and perspective about the space and those who were involved with tonight's event.

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Operational: Walking to the library, observing the people around us and observing the mural. Listening to everyones suggestions on the name of the mural and trying to make those connections on how they would come up with that name.

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The program/ structure of the naming workshop.

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In reflection of observer participant information gathering, my field notes patterned to observing space, layouts of groups of people, conversations between them and nuances of language and body language.
I noticed how the presence of our class shifted the focus somewhat, everyone else in the room knew eachotehr closely and had connection to the production and history of the art the discussion was centered on and with our presence the academic setting was carried with us.

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analytical
the use of Spanish and the natural switching between languages made the space feel welcoming and allowed extra levels of discussion in naming the mural

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Analytical: The excitement and emotions from the artists and other members of the mural

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- Walking to the library
- Taking notes on what I saw (mural, people), heard (ideas, speeches) or touched (mural pin, flyer)
- Providing ideas for naming the mural
- Putting away notes to immerse myself in the discussion of voting
- Noticing behavior and body language of the people in this community once mural was revealed

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Coding: it was a reoccurring theme for the LAS faculty to state that there was multiple departments involved.

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Attendees. Represented departments at the event

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Our class was the dominant audience. The organizers and the artists expressed their shock at the size of the audience. How does this speak to the inclusivity of on-campus events at CSULA?

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While reflecting on my process of interpreting  the events, a moment for me to remember was the importance of giving space for relationships and vulnerability. I became very concerned when the class had already left and deprioritzied connecting with the community members I was in immediate conversation with. The story in DDM paper is called to my memory of trying to balance the participation and researcher aspects, the jumping in and out

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the mural was a interdisciplinary project to make csula a safe place for those who come from another country in search for a better life and acknowledging their trauma that comes from it.

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Observed that the word "dream" appeared the most during the topic selection process. It will be interesting to understand why the word was got selected the most, and what it means to the community.

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analytical:
what might the event have looked like without the participation of our class?

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Operational: Walking to the library and making those observations, writing my own thoughts and ideas.

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Operational:
Reminder to do a little research about the community that I am joining.
>Look around and see if it is an accessible place for everyone.
>talk with different people and hear them out.

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- Observing behavior, body language, conversations
- Learning more about each person who collaborated in making this mural happen

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Analytical: the energy and body language from the members in the community center expressed their excitement of the project. After it was revealed, you heard multiple ‘ooo’s from the coward and then felt silent

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I stood in the back of the space during the mural unveiling to observe the majority of the audience and presenters. How does the placement of the researcher influence their experience?

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The room structure. Snacks and welcoming, announcements

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Operational: Organizing ourselves as a class as to how long we would stay and what we would be doing when we return to class. Getting our notepads and pens. Thinking of what I will be noticing while at the naming brainstorm session. Thinking of the mural and what the artist was thinking about displaying through their art.

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Operational: Organizing ourselves as a class as to how long we would stay and what we would be doing when we return to class. Getting our notepads and pens. Thinking of what I will be noticing while at the naming brainstorm session. Thinking of the mural and what the artist was thinking about displaying through their art.

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Harding working people in the back of the room making buttons

The people who organized the event looked excited to have guest join & participate

When voting for the title of the mural by analyzing body language it was obvious when someone liked the name of the title or not

When the title was well liked the room all made a noise a agreement

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- LAS staff were surprised at the turnout of participants
- Department representation of deans, professors, students, etc. (library, schools, artist)

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the excitement felt when we all came together to put ideas in
seeing others passion when talking about how they are first generation students who have been over here with zero family
coming up the with names with others who were not from our class, was very important