This article examines the usefulness of participant-produced drawings as a participatory and non-mechanical visual research methodology in qualitative research with UK-based African Diaspora communities. Because of its co-construction and mediation of situated knowledgies, adaptability and with linguistic proficiency a non-prerequisite skill for drawing literacy; participatory drawings are considered particularly productive and ethically sound for work with children, young people and in the case of this research, adults, in different social and cultural contexts. Thematic and critical discourse analyses of drawings, supplemented by textual/written information and subsequent discussions about these visual productions, have the powerful potential to unearth complex (and seemingly hidden) subtleties of thought, memories, sentiments and information for (and by) participants, in ways that are illustrative, self-empowering, and individualised. As a review of drawing methodology, as a visual qualitative research method, the author discusses its usefulness and limitations, using his work with African Diaspora communities for/as context.

本文探讨了参与者制作的绘图作为一种参与性和非机械视觉研究方法在与英国的非洲侨民社区进行的定性研究中的有用性。由于它对情境知识、适应性和语言能力的共同构建和调解，是绘画读写能力的非必备技能；参与式绘图被认为对于在不同的社会和文化背景下与儿童、年轻人以及本研究中的成年人一起工作特别有成效和合乎道德。绘画的主题和批判性话语分析，辅以文本/书面信息和随后对这些视觉作品的讨论，具有挖掘复杂（和看似隐藏）思想、记忆、以说明性、自我赋权和个性化的方式为（和由）参与者提供情感和信息。作为对绘画方法的回顾，作为一种视觉定性研究方法，作者讨论了它的有用性和局限性，将他与非洲侨民社区的工作用作/作为背景。