The return of Creative Writing to the academia was intended as an answer to rigidapproaches employed in the nineteenth century’s teaching of English Literature. Thiscomeback has since brought back a new perspective in seeing body of literature as aliving body but at the same time also introduced clash between dominating researchparadigm in the academia. The writers who were hired to teach creative writing tendedto prioritise their creative practice, while the general consensus in academia calledfor more theoretical-oriented research. In order to compromise, the practice-basedresearch method was born.Despite various justifications that creative process is the same as research inquiry, theheavier emphasis on creative works in this method still invites criticism, such as thelack of research rigour (Biggs & Büchler, 2007). New framework to balance and bridgepractice and research rigour is thus needed – especially one that can accommodate thenon-linear thinking trajectories in creative practices. Due to the possible non-linearity,the new research platform should not follow the reigning ‘arborescent scheme’ in theacademic research tradition, but incorporate the concept of Deleuzian rhizome.A/r/tography –developed based on the premise of art and art creation as a rhizomaticprocess/activity– is proposed as one of the potential practices for creative writing research.The non-linear view of a/r/tography towards arts practices suggests a rhizomatic role inthe mapping of creative writing process. As it addresses and accommodates multiplicities,a/r/tography also facilitates non-native English speakers to conduct and map his journeyin art creation and research inquiry. Author’s project of writing a collection of bilingualpoems based on classical Javanese song cycle –Sekar Macapat– is presented to illustratethe claim