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Interlude 1 Global power and media absences During interviews with migrants in the UK and Italy, we asked how they felt about the media coverage of the countries they had left, both by international news media and by the local media in their countries. Participants were generally quite critical of news media, as in the following reflection on the state of news: So it’s like the world of journalism has gone upside down. They spend more time researching about celebrity news and making it more legitimate than the actual news that need to be told. (Nottingham, 19
mysterious. From this point onwards, you are engaged in a narrative that will challenge your perception of the city and how you interact with it (and within it) through a digitally mediated narrative conveyed to your mobile phone. The following section is a description of my experience as a participant in Blast Theory’s performance art project A Machine To See With , which took place during the Brighton Digital Festival in September 2011. The extracts that follow are part of the script (Blast Theory, 2011a ) that was specifically adapted for Brighton’s urban space and
work towards social change, exploring creative ways of working together across sectors and borderlines, and developing intentional processes to demonstrate their value and impact in universities, communities and society. Using the lens of global perspectives, this chapter explores the form, function and impact of community–university research partnerships by examining participatory approaches to research and impacts that serve to foster, facilitate and strengthen the unique relationship and democratic knowledge exchange process between partners, participants and
was introduced to her by someone who she has a good relationship with. Nevertheless, in the given research context, any precaution on behalf of participants seems sensible and can be easily justified. Conflict and post-conflict contexts are extremely challenging environments to undertake research in. On the one hand they present a potential risk to physical safety to participants and researchers; on the other, they are characterised by an atmosphere of suspicion, uncertainty and distrust. Conflict reaches the very micro-level of people’s lives and greatly affects social
Interlude 2 Songs, jokes, movies and other diversions This interlude will explore the conversations we had with migrants in the UK and Italy about fun and entertainment. Speaking to migrants about fun and entertainment may seem counterintuitive from the perspective of mainstream media coverage, in which migrants are rarely asked about anything other than their migration journey, which frequently involves testimonials of hardship. However, this reduces the role of migrants to one-dimensional figures of heroic suffering. Also, participants had experienced quite
and theorised, or to uncritically perpetuate discourses of idealised activism. Nor is it our intention to homogenise our participants, or to ignore the terminologically and conceptually contested nature of ‘scholar-activist’. Indeed, in a variety of ways and to different extents, participants were quick to problematise and question the scholar-activist label. In this chapter, we consider the uneasiness that the label ‘scholar-activist’ evokes amongst our participants. Their reluctance or hesitance in adopting the scholar-activist identity makes
6 From spect-actor to corporate player: reconfigurations of twenty-first-century audiences In Theatre and Audience, Helen Freshwater notes the ‘extraordinary increase’ in the use of participation in new British (and I would add European) performance practices in recent years (2009: 4). In this chapter, I will examine the different ways in which certain recurring models are seeking to enable the spectator to co-author the event, and become an active participant in the performance text, in order to offer an experiential real in place of the representations
Introduction Having considered the objectified habitats of my London-French participants, I now address the habituation component of the habitus triad. It is worth noting that all three elements have been explicitly alluded to in reference to Bourdieusian habitus, if never – to my knowledge – combined under a triadic analytical framework. Maton ( 2012 ) deconstructs habitus into a model with two etymologically related dimensions: habitat and habit, whereas Jenkins contends that the ‘power of the habitus derives from the thoughtlessness of habit and
1999, Duivenvoorden traces how the movement began, how it grew, and its relationship to the Amsterdam municipal political machinery. He describes the movement’s activities, methods, its internal subcultural institutions, the social profiles of the participants, and a number of mediagenic riots that he contends, impacted the movement’s development. These three texts as well as the entire documentary collection on the squatters movement of the Staatsarchief (approximately 250 hours’ worth of video) provide the
’s programme 1 – and the professional concert production of Stabat Mater . While the focus of this chapter is a study of Godder’s work, the productive dialogue between care and choreography emerging from Stabat Mater arguably has implications for dance practice more broadly, particularly for dance initiatives developed with participants who have chronic health conditions. Furthermore, I argue that by placing care centrally within dance practice, dance artists are challenged to reimagine their artistic relationship with non-trained participants and ultimately redefine