Considering how to communicate your research or engage others with the latest science, social science or humanities research? This book explores new and emerging approaches to engaging people with research, placing these in the wider context of research communication. Split into three sections, Creative Research Communication explores the historical routes and current drivers for public engagement, before moving on to explore practical approaches and finally discussing ethical issues and the ways in which research communication can contribute to research impact.
Starting from the premise that researchers can and ought to participate in the public sphere, this book provides practical guidance and advice on contributing to political discourse and policymaking, as well as engaging the public where they are (whether that is at the theatre, at a music festival or on social media). By considering the plurality of publics and their diverse needs and interests, it is quite possible to find a communications niche that neither offers up bite-sized chunks of research, nor conceptualises the public as lacking the capacity to consider the myriad of issues raised by research, but explains and considers thoughtfully the value of research endeavours and their potential benefits to society.
It’s time for researchers to move away from one-size fits all, and embrace opportunities for creative approaches to research communication. This book argues for a move away from metrics and tick box approaches and towards approaches that work for you, as an individual researcher, in the context of your own discipline and interests.
discourse) cultural practitioners exists within an environment in which the simple but ‘powerful presence’ of a Black man becomes revolutionary. In this case, Colin's ‘powerful presence’ on screen manages to interrupt common assumptions about what a Black man is able to represent. In his response Colin reveals that, like many of his Black and Asian filmmaking peers, a key dimension of his interaction with film is a renegotiation of a politics of visibility. This role encompasses the creative act of looking back, calling out, representing or reimagining pasts, presents and
Internationally, public engagement and communication has become an important aspect of research and policymaking, allowing research establishments, and their researchers, to explore public perspectives on their work as well as providing access to research findings to wider publics. Alongside this, a considerable research communication and public engagement community has emerged, who are interested not only in the design, techniques and methods for research communication and engagement but also approaches to communicating creatively and evaluating the
5.1 Our We'll Walk Hand in Hand community cast on stage, together with professional actors, at the Lyric theatre in March 2017. This chapter contains three reflections on the Creative Interruptions project strand Creatively Connecting Civil Rights (CCCR), which was based in Belfast and which developed, from initial
6 Creative survival as subversion I Solidarities and creative tactics against ‘conditions of death’1 n the DRC, the exercise and consolidation of state authority does not necessarily imply social transformation or a real commitment of the state to impose itself but, rather, the management of state absences and state presences through a plurality of authorities. Still, the patterns of coercion and extraction that have followed from the 20 years of conflict, with the different state-making and peacebuilding processes, determine the conditions for the
contact and exchange. If, for many years, this socially diverse colony was at the cutting edge of a certain kind of black liberation and advancement, then that was not the work entirely of its founders and governors, in the form of companies and foreign governments, but also of the people who lived in and passed through it. Second, as the image of Freetown market makes clear ( figure 7.1 ), colonial contact zones also had the potential to be more anarchic, sites of multiple experiments and everyday creative acts, in which
1 Creative Democracy Optimism about democracy is today under a cloud. (LW2: 304) Unfashionable democracy When Dewey published The Public and Its Problems in 1927, democracy had become somewhat of an unfashionable aspiration, with populations in Europe beginning to turn to the extreme Left and Right for their political settlements. In Russia the October Revolution was nearly ten years old, in Italy Mussolini had been in power for three years and in Germany both volumes of Mein Kampf had been published. At home in the United States of America, even the pretence
12 Creative pathways: developing lifelong learning for community dance practitioners Victoria Hunter T his chapter discusses a collaborative pilot project led by staff from the University of Leeds BA dance programme and Yorkshire Dance, the West Yorkshire region’s national dance agency. The one-year pilot aimed to engage key industry stakeholders in the development of continuing professional development opportunities for dance professionals within the area of what is known as community dance practice. Funded by the West Yorkshire Lifelong Learning Network, the
6 Europe as a force for creative reconciliation President Pat Cox Introduction As he reminded his audience, when Pat Cox delivered his lecture on ‘Europe as a force for creative reconciliation’ on 26 April 2004, the reunification of the continent with the accession to the European Union of ten new members was only six days away. As President of the European Parliament, he was privileged to watch this historic development from a unique vantage point. In June 1989, when he was first elected to the Parliament, such a development was barely imaginable. The European
9780719079740_C06.qxd 6 22/2/10 15:33 Page 127 Jack Mapanje Creative incarceration and strategies for surviving freedom The delights of moving house For what it’s worth, I want to tell you the story of how my family and I have been surviving our freedom since we arrived in the UK. I was adopted as a prisoner of conscience by Amnesty International, Pen International, Africa Watch, Human Rights Watch, and many other associations and organisations of writers, linguists, scholars and human rights activists throughout the world – the list is limitless – and it