Finding Space for Agency in Permanent Exclusion from School

This article aims to examine the experiences of pupils and professionals who are affected by permanent exclusion (what used to be called being expelled) from school. An ethnographic study conducted during the author’s employment as a Pupil Support Officer within secondary schools and the children’s services department of an urban local authority in England explores the idea that professionals may be forced to make inequitable decisions about including or excluding pupils in the face of powerful competition between the politically unchallengeable concepts of tolerance, inclusivity, attainment, and choice. The article argues that the tensions of multi-agency working are focused within what will be described as the contested space of the young person’s ‘extended body’. However, whilst the contested nature of this space renders it vulnerable to negative description and to the biased judgements of authoritarian power, it also offers itself as a space for emancipatory self description by the young person and for the expression of agency on the part of those professionals working for social justice

Arts practices in unreasonable doubt? Reflections on understandings of arts practices in healthcare contexts

This article suggests that the discourse on arts and health encompass contemporary arts practices as an active and engaged analytical activity. Distinctions between arts therapy and arts practice are made to suggest that clinical evidence-based evaluation, while appropriate for arts therapy, is not appropriate for arts practice and in effect cast them in unreasonable doubt. Themes in current discourse on “arts” and “health” are broadly sketched to provide a context for discussion of arts practices. Approaches to knowledge validation in relation to each domain are discussed. These discourses are applied to the Irish healthcare context, offering a reading of three different art projects; it suggests a multiplicity of analyses beyond causal positive health gains. It is suggested that the social turn in medicine and the social turn in arts practices share some similar pre-occupations that warrant further attention

Investigating situated cultural practices through cross-sectoral digital collaborations: policies, processes, insights

The (Belfast) Good Friday Agreement represents a major milestone in Northern Ireland's recent political history, with complex conditions allowing for formation of a ‘cross-community’ system of government enabling power sharing between parties representing Protestant/loyalist and Catholic/nationalist constituencies. This article examines the apparent flourishing of community-focused digital practices over the subsequent ‘post-conflict’ decade, galvanised by Northern Irish and EU policy initiatives armed with consolidating the peace process. Numerous digital heritage and storytelling projects have been catalysed within programmes aiming to foster social processes, community cohesion and cross-community exchange. The article outlines two projects—‘digital memory boxes’ and ‘interactive galleon’—developed during 2007–2008 within practice-led PhD enquiry conducted in collaboration with the Nerve Centre, a third-sector media education organisation. The article goes on to critically examine the processes involved in practically realising, and creatively and theoretically reconciling, community-engaged digital production in a particular socio-political context of academic-community collaboration

Constellations of identity: place-ma(r)king beyond heritage

This paper will critically consider the different ways in which history and belonging have been treated in artworks situated in the Citadel development in Ayr on the West coast of Scotland. It will focus upon one artwork, Constellation by Stephen Hurrel, as an alternative to the more conventional landscapes of heritage which are adjacent, to examine the relationship between personal history and place history and argue the primacy of participatory process in the creation of place and any artwork therein. Through his artwork, Hurrel has attempted to adopt a material process through which place can be created performatively but, in part due to its non-representational form, proves problematic, aesthetically and longitudinally, in wholly engaging the community. The paper will suggest that through variants of ‘new genre public art’ such as this, personal and place histories can be actively re-created through the redevelopment of contemporary urban landscapes but also highlight the complexities and indeterminacies involved in the relationship between artwork, people and place

Determinants of impact : towards a better understanding of encounters with the arts

The article argues that current methods for assessing the impact of the arts are largely based on a fragmented and incomplete understanding of the cognitive, psychological and socio-cultural dynamics that govern the aesthetic experience. It postulates that a better grasp of the interaction between the individual and the work of art is the necessary foundation for a genuine understanding of how the arts can affect people. Through a critique of philosophical and empirical attempts to capture the main features of the aesthetic encounter, the article draws attention to the gaps in our current understanding of the responses to art. It proposes a classification and exploration of the factors—social, cultural and psychological—that contribute to shaping the aesthetic experience, thus determining the possibility of impact. The ‘determinants of impact’ identified are distinguished into three groups: those that are inherent to the individual who interacts with the artwork; those that are inherent to the artwork; and ‘environmental factors’, which are extrinsic to both the individual and the artwork. The article concludes that any meaningful attempt to assess the impact of the arts would need to take these ‘determinants of impact’ into account, in order to capture the multidimensional and subjective nature of the aesthetic experience

Applied Theatre and Practice as Research: Polyphonic Conversations

Applied theatre practice as research might be perceived as a curious conflation. Not greatly foregrounded in the literature on applied theatre or performance practice as research, this article engages with the particularities of such a pairing. Beginning with identifying why a consideration is timely, ‘the practice as research’ and ‘social’ turns are invoked and analysed as relevant contexts to consider applied theatre practice as research. Two projects are offered, providing specific examples for discussion. Revealed by increased scrutiny, some broader epistemological questions emerge concerning power, hierarchy of knowledge and research ‘authoring’. A metaphor of polyphonic conversations is offered as an amplification of the applied theatre practical research methodological terrain. Encouraging the basis of many sets of voices contributing to research and potentially negotiating concerns about power hierarchies and knowledge production, the metaphor provokes a fluidity of epistemology, including expanding on the now familiar debates around theory and practice particularly relevant for socially engaged performance-related practical research

‘Where are we when we think?’ Space, time and emancipatory education in galleries

Adult education in art galleries sits on a fault line, at once an apparatus upholding the affirmative aspects of museum culture cultivated by global elites, a propellant in the whirring of an increasingly dislocated set of events on trendy and consumable political themes, and a site for ‘allyship’ and other kinds of radical and socially transformative work. Resurrecting Hannah Arendt’s question,‘where are we when we think?’ this paper explores how we might move from a moment in which the ‘space’ of the gallery is replaced by the ‘time’ of the event (Helguera) and towards embedded space-times that attempt to address contemporary urgencies through situated practices that collectively analyse and respond to conditions. Drawn from examples derived from the author’s practice, the paper argues for the use of popular education and anti-colonial pedagogies in the production of adult education in galleries, suggesting that such processes support groups in collectively naming and thinking through conflicts to re-shape both the galleries in which they have congregated and the worlds beyond their doors. This paper suggests that the re-construction and use of the often forgotten genealogies of emancipatory education are pivotal to doing social justice work in galleries