Search Results (11)

This study explores the use of a theatre project to enhance reading competencies among students with special educational needs (SENs) in inclusive classrooms. The project, titled “Stop Bullying! A Theatre Project”, aimed to improve students’ reading skills through dramatised engagement with texts, with a particular focus on promoting literacy and social interaction. Employing a Design-Based Research (DBR) methodology, the study involved iterative cycles of implementation and data collection. Participants, including students with varying reading abilities, engaged in theatrical activities that incorporated reading strategies such as reading aloud, paired reading, and choral reading—each designed to support comprehension, fluency, and reading confidence. Findings from multiple cycles indicated improvements in students’ social dynamics, including stronger peer interactions and increased group cohesion. While quantitative reading assessment data showed only modest gains in reading performance, qualitative observations revealed significant improvements in reading skills and social interactions during collaborative performances. The study concludes that a theatre-based approach can effectively support reading development while fostering a more inclusive and supportive classroom environment. Full article

Research about the lived experiences of asylum-seeking and refugee youth can evoke powerful emotions for those involved. Young people who escaped perilous situations often bear strong emotions linked to their experiences of migration and displacement, as well as their encounters with disorientation, insecurity, isolation, discrimination and racism in unfamiliar contexts in the host society. Such emotions and emotionally charged places can be challenging to work with as researchers and require reflexive and situated methodological and ethical judgements. This paper investigates the emotional complexities of fieldwork with vulnerable young people by reflecting on (dis)comfort and discusses how to negotiate these issues with care and consideration. It draws from qualitative participatory and creative fieldwork experiences using story mapping, photovoice, walk-along and community theatre approaches in Amsterdam, Brussels, Leipzig and Newcastle-Upon-Tyne. It reports on a range of critical ethical and methodological issues that arose in our work that address meaningful relationships, reciprocity and trust, understanding the field, positionality and reflexivity, and challenges around the co-production of knowledge and leaving the field. Throughout, the paper flags various complex and, at times, ambiguous ethical and methodological issues that emerged throughout the research process and argues for research approaches that are sensitive to the contextual and multi-faceted nature of investigating young refugees and asylum seekers in European cities. Full article

This article draws on a twenty-year relationship of short-term interventions with Dalit communities living in informal settlements, sub-cities and urban villages in Mumbai, that have sought to create public theatre events based on research by and with communities that celebrate, problematise and interrogate sustainable urban living. In looking back over the developments and changes to our working methods in Mumbai, I explore how the projects priorities the roles of the community as both researchers and artists. I consider where a specific applied theatre project, which focuses on site specific storytelling with Dalit communities in Worli Koliwada and Dharavi, functions on a continuum of interactive, participatory, and emancipatory practice, research and performance. Applied Theatre practices should not and cannot remain static, they need to be constantly reformed and as practitioners and researchers we need to constantly re-examine the ways in which we work. This chapter poses two central questions: firstly, can this long-term partnership between practitioners, researchers and artists from the UK and India working with community members genuinely be a space for co-creating knowledge and theatre? And secondly, if so, is this Theatre-based Research or Research Based Theatre? I interrogate Applied Theatre’s potential to create a space of cognitive justice, which must be the next step for applied theatre, along-side its more widely accepted aims of searching for social and spatial justice and which places the community as both artists and researchers. The Dalit social reality is one of oppression, based on three axes: social, economic and gender. The chapter explores how working as co-researchers and the public performance of their stories has been a form of ‘active citizenship’ for these participants and is a key part of their strategy in their demand for policy changes. In looking forward I ask how working in international partnerships with community members can promote cognitive justice and go beyond a merely participatory practice. I consider why it is vital for the field that applied theatre practice includes partners from both the global south and north working together to co-create knowledge, new methods of practice to ensure an applied theatre knowledge democracy. In doing so I will discuss if and how this work might be considered to be Theatre-based Research. Full article

Data now plays a central role in civic life and community practices. This has created a pressing need for new forms of translation and sense-making that can engage diverse publics. Research-based Theatre (RbT) has proven to be an effective approach to delivering qualitative data to community stakeholders. We extend this tradition by proposing “community-engaged data theatre”. This approach translates quantitative data into theatrical language to engage communities in deliberative conversations on relevant issues. Community-engaged data theatre requires bridging multiple disciplines and involves creating new definitions and shared vocabularies in discourses that formerly have had little overlap in meaning. In this article, we share key insights from our initial experiments in which we adapted quantitative and qualitative data to devise a pilot piece in collaboration with a local community partner. In this essay, we communicate our collaborative process in polyvocal, artistic form. We edit and adapt materials from our conversations and creative practices into scenes illustrating how we taught and learned from each other about data science, participatory modeling, material deliberation and Composition to pilot our lab’s first community-engaged data theatre prototype. Full article

Informed by critical disability studies and disability justice, this article describes the reflections of two university researchers co-researching with self-advocates (individuals with intellectual disability), theatre artists, researchers, and a community living society to create social justice disability theatre as critical participatory research (CPAR), demonstrating how disability theatre can contribute to and advance inclusive research practice. Disability justice-informed theatre as CPAR has direct relevance to people with intellectual disabilities; offers a platform where self-advocates’ diverse ways to communicate and be in the world are honoured and taken up as resources to the research and community; and can generate mentorship opportunities for self-advocates to learn, practice, and develop research skills. Significances include showing how the theatre creation process (devising, developing, and refining scenes) is research in itself and how tensions are recognized as sites of possibility. Future research should explore how increasing pathways to communication, co-creation of KT strategies, and protocols for power sharing and problem solving within disability theatre as CPAR impact the roles, outcomes, and experiences of disabled and non-disabled researchers and audience members. Full article

The article is a preliminary effort to join neo-positive and historical institutional analysis from comparative politics with insights from discursive and phenomenological analysis. It highlights a message arising from a South Korean film related to moral–ethical dimensions and the implications of development policy. Taken in symbolic as well as empirical terms, the film proffers that economic development policy not attending to political institutional development—including correct institutional practices at the micro-level—is feeding Asia’s demons (e.g., asuras) rather than its forces of stability and (rational, democratic, participatory) political order. The film suggests that institutional atrophy and social decay may emerge from the breakdown of political institutions and participatory politics as a political system moves from rationalized institutions and practices into what the current work calls, “mafia politics.” Political ritual and political theatre are actively employed in the film in ritualized acts of the desecration of political order. The current work suggests that the analysis of symbolic representations relating to ritual politics and performativity (e.g., “political theatre”) located in certain art forms, such as international film, may be useful in studies of religion and politics, and in qualitative comparative political and historical institutional analysis more broadly. Full article

This article analyses experimental institutionalism in the city of Rome, focusing on artistic practices of the C.S.O.A. Centro Sociale Autonomo Occupato (Squatted Autonomous Social Centre) Forte Prenestino and the three-year occupation of Valle theatre, Teatro Valle Occupato. In scholarly research on art institutionalism, artistic practices in squatted spaces are often overlooked. While the 1990s European wave of experimental institutionalism transformed the concept of an art museum or art institution into a processed-based, community-oriented, and participatory platform, in Rome, the collectives of activists and artists used more autonomous endeavours, such as processes of instituting, to affirm how artistic practices’ use of radical imagination can foster collective agency, creativity, and radical statecraft. In the following, radical statecraft is understood as a political act that reclaims and creates anew institutional infrastructures. Teatro Valle Occupato’s experimental cultural institution of the commons at the 17th-century theatre Valle from 2012 to 2015, and the projects of artists and musicians of the European underground cultural hub C.S.O.A. Forte Prenestino at the squatted 19th-century military fort in the working-class, peripheric neighbourhood of Centocelle, are crucial examples of artistic, cultural, and institutional experimentation, whereby artistic and cultural practices foster social relationships based on freedom, mutualism, solidarity, and the commons. In both cases, the contingency to grassroots politics forged the desire and imagination to either create anew or carve out a social space. By reclaiming spaces in which art is used as a means of radical statecraft, these practices reimagine society fostering non-market-driven social relationships becoming pivotal in the struggles against the neoliberal turn in Italy. Full article

The Lisa and John Slideshow is a theatrical response to my own earlier photographic project, Pictures from the Real World. Colour Photographs, 1987–88, interrogating recurring theoretical questions that challenge the discourse of social documentary photography through an expanded practice. As a significant piece of research, devised through participation with those depicted within the image, the forty-five-minute play questions representational methods through an alternate medium. The project evokes what else was knowable from the terrain of possibilities when the sovereign images of the former project were captured, as it reaches into photographs, opening contextual focus on the social, political and relational aspects of production. This paper is drawn from my Ph.D. thesis, What the Subject Does. Lisa and John and Pictures from the Real World submitted to the University of Sussex in December 2022. The question asked within this commentary is: How can unequal power relations within photographic representation of working-class communities be renegotiated through trans-media practice and the use of theatre? Full article

In this article, we reflect on our collaborative practice-as-research piece Project Finding Home, that arose from our experiences of working and living in the UK as ‘non-British’ citizens. Engaging with other refugee and migrant artists over three years, we worked deliberately as co-researchers and co-creators in a non-hierarchical dynamic to produce a series of four films reflecting on how we find home when it is so impacted by government policy, social and cultural integration, and intergenerational relationships. This article focuses on two of these films, one made with the participatory theatre company of Sanctuary, PSYCHEdelight, and one made with conceptual artist, Khaled Barakeh. Through observations of their work, we discuss how their respective uses of comedy (in PSYCHEdelight’s show Mohand and Peter) and visual representation (in Barakeh’s installation On the Ropes) resist singular views of migrant narratives. Additionally, we analyse our creative and ethical processes for making films with them about their work. Discussing how their aesthetics informed our processes for showcasing who they are and what they do as artists to a wider audience, we examine how artistic practice, its documentation, and its dissemination can question dominant aesthetic norms and existing migration and cultural policies in the UK and Europe. Full article

Continuity of the supply chain is an integral element in the safe and timely delivery of health services. Lean Six Sigma (LSS), a continuous improvement approach, aims to drive efficiencies and standardisation in processes, and while well established in the manufacturing and supply chain industries, also has relevance in healthcare supply chain management. This study outlines the application of LSS tools and techniques within the supply chain of an Operating Room (OR) setting in a private hospital in Dublin, Ireland. A pre-/post-intervention design was employed following the Define, Measure, Analyse, Improve, Control (DMAIC) framework and applying LSS methodology to redesign the current process for stock management both within the OR storage area and within a pilot OR suite, through collaborative, inclusive, and participatory engagement with staff. A set of improvements were implemented to standardise and streamline the stock management in both areas. The main outcomes from the improvements implemented were an overall reduction in the value of stock held within the operating theatre by 17.7%, a reduction in the value of stock going out of date by 91.7%, and a reduction in the time spent by clinical staff preparing stock required for procedures by 45%, all demonstrating the effectiveness of LSS in healthcare supply chain management. Full article

Obstetric violence refers to the mistreatment of women in pregnancy and childbirth care by their health providers. It is linked to poor quality of care, lack of trust in health systems, and adverse maternal and neonatal outcomes. Evidence of interventions to reduce and prevent obstetric violence is limited. We developed a training intervention using a participatory theatre technique called Forum Play inspired by the Theatre of the Oppressed for health providers in Sri Lanka. This paper assesses the potential of the training method to increase staff awareness of obstetric violence and promote taking action to reduce or prevent it. We conducted four workshops with 20 physicians and 30 nurses working in three hospitals in Colombo, Sri Lanka. Participants completed a questionnaire before and three-to-four months after the intervention. At follow-up, participants more often reported that they had been involved in situations of obstetric violence, indicating new knowledge of the phenomenon and/or an increase in their ability to conceptualise it. The intervention appears promising for improving the abilities of health care providers to recognise obstetric violence, the first step in counteracting it. The study demonstrates the value of developing further studies to assess the longitudinal impacts of theatre-based training interventions to reduce obstetric violence and, ultimately, improve patient care. Full article