Practice As Research

In this seminar, Dr Julia Puebla Fortier discusses co-production between an academically trained researcher, artists, and young people.

One of the exciting possibilities for practice as research is gathering and acting on insight at all stages of a project’s evolution. Using principles of co-production and reflective learning, researchers, delivery partners and participants can actively shape, refine and assess intentions and outcomes.
The Reach In Reach Out (RIRO) programme was co-created with young people to support their creativity and wellbeing and offer pathways to community engagement and volunteering in the cultural sector. The project targeted young people in the west of England living with physical or psychosocial challenges, at risk of social isolation, or transitioning to further education or employment. Through RIRO, the young people made extraordinary personal gains in creative skills, wellbeing and cultural management, and the project partner institutions strengthened their ability to engage with and co-create with youth.
From the outset, we collaboratively designed a process to build understanding of our practice as it evolved. This presentation will explore how an academically trained researcher, artists, and young people can co-produce a reflective learning and evaluation process to improve practice in real time, collecting a variety of rich data to assess impact, produce guidance for replication, and build the creative research skills of young people and artists.

Dr Julia Puebla Fortier was the project co-lead of the RIRO project for Arts & Health South West. Her policy and academic experience, honed through work with multiple stakeholders and doctoral study at the London School of Hygiene and Tropical Medicine, has been transformed by using participatory, creative, and relational approaches in research, evaluation, and programme management. She has a particular interest in cross-sectoral collaboration for arts and health, the emotion work of creative health practitioners, training community researchers, and improving health and wellbeing of culturally diverse communities. She is currently an Honorary Research Fellow at the University of Bristol Medical School and does independent consulting.

In this talk, Professor Ananda Breed will provide case study examples regarding the use of arts-based methods for a four-year Arts and Humanities Research Council (AHRC) Global Challenges Research Fund (GCRF) project entitled Mobile Arts for Peace: Informing the National Curriculum and Youth Policy for Peacebuilding in Kyrgyzstan, Rwanda, Indonesia, and Nepal. In Rwanda, drumming was used to challenge gender inequality. In Kyrgyzstan, performance was used to create a platform for dialogue between young people and decision makers. In Nepal, Mithala Arts and Deuda were used to integrate marginalised cultural forms and communities into local and national curriculum. In Indonesia, bamboo Angklung  and Lenong folk theatre were used to represent youth issues and to create a platform for youth representation at the national level. Breed will provide an overview of the varied opportunities and challenges of using arts-based research methods across the project that engaged over 194 partner organisations, 828 engagement activities, and 279 artistic outputs, serving over 28,000 beneficiaries between 2020-24.

Ananda Breed is Professor of Theatre and Principal Investigator of AHRC GCRF Network Plus project Mobile Arts for Peace (MAP): Informing the National Curriculum and Youth Policy for Peacebuilding in Kyrgyzstan, Rwanda, Indonesia and Nepal (2020-24) and GCRF Newton Fund project Mobile Arts for Peace (MAP) at Home: online psychosocial support through the arts in Rwanda (2020-22). Breed is author of Performing the Nation: Genocide, Justice and Reconciliation (Seagull Books, 2014), co-editor of Performance and Civic Engagement (Palgrave Macmillan, 2017), co-editor of Creating Culture in (Post) Socialist Central Asia (Palgrave Macmillan, 2020), and co-editor of The Routledge Companion to Applied Performance (Routledge, 2022). Former research fellow of the International Research Centre Interweaving Performance Cultures at Freie Universität (2013-214).

Celebrating the publication of the new edited volume by Nicole Brown and Amanda Ince from UCL Institute of Education and Karen Ramlackhan from University of South Florida St. Petersburg.

Creativity has become a buzzword across all disciplines in education and across all phases, from early years through to tertiary education. Although the meaning of creativity can change vastly depending on the global educational setting, it is impossible to ignore the applicability and relevance of creativity as educational tool, philosophical framework, and pedagogical approach.

Through case studies of creativity in varying settings and diverse contexts, this collection explores the ground-breaking work undertaken internationally to support, develop and future-proof learners with, and for, creativity. The chapters are centred around a practice-based enquiry or other forms of empirical research. This provides the scholarly basis upon which creativity is continuously reconceptualised and redefined in the educational and country-specific context of each study. Contributors from different countries then provide critical, reflective, and analytical responses to each chapter. Creativity in Education provides practical insights for application in a wide range of educational settings and contexts, such as the use of art exhibitions and object-work, as well as more philosophical approaches to teacher education, leadership for learning and creativity as a universal phenomenon.

For this book launch event, the editors are gathering contributors and discussants to explore the role creativity plays in educational settings across the world.

You can download a free PDF copy of the book Creativity in Education: International Perspectives by clicking on the following link: https://www.uclpress.co.uk/Creativity

Schedule  

Overview of the session
Tom Doust: The Role of Creativity and Imagination
Nicole Brown: Editors’ introduction to book
Sofia Eriksson Bergström, Roxana Balbontin Alvarado, Carolyn Swanson and Jung Duk Ohn: Contributors’ chapters
Panel discussion and Q&A

The panellists: 

Tom Doust is Associate Director of the Institute of Imagination.

Nicole Brown is Associate Professor at UCL.

Amanda Ince is Associate Professor at UCL.

Karen Ramlackhan is Assistant Professor of Educational Leadership and Policy Studies at the University of South Florida.

Sofia Eriksson Bergström works as a senior lecturer at the department of education at Mid Sweden University. 

Roxana Balbontín‑Alvarado holds a PhD in education from the University of Nottingham and works as an academic for the School of Education and Humanities at Universidad del Bío-Bío, Chile. 

Carolyn Swanson (DMLS, GDipT, PGDEd, (Dis), PhD) is a senior lecturer in initial teacher education at Auckland University of Technology, New Zealand. 

Jung Duk Ohn is a professor at Gyeongin National University of Education, Korea. 

In this seminar, Dr Mhairi Thurston discusses Practice As Research in counselling.

“You feel as though someone’s chipped a bit out of your heart and your soul”. Practice as research in counselling: The development of a model of counselling for sight loss.
This talk outlines the mental health impacts of sight loss, through lived experience and through research. It charts the development of a model of counselling for people with sight loss, using practice as research in counselling. A quasi-judicial, hermeneutic, single-case efficacy design methodology will be explained.

Dr. Mhairi Thurston is an accredited and registered Pluralistic counsellor, as well as a Senior Lecturer in Counselling at Abertay University in Dundee. She served on the British Association for Counselling and Psychotherapy (BACP) Board of Governors from 2011 to 2020 and chaired the BACP Research Committee from 2018 to 2020. She currently chairs the BACP Good Practice Committee. Her primary research interest focuses on the social and emotional impact of acquired sight loss. Additionally, she is interested in broader issues surrounding disability, equality, and inclusion. She developed a pluralistic practice model for counselling individuals with vision impairment.  She won the British Association of Counselling and Psychotherapy New Researcher Prize in 2009. Describing herself as an ‘academic activist,’ she employs research and collaboration to effect real-world change for people with vision impairment. She has worked collaboratively with RNIB to produce an award-winning training course for counsellors working with individuals who have vision impairment. She has also collaborated with Retina UK to create a free online resource that supports mental well-being in the visually impaired community. Furthermore, she founded the Sight Loss Research Network (SLRN) in collaboration with Dr. Hazel McFarlane of Alliance Scotland, aiming to bring academics and charities together to foster opportunities for collaboration. She has previously been an associate editor for the International Journal of Disability, Development, and Education, and she is a member of the editorial board of Disability and Society. She also serves as a Lay Advisor for the Royal College of Ophthalmologists. Mhairi is severely sight-impaired and has a guide dog called Meadow.

Lucy Harding has used several creative methods throughout her research of prison education spaces. This includes informally thinking-with drawing, weave, and stitch and more formally researching with walking interviews, a ‘visual matrix’ method (Froggett, Manley & Roy, 2015) together with diffractive analysis. Each time she has chosen these methods, it has also been a conscious choice to be-with the data and ideas materially, where she takes inspiration from Erin Manning and calls on her intuition as a craft of research (Bell & Wilmott, 2020). But it has also been due to an innate ‘feeling’ to explore new ways, to delve deeper into affective responses, in an activist stance against the ‘academicwritingmachine’ (Henderson, Honan and Loch, 2016).

There is joy in being creative but there is angst and fear in the sharing this activism with others, especially when working with political bodies such as the prison service. This is when the discomfort hits. She then goes through a process of questioning the methodology, the material choices, the philosophy behind and in between the outcomes. In this seminar she will share how it felt to push past these feelings of discomfort and ‘stay with the trouble’ (Haraway, 2016).

Lucy Harding holds the position of Senior Educationalist at the Royal College of Physicians whilst also pursuing her doctoral studies at the University of Central Lancashire. With a career in education for over two decades, she initially specialised in creative disciplines such as textiles and fashion. Her professional journey led her to be a programme leader of teacher education followed by an educational management role in a male prison.

Working within the confines of prison environments has profoundly influenced her perspective of challenging teaching in the periphery of the education sector. Her research focus centres on understanding the affective experiences of teachers working in demanding and often traumatic settings. In her research methodology, she employs innovative approaches, incorporating creative elements such as drawing, weaving and stitchwork as integral components of data collection and postqualitative inquiry. This unique approach allows her to perceive phenomena in new and different ways.

In this seminar, Shanice Bernicky discusses her work as a researcher-in-residence with Mass Culture, a Canadian national arts support organization.

How do we balance funder expectations and our ethical commitments to our research collaborators? In this session, PhD student Shanice Bernicky (Carleton University, Canada) discusses her work as a researcher-in-residence with Mass Culture, a Canadian national arts support organization. As part of her residency, she developed a qualitative impact measurement framework to disrupt the current equity, diversity, and inclusion policy landscape in public arts. In order to do so, Shanice facilitated conversations with arts organization representatives from myriad intersections, many experiencing marginalization in their fields. As researchers, we sometimes feel sticky, sick, and stuck but feel there is no venue to discuss these feelings. Join Shanice as she thinks through the complexities of using creative research methods such as reverse maker-space gatherings, photo elicitation, feminist manifesto and the anti-colonial methodological framework of research-creation to honour the contributions of the folks who work on the ground day in and day out.

Shanice Bernicky (she/her, elle) is a media maker and fourth-year PhD student at Carleton University’s School of Journalism & Communication. She completed a Master’s research-creation thesis in Media Studies at Concordia University, as a non-linear documentary exploring themes of domestic violence, heritage, and multi-racial identity from the axis point of natural Black hair. As a freelance video editor, she has worked on a myriad of projects on rich topics such as Indigenous laws and practices outside the settler-Canadian legal framework, feminist commentary on science and technology studies, and environmental issues connecting the East and the West. At Carleton, Shanice researches equity practices in the settler-Canadian public arts institutions. When she’s not working, she can be found knitting or with her hands in earth.

In this seminar, Dr Beth Curtis discusses the use of playwriting as a form of inquiry within qualitative research, and explains how the interweaving of her teacher-researcher-playwright identity informed her practice.

Beth’s doctoral research positions drama at its onto-epistemological centre. In a study within which drama is both the subject of exploration and the means through which it is interpreted and understood, playwriting is used as a purposeful form of inquiry to critically and creatively analyse and (re)present the data stories. The creative methodology which frames Beth’s research practice is the nexus between three versions of self: the teacher, the researcher, and the playwright. In her position as ‘Teacher-Researcher-Playwright’ (T-R-P), she is inextricably woven into the fabric of words and images presented in and through the pages of the play as her creative practice responds to what Koro-Ljungberg (2016) describes as ‘data-wants and data entanglements’.

This seminar will discuss the development of a four-stage approach to the T-R-P’s process and considers how playwriting can be used as a robust and reflexive research practice which understands meaning-making as embodied, co-constructed, and perpetually in-motion. The tacit and embodied nature of drama education is explored through an a/r/togrpahic lens which resists formulaic systems and methods and instead embraces ‘the simultaneity, multiplicity and complexity’ (Belliveau, 2015:7) of the ‘lived experiences and evolving identities’ (ibid.) of the T-R-P and the research participants. In doing so, the practicalities and messiness of practice-as-research are considered not as obstacles but as opportunities for diffraction, through which the T-R-P is invited to learn, unlearn and (re)learn what has been illuminated of the data as it is (re)presented in dramatic form.

Beth Curtis has recently completed her doctorate in education with the University of Sunderland, beginning her journey to PhD through a bespoke practitioner research programme designed for teachers in Further Education. Originally trained as a primary school teacher, Beth has worked in Further Education since 2008, teaching across level 3 vocational and A Level drama and performing arts courses. Situated in a large FE college in the SouthWest of England, Beth now works within Teacher Education, tutoring and teaching on the PGCE and Award programmes. Beth holds a first class degree in drama from the University of Exeter and is interested in applied uses of drama and theatre within social, community and education contexts. In her thesis, Beth used playwriting as a creative method of data analysis and (re)presentation to illuminate the stories of A Level Drama students and teachers, with a specific focus on experiences of assessment. 

As Practice As Research takes many forms, the practicalities and pragmatics of doing Practice As Research also vary greatly. In this online seminar, the panelists draw on their personal research practices to discuss how to engage with and in Practice As Research from and in their own disciplinary conventions.

Dr Theo Bryer is a Lecturer for the MA in English Education and the English with Drama PGCE at the Institute of Education at UCL. Theo taught Drama in schools and colleges in Birmingham and London for over twenty years as well as doing youth theatre, Theatre in Education and media production with young people, particularly bilingual and refugee learners. She currently leads the English with Drama PGCE and works on the MA English Education programme. For her doctoral studies Theo researched the affordances of role in teaching and learning, encompassing drama and media production in classroom contexts. Her research involves forms of participant observation.

Annie Davey is a Lecturer in Art Culture and Education at the Institute of Education at UCL. Her research is concerned with the politics and aesthetics of art education and recent work uses archival imagery with situated writing and script writing to explore tensions and contradictions of fine art education within the marketized university. Annie is also engaged in collaborative research that draws on John Berger’s (1972) Ways of Seeing to explore the ways in which digital, dispersed and machine generated images shape new ways of seeing, teaching and learning visual culture. She is currently programme leader of the MA in Art Education, Culture and Practice at IOE, UCL’s Faculty of Education and Society.

Chris Rhodes is a Lecturer in Digital Media Production at UCL’s Knowledge Lab and UCL East. With a PhD in Music Composition, his practice-led research delves into the creation of music in both real and virtual spaces, using the human body as an instrument. This innovative approach crafts unique sound experiences for performers, players, and listeners alike. Chris’ compositions have been showcased globally at esteemed venues, including the International Computer Music Conference (ICMC), New Interfaces for Musical Expression (NIME), and Sound and Music Computing (SMC). Through his research, Chris hopes to develop new artistic methods in musical composition and chart paths for the future of music and arts engagement.

In this seminar, Professor Jenny Parkes shares reflections on some of the ethical challenges and dilemmas encountered when researching violence with young people.

While there has been a huge growth in research on violence against children and violence against women, few publications report on the ways in which research teams have addressed ethical issues, though the risks of harm to participants may be high. In this seminar, we draw on experiences in research projects from diverse contexts, mainly in the global south, with varying designs, methodologies, and partnerships. We will explore issues relating to research relationships as ‘safe spaces’ for young people; child protection and safeguarding; researcher safety; and who benefits. Informed by feminist and decolonial critical inquiry, our reflections engage with questions about power, silencing and violence.

Jenny Parkes is a Professor in Education, Gender and International Development in the Centre for Education and International Development (CEID), at IOE, UCL’s Faculty of Education and Society. Her work on young people and violence has involved multiple collaborations, including most recently the Contexts of Violence in Adolescence Cohort Study (CoVAC), a research partnership with the London School of Hygiene and Tropical Medicine and a violence prevention NGO, Raising Voices, in Uganda.

In this seminar, Dr Kay Sidebottom discusses how to ethically account for environment, atmosphere and presence of non/human others in research.

As qualitative researchers, we know (but perhaps don’t always acknowledge) how much the environment, atmosphere and presence of non/human others can affect our enquiries. In our attempts to apply the ‘God-trick’ (Haraway, 1988) of the all-seeing, all-knowing objective observer we are encouraged to mitigate for bias, minimise variables, and account for distractions. However, when we ignore the non-human participants always-already involved in our projects (the bee at the window; the wind in our hair; the cat on our lap) we miss the opportunity to create new meaning and consider research as ‘event’, as human participants entangle with the naturalised others that necessarily shape their experience and understanding.

In this session we will think about the implications of inquiry in a world of multiplicity, which does not situate humans as discrete containers but bodies with the capacity to be affected and affect others. We will also explore what the implications are for considering the role of more-than-humans in our ethical practices. In a world where ethics is often a human-centred, initial tick-box exercise, what might a more expansive and inclusive approach mean for the process of our enquiries?

Dr Kay Sidebottom is a Lecturer in Education, and Programme Director for a new MSc Education at the University of Stirling. Her current research explores how teachers can work with posthuman ideas to facilitate meaningful and disruptive education spaces for our complex times. With a background in community and adult education, her pedagogical specialisms include critical, radical and anarchist education, arts-based practice and community philosophy.