delegate pack 2016 - university of wales, newport...the first day focuses on storytelling in the...

storytelling.research.southwales.ac.uk

DelegatePack

George Ewart Evans Centre for Storytelling

Symposium 2016

Storytelling and Justice

storytelling.research.southwales.ac.uk

WelcomeTheGeorgeEwartEvansCentreforStorytellingisdelightedtowelcomeyoutoourtenthannualsymposium,whichincludestwodaysofprovocationsandpresentationsonthethemeofStorytellingandJustice.Thefirstdayfocusesonstorytellinginthedigitalrealmandtheseconddaylooksatstorytellingincontext.Weaimtoinspire,encourageandshowcaseexcitingprojectsacrossawidespectrumofstorytellingpracticeandarethrilledtobringsuchanexcitingrangeofspeakerstotheCentretopresentlectures,provocations,performances,qandasessions,filmscreeningsandmuchmore.JusticeisanaptandtimelythemegivencurrentdebatessurroundingthepotentialscrappingofthehumanrightsactintheUK.Italsoentersintodiscussionsonhomelessness;rehabilitation;and,ourthemelastyear,activismamongstothers.Increasinglystorytellingisbecomingmorevitalincreatingthenarrativearoundthe‘real’anddigitalworldsinordertohighlightthesocialinjusticeswithintheserealms.Thewaywetellourstoriescanbeasdiverseasthesubjectswithinthem,fromoraltraditionsofstorytellingtofilmdocumentary.

Bythinkingaboutthestorieswetellaboutourselvesandabouttheworldweliveinwecanfocusonwhatmaybejustorunjustwithinthisworldforallitsinhabitants.Storytellingcanhighlightinjusticesfromthepasttohelpustomoveclosertoamorehopefulnarrativeforthefuture,whichmayincludeequalityandequityforall.

Throughthe‘StorytellingandJustice’symposiumweaimtocreateaspacetodebatethisandmuchmore.

Wehopeyouwillfindeverythingyouneedinthispackincluding:

• Anitinerary• Abstractsandspeakerbiographies• Howtofindus• Wheretostay

Inseparatesupplementsyouwillfindafeedbacksheet,ifyouwouldbesokindtofillinandleavewithanymemberoftheconferenceteam.ThereisalsoaprogrammefortheplayreadingofHeatherRaffo’s9PartsofDesire.Ifyouneedanymoreinformationorthereisanythingelsewecanhelpwithpleasedogetintouch.Youcancalluson01443668547oremailstorytelling@southwales.ac.uk.TheGeorgeEwartEvansCentreforStorytellingistheonlyUKacademicresearchcentredevotedtothestudyofstorytellinganditsapplications.Webelievestorytellingcreatesbetterunderstandingbetweenindividualsandcommunitiesacrosssociety.Ourexpertiseincludesdigitalstorytelling,appliedandcommunityarts,folkloricstudies,performance,oralhistoryandstorytellinginhealthandsocialcare.Students,academicsandanyonewhowantstoincludestorytellingaspartoftheirprofessionalpracticewillfindawealthofresourcesatthecentre.IfyouwouldliketofindoutmoreabouttheworkoftheGeorgeEwartEvansCentreforStorytellingvisitourwebsiteathttp://storytelling.research.southwales.ac.uk.

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ItineraryAlleventstakeplaceattheAtrium,FacultyofCreativeIndustries,AdamStreet,Cardiff,CF242XF

AlleventstakeplaceinTheAtriumTheatreunlessotherwisestated.

12.30pm Registration(teaandcoffeewillbeservedinthe‘AtriumStreet’)

1.00pm Welcome

Keynote:DrLinaDencikChair:ProfHamishFyfe

2.15am Session1:PrueThimblebyandCarlottaAllum Chair:ProfRichardHand3.15pm Teaandcoffeewillbeservedinthe‘AtriumStreet’3.30pm Session2:ProfIlonaBiernacka-Ligięza,CathHeinemeyer,Dr

HughGriffiths Chair:DrPatRyan4.30pm Session3:ColinThomas,AmandaEsons,ProfFlorenceAyisi Chair:DrAliceEntwistle5.30pm Buffetwillbeservedin‘Mingle’

Performanceof‘9PartsofDesire’byHeatherRaffodirectedbyDrMártaMinierandperformedbystudentsontheUSWMADrama

6.30pm Screeningof‘SistersinLaw’directedbyProfFlorenceAyisiandKimLonginottofollowedbyqandawithProfFlorenceAyisi

Chair:ProfMikeWilson8.45pm Close

Friday 13th May 12.30 – 8.45pm

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AlleventstakeplaceinTheZenRoom,FourthFloor,Atrium.

9.30am Registration(teaandcoffeewillbeservedinthe‘AtriumStreet’)

10.00am Welcome

Keynote:DrMártaMinierChair:ProfBarryAtkins

11.15am Provocation1:ProfRobertSmithandProfSimonBurnett Chair:KarenLewis12.15pm Buffetlunchwillbeservedin‘Mingle’

1.15pm Provocation2:DrAnandaBreed Chair:MichaelCarklin2.15pm Provocation3:ChristineMcMahon Chair:ProfKevinMills3.15pm TeaandcoffeewillbeservedintheZenRoom3.35pm Provocation4:PhilMorris Chair:DrChristinaPapagiannouli4.35pm Plenary Chair:DrEmilyUnderwood-Lee5.00pm Close

Saturday 14th May 9.30am – 5pm

storytelling.research.southwales.ac.uk

AbstractsandBiographies

Keynote:Friday

DrLinaDencik-Friday,13thMay,1.00pm

Chairs:ProfHamishFyfeFromSurveillanceRealismtoDataJustice:MappingtheSnowdenStoryTheSnowdenleaks,firstpublishedinJune2013,providedunprecedentedinsightsintotheworkingsofcontemporarystate-corporatedigitalsurveillance.Rootedintheeverydaycommunicationinfrastructuresandplatformsofordinarycitizens,thedocumentsrevealedtheentrenchednatureofsurveillanceintocitizens’livesandrelations.However,almostthreeyearson,whathavebeenthesocialandpoliticalimplicationsoftheSnowdenleaks?Whathasbeenthenatureofpublicdebate,policyoutcomes,andtypesofresistancetothepracticesofmasssurveillance?InthispresentationIwilldiscusshowmasssurveillancehasbeenenabledandadvancedthroughpolicyandtechnologicalframeworkswhilstbeingjustifiedandnormalizedinmediaandpublicdebateintheaftermathoftheSnowdenleaks.Thishasmanifesteditselfintheknowledge,attitudesandimaginationamongstordinarypeopleaswellasthoseseekingtochallengeandcountersurveillance.Iidentifythisconditionas‘surveillancerealism’,apervasiveatmospherethatregulatesandconstrainsthoughtandactioninwhichithasbecomeimpossibletoimagineacoherentalternativetotheprevailingsystem.Insuchacontext,Iadvancetheframeworkof‘datajustice’asawaytoarticulatesurveillanceinrelationtoeconomicandsocialjusticeratherthanthelimitedtechno-legalnarrativesthathavedominateddatadebatespost-Snowden.Iarguethatsuchaframeworkisneededinordertoreassertthepossibilitiesforanotherwayoforganizingsociety.DrLinaDencikisLecturerandDirectorofMAJournalism,MediaandCommunicationattheSchoolofJournalism,MediaandCulturalStudiesatCardiffUniversity.Herresearchisconcernedwiththeinterplaybetweenmediadevelopmentsandsocialandpoliticalchange,withaparticularfocusonglobalisationandresistance.SheiscurrentlydoingresearchfortheESRC-fundedproject'DigitalCitizenshipandSurveillanceSociety'hostedatCardiffUniversitywheresheislookingattheimplicationsoftheSnowdenleaksforpoliticalactivistsandthebroaderBritishpublic.HerworkhasbeenpublishedinanumberofinternationaljournalsandsheistheauthorofMediaandGlobalCivilSociety(2012),WorkerResistanceandMedia(withPeterWilkin,2015)andCriticalPerspectivesonSocialMediaandProtest(withOliverLeistert,2015).AspecialissueoftheInternationalJournal

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ofCommunicationrelatingtotheprojectDigitalCitizenshipandSurveillanceSocietyisduetobepublishedinautumn2016.

Keynote:Saturday

DrMartaMinier-Saturday,14thMay,10.15am

Chair:ProfBarryAtkins

WhoseChildIsItAnyway?WhoseStory?WhoseJustice?:NotesontheDramaofCustodyBattlesFromtheJudgementofSolomontoContemporaryDocumentaryTheatre.Thistalkwilldiscussthedramaticcomplexityandpolyphonyofstoriescentredoncustodybattles,fromvariousversionsofthechildcustodystoryinmythologies,andthebiblicalstoryofthejudgementofSolomoninparticular,toacontemporarydramatizationofachildcustodybattlefollowingthebreakupofamulti-ethnicBritishfamily.Differentreligions,hermeneutictraditionsaswellasschoolsofcriticismthrowsomewhatdifferentlightsonthebiblicalstoryofwiseSolomonandthetwomothersfightingforachild.Still,muchbeyonditsrichhistoryofcriticalandcreativereceptionacrossthecenturies,thestory’sstrongresonanceinanagewhenonemighthavetwobiologicalmothersthankstodevelopmentsinmedicalscienceisunmissable.EvenmoresothantheonlysuperficiallystraightforwardcaseofthejudgementofSolomon,custodystoriesofourdayarepolyphonicstorieswithseveralagentsandseveralvoicestobeheard.HowmightconverginganddivergingstoriessuchasthoseofSudhaBhuchar’scharactersinMyNameIs(2014)facilitate‘doingjustice’?Whosechildisitanyway?Whosestory?Whosejustice?DrMártaMinierisLecturerinDramaattheUniversityofSouthWales.ShehaspublishedwidelyinthefieldsofShakespearestudiesandadaptationandtranslationstudies.Hermainresearchinterestsalsoincludethebiopic,biography,biographicaldramaandEuropeantheatre(withanemphasisonCentralandEasternEurope).Shehasco-editedajournalissueonHamletandpoetryforNewReadingsandacollectionofarticlesonthecontemporaryBritishbiopicforAshgate.MártaisjointeditoroftheJournalofAdaptationinFilm&PerformanceandoneoftheassociateeditorsofthetheatrestudiesjournalSymbolon.SheisamemberofthesteeringcommitteeoftheGeorgeEwartEvansCentreforStorytelling,andsitsonitsnominationpanelfortheAstridLindgrenMemorialAward.

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Sessions

SessionOneChair:ProfRichardHand

CarlottaAllumDigitalStoriesforJusticeWhyweshouldlistentoprisonerstories?(workshopandpresentation)Carlottawillpresenttheworkofherlatestproject,StretchDigital.ThisisaLotteryfundedprogrammethattakesdigitalstorytellingintoprisonsandcriminaljusticesettingsviathecharitySTRETCH(www.stretch-charity.org).Carlottahasbeentoprisonherselfandhasemployedex-prisonerstobefacilitators.(FabianSpencermayattendhttps://vimeo.com/142049707).Inthispresentationwewillpresentthecaseforusingstorytellingwithincriminaljusticesettingsanddifferentinnovativeapplicationsofthepractice.Wewilldiscusshowstorytellingcanbeatoolinrestorativejusticeandconflictresolutionsituations.Wewillalsolookathowwemeasurethesocialimpactofthework.UsingStretchDigitalasamodel,wewilllookatwaysofmeasuringthesocialreturnoninvestment(SORI)–whatindicatorscanwetracktomeasuretheworthtothestakeholders;beitprisoners,prisonsorthestate?Canweviablymakeacaseforstorytellingintherehabilitationofoffenders?Whatisourrationaleforthesemeasurements?Realmovingstoriesoftheunheardvoicesofprisonerswillbepresentedalongsidecasestudiesofthe‘storytellersjourney’–thetheoryofchange–andhowwemeasurethe‘good’thestorytellingprocesswas.CarlottaGoulden-AllumfoundedStretchin2003aftercompletingherMAinMuseumsandGalleriesinEducationattheLondonInstitute.Carlottaisoftendescribedas‘driven’andapassionateadvocateforthepoweroftheartstochangelives.CarlottastudiedClassicalStudiesatKingsCollegeLondon,thencompletedaPGCE.CarlottahascompletedaresearchscholarshipwiththeGriffinsSocietyattheLondonSchoolofEconomicslookingattheartsandrehabilitationoffemaleoffenders.Carlottaactsasaseniorconsultantonmuseumandprisoncollaborationsandoftenpresentsherworkatinternationalconferences.WithinStretchCarlottaisprojectmanageronthedeliveryoftheworkaswellasadvocatingandpresentingtopotentialdonors.

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PrueThimblebyDigitalstoriesaspartofacomplaintsprocessintheNHSAworkshopwiththreecasestudies-ShewillshoweachstoryandpresentthereflectionsfromthestorytellerandfromamemberofNHSstaff.Thenopenittotheaudiencetojudgeiftheintervention(storytelling)wassuccessfulandhowitcouldhavebeenbetter.WerecordthestoriessothattheNHScanlearnandimprove–butisitworkingandhowcanweimprovetheprocess?Howcantelling,recordingandlisteningtothestoriesbringjustice,resolutionandimprovedpractice?PrueThimblebyisawillowartistanddigitalstoryfacilitator.Shehas20yearsofexperienceindeliveringandmanagingparticipatoryArtsprojects.PruetrainedasanurseandmidwifeandthenbegantorunArtsprojects.In1995shedidaBAinArtsPracticeintheCommunityatMiddlesexUniversityandin2005shemovedtoWalesanddidanMAinCommunityStorytellingattheUniversityofSouthWales.Prue’sArtsprojectshaverangedfromsettingupSwanseaDigitalStorytellinginCommunitiesFirstregenerationareastobeingArtisticDirectorforoneofthe2012CulturalOlympiadprojects.In2012shewasappointedasArtCo-ordinatorforABMUHealthBoard.RecentprojectsincludebuildinganeightmetrewillowtreeattheNationalBotanicGarden,toanartsresearchprojectinplasticsurgerytomentoringthevisualartsgroupforthecARTrefuprojectatAgeCymru.

SessionTwoChair:DrPatRyan

Prof.IlonaBiernacka-LigięzaStudentsradiostorytelling–thecaseofPolandPresent-daymediaareallaboutmotionandthevisualculture,oritmayjustfeelthisway.Thecultureofradioreception,calledsometimesthefossilizedmedium,andmodernsoundreeditingprovesotherwise.Therearemanygenresofradioandwecandistinguishbetweendifferentchannels,specializationsorgeographicalorientation(local,sub-local,national,global).Thepeculiartypeoflocalradioisastudentradio.ThistypeofradioiscorrelatednarrowlywiththeUniversitythatcreatedit.Thetargetinthiscaseistheyouthpopulationagedbetween19and24yearsold(particularUniversity

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students),thecontentofthetransmissionincludingnews,storytelling,musicdepartmentandsoon,isinalargedegreedifferentfromotherlocalbroadcasters.Thisresearchusedthecaseof:1)“RadioCentrum”(UniversityofMariaSkłodowska-Curie)fromLublin;2)“Sygnały”(OpoleUniversity)fromOpole;3)“LUZ”(WroclawPolytechnic);4)“NaGłos”(JeleniaGóraCollege).Abovecasesofdifferenttypeofschoolslocalradiostationshavebeenchosentoshowdifferentformsofsoundstorytelling.Issuesembracedamongmanyotherhavebeencorrelatedtothetopicsoflocalmusicuse,localinformation,studentsyearorganizationandculturaluseoftheradioandthecity(inreference).Themaininterestisconnectedtotheartofstorytelling,usingsoundasamedium.How,exactly,radiobroadcastersareabletotellastoryaboutsurroundingwordwithsoundonly?Digitalstorytellinginthisaspectisanopportunityforspecifiedgroupofpeople(students)totelltheirownstoryconcentratedonproblemsandcreationsdirectlyfromthementionedgroup.Itisawaytopromotestudentscultureinthemediastream,itisachancetofightforequalityintheprocessofpublicparticipation.Amedialvoiceforstudents:theirownwaytoexpressthemselves.

Schoolschosenforanalysisrepresentdifferentprofileofeducation:generalacademicstudiesandprofessionalstudies.Moreoverregionsofanalysiswereseparatedduetotheurbanizedlevelfromhighlyurbanized(withadvancedITsector)totheruralone(basedonagriculturalmarket).

ThisanalysisisimportantintheeraofRadio2.0(greatlyadoptedanddevelopedbythestudents’radio),thedistributionspatterns,theawarenessoftheconvergenceproblemandthesocialparticipation,duetohighrationofrecipientparticipationofdiscussedformat.Theaimofourworkseeksanswerstoquestionssuchasthesynergiesbetweenonlineandlocalradio,audienceparticipation,andcommunityaffirmationinthetermsoflocalradiouse.Theproblemofinteractivityoftheaudienceisalsoincluded.Topresentcomplexityofthematterthisresearchpaperisbasedoncontentanalysisofmentionedbroadcastersandsociologicalmethodsforexampleinterviewsandsurveyfortherecipientsofanalyzedformats.IlonaBiernacka-LigiezaisaprofessorofhumanitiesandsheworksattheFacultyofPoliticalStudiesMariaCurie-SkłodowskaUniversityandUniversityofOpole.FromSeptember2008untilOctober2011shehasbeentheresearchfellowoftheInstituteofMediaandCommunication,UniversityofOslo.Herresearchinterestsinclude:localmedia;masscommunication;newmedia;cross-culturalcommunication;journalismstudies;localdemocracy;globalization;glocalization;mediaandpolitics;mediaandidentity

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CathHeinemeyerYoungpeople’svoicesinthepolicyprocess:mustwetellourownstories?Theexperienceofyoungpeoplewithinthementalhealthsystemisincreasinglybeingregardedasaresourcetotapinthequesttoimproveservicesforthem;‘theirvoicesmustbeheard’.AsChildandAdolescentMentalHealthServicesinYorkwerebeingrecommissionedin2015,an‘appreciativeenquiry’waslaunchedtoobtaintheviewsof,amongothers,youngpeoplethemselves.Asthefirstroundofsubmissionswasnotconsidered‘appreciative’enough,Iwasaskedtoworkwithteenageinpatientstoworkthroughdigitalstorytellingtoobtainmoredetailedandconsideredinputfromthem.Theprocessofdevelopingthecollectivestorywasadeparturefrommyusualpractice,whichtookmythandfolktaleasitsstartingpoint,ratherthanexplicitlydealingwithyoungpeople’spersonalexperiencesorillness.While‘TheStoryofRob(y/i)n’generatedanoutputwhichwasgenuinelyvaluabletotherecommissioningprocess,itarguablyfixedtheyoungpeople’sidentitiesas‘patients’ratherthan‘artists’,encouragingthemtousetheirpersonalstoriesaspoliticalcapital.Thispaperwilladdresstheuseoftheterm‘storytelling’toframeyoungpeople’scontributiontopublicdiscoursewithinnarrowparameters.IwilldrawonJamesThompson’scritiqueofappliedtheatre’srelianceon‘traumanarratives’andthe‘imperativetotell’;alsoonNickRowe’sdiscussionofthevalueof‘openingup’people’sstories.Iwillcontrastthe‘Robyn’projectwithmoreopen-endedprojectsIhaveledinthesamesetting,andargueforamorenuancedapproachtoallowingyoungpeople’svoicestobeheardinthepolicyprocess.CathHeinemeyerisastoryteller,facilitatorandhighereducationteachercurrentlyconductingpractice-basedPhDresearchdevelopingaparticipatorymodelofstorytellingwithadolescents,acrosseducation,mentalhealthandyouthworksettings.ThispracticeandresearcharebasedintheInternationalCentreforArtsandNarrative(ICAN),apartnershipbetweenYorkStJohnUniversityandYorkTheatreRoyal,whereCathisstorytellerinresidence.ShehasheldpreviousresidenciesandconductedprojectsatYorkTeachingHospital,HackfallWoods,CastleHowardArboretum,SuttonBankCentre,numerousschoolsandmuseums,andperformedatmanyfestivalsandtheatres.DrHughGriffithsTheMerthyrMigrationProjectCurrentlymigrationisakeyvotingissuefor46%oftheUKpublic(andTHEmajorissuefor25%).However,ithasbeenshownthatthegeneralpublicarenotawareoffactsaboutmigrationwith53%believingitscostsoutweighitsbenefits.MerthyrTydfil

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showedthehighestpercentageincreaseinWales(+227%)ofnon-UKbornpopulationfrom2001to2011.TheMerthyrMigrationProjectisintendedasarecordofthepositiveeffectsthatinboundmigrationfrominternationalCatholiccommunitieshavehad,andcontinuetohaveonthecultureofMerthyrTydfilandseekstochallengeanumberofrecentlyemergingnegativeattitudesinthegeneralpublic.Theprojectexploressocialjusticethroughdigitalstorytelling(involvingoralhistoriesandparticipatorydocumentary),historicalresearch,digitalarchivingandcommunicationandcrossgenerationalapproaches.WefocusedonCatholicmigrationasPolish-bornpeoplenowrepresentWales'largestgroupofmigrantsandthroughhistorySpanishandItaliangroupshavealsohadasignificanteffectontheeconomicandculturaldevelopmentofthearea.TheprojectwasfundedbytheHeritageLotteryFundandyoungpeople-ledinvolvingfiftyYear7pupilsandtenYear9mentorsfromBishopHedleySchool,Merthyr(where22%ofpupilscomefromethicminoritybackgrounds)aswellasanumberofcommunitygroupsincludingWalesandMarchesCatholicHistorySociety,CommunitiesFirst,TheMerthyrHeritageForum,MerthyrLibraryandStMary'sChurch.Participantsweretrainedindigitalstorytellingtechniquessothattheycoulddocumenttheirchangingattitudesduringtheprojectandrecordoralhistoriesleadingtoaseriesofshortfilmsfunctioningasaplatformfornewly-settledpeoplestotelltheirpositivestorieswithagoaltorebalancingpublicopinion,aswellasanhistoricrecord.ThefinalworkswillformpartofanexhibitionatCyfarthaCastleMuseum&ArtGalleryinJune2016andthrougharangeofdigitalplatformsincludingthePeople'sCollection,Wales.Thispresentationwillgiveanoverviewoftheprojecttodate(organisation,examplesoffilmsproduced,projectthemesetc.)andwillthendiscussseveralissuesthatarose(includingparticipants’responsestomigration).DrHughGriffithsobtainedaPhdinmicrobiologyfromCardiffMetropolotainUniversityin2009andhassinceworkedasafilmeducationpractitioneronprojectswithpartnerssuchasIntoFilm,FilmCymruWales,RCTArts,BFI,ArtisCommunity,SocietyforAppliedMicrobiologyandRhonddaPeople.RecentprojectsincludetheoralhistoryofthePontypriddLidoandresearchintotheuseoffilmeducationactivitiestoimprovesocialskillsinlearnersontheautisticspectrum.

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Session3Chair:DrAliceEntwistle

ColinThomasBLACKLISTEDThestoryoffilmmaker–andstoryteller–PaulTurnerisoneofinjustice.AfilmeditoratBBCCardiff,hewasrepeatedlyturneddownforpromotiontodirector.OnlyafterinvestigativejournalistsfromtheObserverdidsomediggingdiditemergethatPaulTurner–andmanyothers–hadbeensecretlyblacklistedbyaMI5representativeworkinginsidetheBBC.BythenPaulTurnerhadlefttheBBCandbecomeasuccessfulfreelancedirector,eventuallydirectingHeddWyn,theonlyWelshlanguagefilmtobeshortlistedforanOscar.ThepresentationincludesashortvideotellingPaulTurner’sstory,madewithdocumentarystudentsatAberystwythUniversity.ItincludesinterviewswithseniorBBCmanagerswhoadmitthattheywentalongwithasystemthattheynowacknowledgewasunjust.ColinThomaswasthewinnerofJuryAwardCelticFilmandTVFestival2006forBorderCrossing–theJourneyofRaymondWilliams,RTSWest’sBestIndependentProduction2005forTilltheBoysComeHomeandin2003forDeadManTalking,GoldAwardatHoustonInternationalFilmFestival2000forTheFarmerWhoWouldn’tLetGo,PrixEuropa1992forVideoLettersandthreetimeswinnerofBAFTACymru’sBestDocumentaryAward.

BornandbroughtupinWales.AfterKeeleUniversitywhereelectedPresidentofStudentsUnionandreadEnglishandPoliticalInstitutions,thenenteredBBCasaGeneralTrainee.In1978resignedfromBBCstaffovercensorshipofprogrammeshedirectedinNorthernIreland.SincethenhaswrittenanddirecteddramaanddocumentaryforRTE,ITV,S4C,C4–andtheBBC.

Hasproducedand/ordirectedanumberofnetworkseriesincludingTheDragonhasTwoTongues,CrackingUp,TheDividedKingdomandReelTruthforC4/S4CandHughesovkaandtheNewRussia,ExcaliburtheSearchforArthurandEscapingfromLibertyforBBC2.In2014wroteandproducedTheDragonandtheEagle/YDdraiga’rEryrappontheWelshinAmerica.

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AmandaEsonsTheRippleEffectsofDigitalStorytellingForthis20-minutepresentationIwillapplyMaireDugan’sNestedTheoryofConflicttoexemplifyhowstorytellingcanfuelpositivesocialchange.Iwillfollowthestagesoftheprocessidentifyingthesourceofchangeandhowitinteractsondifferentstructurallevels.WithintheNestedtheoryIapplythedigitalstorytellingprocessbeginningwithIndividual/IssuetoRelationshipsthenSub-SystemsandSystems.Inintegratingthestorytellingprocesswiththismodel,wefollowthestoryfromindividualtosystem.Thisapplicationshedslightontheinteractionsofsystemsandillustratesthepotentialthatstoryhastoexpandfrommicrotomacroineffectingsocialchange.AmandaEsonsholdsaMaster’sdegreefromTheSchoolforInternationalTraininginPeaceBuilding/ConflictTransformationandSustainableDevelopment.SheispassionateaboutmanyformsofStorytelling,andhascontinuallyincorporatedthesemethodsforself-expression,healing,andPeacebuilding.AmandaiscurrentlylivinginTurkey,workingwithagrassrootsNGOtosupportrefugeesthroughdirectresponse,aswellasthebroadercommunitybyencouragingawarenessthroughthearts.

ProfessorFlorenceAyisiLookingatOurselves:AudienceReceptionofSistersinLawinCameroonThispresentationisbasedonapilotfilmaudiencereceptionstudyusingfocusgroupresearchInanAfricancontext.ItaimstopresentthefindingsofhowasmallgroupofaudiencesinCameroonrespondedto,andengagedwithasocialdocumentaryfilm,SistersinLaw(FlorenceAyisi&KimLonginotto,2005).Sinceitsreleasein2005,thefilmhasreceivedcriticalacclaimasevidencedbynumerousprestigiousawardsincludingtheSocialJusticeAwardforDocumentaryFilmattheSantaBarbaraInternationalFilmFestival(USA).Thisaudiencestudyisbasedontheviewthatcinemaaudiencesareconstitutedindifferentwaysbasedonculturalcontextsandsettings.ThemainfocusistopositAfricanaudiencesasculturalreadersofatransnationaldocumentaryfilmthatreflectsuniversalhuman-intereststories.Theglobalreachoffilmraisesquestionsaboutcrossandinterculturalconstructionsandinterpretationsofvisualrepresentationsofuniversalhuman-intereststoriesthatconnectexperiencesandemphasisealocal-globaldialectic.Thewayaudiencesinterpretandmakesenseofafilmisasimportantasthefilmtextitselfintheprocessesofcommunicatingmeaninginfilm.Whatkindsofmeaningsanddebatesaregeneratedwhenanaudienceactivelyengageswithafilmthatreflectsrealissues?Inparticular,howdocommunitiesorpeoplewhohavelimitedknowledgeof,andaccesstoeducationabouttheirrightsandmattersofsocialjusticerespondtoissuesthatreflectrealitiesthattheycanrelateto?

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Theresultspresentaportraitofdifferingreactions,andinterpretationsbasedonthedifferentsocio-economicandethnicbackgroundsofrespondents;perspectivesthatrevealandquestionthecomplexityofcrime,punishmentandmattersofjusticeasperceivedandunderstoodbydifferentaudienceslocatedinthesametime-space.Thepresentationexaminesthesefindingsfromaneo-pragmaticperspective,andtheresultsascertainadegreeof“textualfacticityratherthaninfiniteelasticityormalleability,”(King,1998).Sinceafilm’saestheticsisthefirstpointofreferenceforspectators,thispaperalsoencompassesclosereadingsofthefilmwithinacognitive-hermeneuticalframework,consideringnotionsofnarrativestructuring.ThisstudyissituatedwithinthewidercontextofwhatMahoso(2000)callsa“valuableopportunitythatallowsthepostcolonial‘silentaudiences’toexploretheirownconsciousness,theirownmemory,theirownspace”.Inthiscontexttheconclusionswillbeexpandedtoamedia-politicalsphere.IarguethatIdeologicalStateApparatuses(Althusser,1970)needtoembracemoreself-reflexiveandpluralisticpractices,wherebytherepresentationofpostcolonialsubjectpositionsbecomesaconsciousideologicaldiscourse;audienceagencyinanAfricancontextintersectsgeneralquestionsofmediademocracy.

FlorenceAyisiisprofessorofInternationalDocumentaryFilmattheUniversityofSouthWales,U.K.Sheteachesdocumentaryfilmhistory,theoryandpractice.ShehasmadeseveralfilmsinCameroonandTanzania,includingthemultipleaward-winningdocumentaryfilmsSistersinLaw(co-directedwithKimLonginotto,2005),dealingwithissuesaroundviolenceagainstwomenandchldrenandZanzibarSoccerQueens–ZSQ-(2007)whichfocusesonaMuslimwomen’sfootballteaminZanzibar;aportraitoftheirpassionforfootballandtheirresistancetoculturalnorms.SherecentlycompletedthesequeltoZSQ=ZanzibarSoccerDreams=(codirectedwithCatalinBrylla,2016).Thissecondfilmaboutwomen'ssoccerinZanzibarwillhaveitsworldpremiereattheCanadiansportsfilmfestivalinToronto(May2016).HerfilmsofferrareinsightsintoothervisibilitiesandimaginationsofAfricanpeopleandculturalpractices;presentingimagesandculturalrepresentationsthataffirmandvalorisedynamicexperiencesofAfricanpeople,especiallywomen.Herfilmshavebeenscreenedatnumerousfilmfestivalsworldwide,andontelevision,winingnumerousprestigiousawards.

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ProvocationsProvocationOne:ProfRobertSmithandProfSimonBurnettUKPoliceBloggingChair:KarenLewisProfessorsRobSmith(UWS)andSimonBurnett(RGU)willpresentseveralinterrelatedaspectsoftheirresearchworkonUKpoliceblogging.Intheirprovocation,RobandSimonwilldiscusshowblogginghasbeenusedbyUKpoliceofficers;thecontentoftheblogs;andthepotentialandactualbenefitsofthoseblogsandtheirassociatedcommunities.RobandSimonwillalsodiscussthesignificanceofstorytellingwithintheblogcontent,andthetensioncreatedbythepersonalandorganisationperspectivesplacedupontheblogs.DrRobertSmithisaProfessorofEnterpriseandInnovationatTheUniversityoftheWestofScotlandandhas170peerreviewedpublications.Manyofhispublicationshaveanarrativetheme.Heisaformer'CareerConstable'with25yearsserviceandservedinavarietyofrolesincludingUniform,CBO,CrimeIntelligence,andCrimeReduction.HeisaSIPRmemberandisstillanactiveresearcherinPolicingsubjectsaswellashisBusinessSchoolportfolio.SimonBurnettisaProfessorfromtheDepartmentofInformationManagement(iSchool)atAberdeenBusinessSchool.HeisalsoanAssociateDirectoroftheScottishGraduateSchoolforSocialScience,thelargestoftheEconomicandSocialResearchCouncil’sdoctoraltrainingcentres.Priortothis,ProfessorBurnettwastheInformationandCommunicationThemeLeaderinRGU’sResearchInstituteforManagement,GovernanceandSociety(IMaGeS).ProfessorBurnettbeganhiscareerasawebsitedesigner,andestablishedtheCentreforKnowledgeManagementatRGUin2000.Hisresearchhasfocussedontheuseofnarrativesforsharingknowledge,organisationalstorytellingandtheuseofsocialmediainprofessionalandsocio-politicalcontexts.ProvocationTwo:DrAnandaBreedJuridicalandAppliedPerformanceinPost-GenocideRwandaChair:MichaelCarklinDrAnandaBreedwillprovideanoverviewofhowperformancewasusedasapowerfultooltorehearsethenationforthelocallevelgacacacourts,anindigenousmediationsystemusedtoaddressthe1994genocideagainstTutsi.Grassrootsassociationsrespondedtogacacathroughtheirownunderstandingofjusticeandreconciliation.

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However,gacacawaseventuallyusedasa‘fictionalframe’-astagetoactoutpersonalvendettas-duetothespeedingupofcourttrialsin2007thatledtoanincreaseinthenumberofindividualswhosepropertieswereauctionedoffforcompensation,thuspotentiallyleadingtofutureconflictandfurtherdivide.SheprovidestimelyexamplesofthelimitationsandpotentialbenefitsofAppliedPerformanceinthenotedcontextsofperformanceandperformativesinpost-genocideRwandawiththeprojectUkuriMubinyoma(TruthinLies)concerningtheGender-basedviolencelawof2008co-directedbyBreedandtheMashirikaCreativeandPerformingArtsCompany,furtherproblematisingthenotionofparticipationwhenthemassparticipationofthepopulationisordainedbylawtoparticipateinthegacacacourtsandhowthateffectsanyotherparticipatoryartspracticesinpost-genocideRwanda.DrAnandaBreedistheauthorofPerformingtheNation:Genocide,Justice,Reconciliation(SeagullBooks2014)inadditiontoseveralpublicationsthataddresstransitionalsystemsofgovernanceandthearts.ShehasworkedasaconsultantforIREXandUNICEFinKyrgyzstanonissuesconcerningconflictpreventionandconductedappliedartsworkshopsintheDemocraticRepublicofCongo(DRC),Indonesia,Japan,Kyrgyzstan,Nepal,Palestine,RwandaandTurkey.Breedisco-directoroftheCentreforPerformingArtsDevelopment(CPAD)attheUniversityofEastLondonandformerresearchfellowattheInternationalResearchCentreInterweavingPerformanceCulturesatFreieUniversität(2013-2014).ProvocationThree:ChristineMcMahonRestorativeJusticeandStorytellingChair:ProfKevinMills“Thegoalofeverystorytellerconsistsoffosteringinthechild,whatevercost,compassionandhumanness,thismiraculousabilityofmantobedisturbedbyanother’smisfortune,tofeeljoyaboutanotherbeing’shappiness,toexperienceanother’sfateasyourown.” (KorneyChukovsky)Thistalkconsiderstheconnectionsbetweenrestorativejusticeandstorytellingandasksthequestion,‘Dostorytellingandrestorativejusticehavethesamegoaloffosteringcompassion?’Workingbothasastoryteller(withoffendersandthoseatriskofoffending)andarestorativejusticepractitionerandtrainerthetwosubjectsformebecameintertwined.Questionsemergedaboutboththeroleofstorytellingwithintherestorativejusticeprocessandtheroleofjusticewithinstorytellingprocess.Howcanstorytellerstellstoriestothosewhomaynotwantthemsuchasthoseinprisonorthoseatriskofcustodyandhelptofostercompassion?

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Theabilitytotellourstoryinawaythatexpressesthoughtsandfeelingsisessentialtofindingresolutionwithsomeonewehaveharmedorwhohasharmedus.Yetthosewhomostneedthisskillandthelanguagetoexpressthemselvesmaynothavehadmuchaccesstostoriesorthedevelopmentoftheskillsthatstorylisteningmayhavehelpedustoacquire.Arethestorytellersandtheirstoriescurrentlyaddressingthisneedandifnothowcanweensuretheydo?ChristineMcMahonwasborntoaLancashirefatherandaYorkshiremother.Christinehaslivedherlifeonbothsidesofthecrags,"wheretherocksofLancashireandYorkshirefrowninclosebutharmlessproximity."Shebelievesthatstorytellingisthethreadthathaslinkedallherworkinthelast15yearsindrama,psychology,dramatherapyandnow,intheYouthJusticeSystem.ChristineisinvolvedinawiderangeofstorytellingprojectsandperformanceworkshopsinsettingsrangingfromPrisonstoschoolsandnurseries.ChristineisinterestedindevelopinginternationallinkstosupportstorytellingdevelopmentandstoriesforusewithRestorativeJustice.ProvocationFour:PhilMorrisBordergameChair:DrChristinaPapagiannouliAgroupoftheatre-gamerssitcrammedinsideapeople-carrierparkedonarain-sweptNewportbackstreet.Thedriverassuresusthatwehavearrivedata‘safeplace’.Wetentativelyentertherear-entranceofananonymousbuildingwherewearemetbyadozenasylum-seekersandthestrongwhiffofbeefstew.Wehavejustconcludeda30-miletripasparticipantsinBordergame-stagedbyNationalTheatreWalesinlate2014-whichwontheinauguralSpacePrize,receiving£20,000forthedevelopmentofinnovationinthefieldofdigitaltheatre.Formostofitsduration,Bordergameoffereditsaudienceafugitiveimmersivetheatreexperience,putativelybasedonrefugeejourneynarrativesandinvolvingactorsplayingshadypeopletraffickersandaggressivepoliceofficers.Thepiececulminatedinastaged,albeitunscriptedencounterbetweenaudiencemembersandactualasylum-seekers.IreviewedBordergame(asaneditorofWalesArtsReview)andfounditsludicfusionofonlinegamingaestheticsandimmersivetheatrealltoooftenworkedtotrivialisethecomplexandpoliticallysensitivenatureoftheescalatinghumantragedyitpurportedtoaddress.Thepresentationofasylumseekersasatheatricalspectacleappearedtofatallycompromisetheostensibleprogressiveaimsoftheproduction.TheformalinnovationsofBordergamewereaproblematicmeansofexploringsubjectmatterthatdemandedgreaternuance,sensitivityandintellectualrigour.Whichraisesthequestionastohowtheatre-makersshouldengagewithrefugee/diasporacommunitiesinacreativeprocessthatsufficientlyprioritisestheethicsofdevelopingdramaticworkfromthelivedexperiencesofvulnerablepeople.Thefatesofindividual

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asylum-seekersarefrequentlydeterminedbytheplausibilityandpoweroftheirnarratives-whatethicalquestionsareposedbytheappropriationofthesepersonalandpainfulnarrativesbytheatre-makerswhostagethemforpublicconsumption?Thisprovocationinvitesadiscussionastohowalesshierarchicalinterculturalexchangemightaffectamoremeaningfulandethicaldialoguebetweenrefugeesandprofessionaltheatre-makers.PhilMorrisisawriter,theatrepractitionerandcritic.From2012-15hewasManagingEditorofWalesArtsReview.Beforeco-foundingWalesArtsReview,PhilwasaSeniorLecturerinEnglishandAppliedDramaattheUniversityofWales,Newport.HehasalsolecturedatOhioUniversityandtheUniversityofDubuque,bothintheUS.PhilhasaMAinEnglishandasecondMAinCreativeWriting,thelatterfromBathSpaUniversity.HealsoholdsaPGCEinPost-compulsoryEducation.AftertrainingatLAMDA,Philworkedasanactor,appearingonBBCTelevisionandperformingforanumberoftouringandfringetheatrecompanies.In1998hefoundedTrue&FalseTheatreCompany,andservedasitsArtisticDirector.Hisplay'Sadhana'wasstagedattheFinboroughTheatreinLondoninthelate90s,and'Age-Sex-Location',whichheco-wrote,wasproducedattheRiversideStudios,Londonin2004.

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TheConferenceTeamDrEmilyUnderwood-LeeisaperformanceartistandresearcherbasedattheGeorgeEwartEvansCentreforStorytellingandCreativeIndustriesResearchInstituteattheUniversityofSouthWales.Emilycreatesautobiographicalworkandisprincipallyconcernedwiththeconstructionofgenderandhowthefemalebodycanbepresentedandrepresentedinperformance.Herareasofinterestincludeperformanceandthebody,feministperformanceart,narrativesofillness,autobiographicalperformance,andperformanceanddisability.Herrecentperformancesuseherradicallychangedandcontinuouslychangingbody,whichbearsthemarksofbreastcancertreatment,doublemastectomy,salpingo-oophorectomy,motherhoodandmenopause,toconsiderherrelationshiptofemininity.SheisafoundermemberoftheFactoryFloorcreativenetworkforwomensoloperformancepractitioners.EmilyhasrecentlybeenawardedaPhDattheUniversityofSouthWalestitled"TheBodyExposed:Strategiesforconfrontingobjectificationinwomen'sautobiographicalperformance".

ProfHamishFyfeistheaCo-FounderoftheGeorgeEwartEvansCentreforStorytelling,CEWNProjectDirector,andDirector,DigitalEconomyProjectsattheUniversityofSouthWales.Hehasworkedasateacher,actor,andresearcherinavarietyofcontextsandworkedfortwentyyearsinBelfast,NorthernIrelandbeforetakinguphispostasChairofArtsintheCommunityinSeptember2004.Hamishhasalongtrackrecordincollaborative,appliedresearchandknowledgeexchangeactivities.

DrPatRyanisResearchFellowattheGeorgeEwartEvansCentreforStorytelling.Heworksasastoryteller,doingperformances,workshops,trainingothersintheusesofstorytelling(teachers,classroomassistants,librarystaff,parentsandgrandparents,footballers,coaches,etc.).HehaspublishedwidelyonareasincludingStorytelling;Folklore;Children‟sLiterature;Literacy;CognitiveStudiesinrelationtoOralNarrative,StorytellingandStoryListening.

DenisLennonisaResearchAssistantattheGeorgeEwartEvansCentreforStorytellingandparttimeLecturerintheDramaDepartmentoftheUniversity.Hehasbeenworkingasatheatreactor,directorandwriterforthelast14yearsinIrelandandWales.HiskeyinterestsincludeElizabethantheatre,multimediaperformance,andautobiographicalperformance.HeisintheearlystagesofhisPhDinvestigatingtheroleofbreathworkwithinpost1960’sAnglophoneShakespeareantraditionsofacting.

WithspecialthankstoDrChristinaPapagiannouli,ResearchAssistantattheFacultyofCreativeIndustriesResearchInstitute,whoseconstantsupporthasbeenparamounttothesuccessofthissymposium.

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TenYearsandCounting…

Thisyear’sconference,‘StorytellingandJustice’,marksthe10thannualsymposiumattheCentreandwecannowlookbackatthediverserangeoftopicscovered.Wecanalsoreflectonthespeakers,whohavecomefromallcornersoftheglobetospeakonstorytellingin,andsometimesthrough,theirvariouscontexts.Beginningin2007,twoyearsaftertheCentrewasfoundedbyProfMikeWilsonandProfHamishFyfe,thefirstsymposiumlookedatthethemeof‘StorytellingandtheGlobalisedWorld’.ItincludedakeynotelecturebyProfJackZipes(UniversityofMinnesota)andpapersbyShahrukhHusain,ProfMickMangan(UniversityofExeter)andDrDonaldSmith(ScottishCentreforStorytelling).InthefollowingyearsthesymposiaconnectedStorytellingwithvariousthemesincludingAuthenticity,Gender,Science,Translation,Anniversaries,Children’sLiterature,Voice,andlastyear’stheme,Activism.In2012,theCentre’sformerdirectorKarenLewisbroughttogethertheDSfestivalandthatyear’ssymposium–‘StorytellingandAnniversaries’.Thisopenedtheannualsymposiauptonewandfarreachingcontextsandideasaroundstorytellingintheyearsthatfollowed.Tocelebratethisoccasionandachievementwehaveaskedallthreedirectors,pastandpresent,fortheirthoughtsonthe‘howsandwhys’oftheCentre’sexistence…ProfessorMikeWilsonVisitingProfessor,Co-founderandformerDirector,GeorgeEwartEvansCentreforStorytellingPriortotheGeorgeEwartEvansStorytellingCentrebeingsetup,Ihadalwaysassumedthatstorytellingwasreallyonlyofinteresttoasmallgroupofscholars:theatreandperformancescholars;literaryscholars;folklorists;anthropologists;historians.Almostfromthefirstday,however,colleaguesstartedapproachingusfromalmosteverydisciplineexcepttheobviousones,sayingthattheytoowereinterestedinstorytelling.ColleaguesfromtheBusinessSchoolandtheLawSchoolcontactedus,computerscientists,mathematicians,environmentalscientists,civilengineersallcameknocking.AndthenBBCWalescamealongaskingifwewantedtogetinvolvedintheirflagshipdigitalstorytellingprogramme,closelyfollowedbyGlamorganCricketClubandtheMCC,whowantedtoincorporatestorytellingintotheircricketheritagework.IamnotsuggestingthattheCentrehasbeensolelyresponsibleforbroadeningtheappealof,andinterestin,storytelling(althoughitwouldbenicetothinkthatithadplayeditspart),butratherthattheextraordinaryrangeofworkthattheCentrehasundertakenoverthepasttenyearsreflectsthemanycross-disciplinarycornersintowhichstorytellinghasventuredandthe

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burgeoninginterestmorebroadlyintohowstorytelling,asadifferentwayofknowingandthinking,canbringnewvoicesandexpertiseintotheforumofpublicdiscourse.

AfewyearsagoIfoundmyself,onewetNovemberevening,intheCabinetOfficeinWhitehalltalkingtoacoupleofdozencivilservantsfromacrossgovernmentdepartmentsaboutthecontributionthatstorytellingmightmakeinthedevelopmentofpolicy.Thesewereallverybusypeoplewhospentmostoftheirdaytalkingtoministersandothercivilservantsaboutthedetailofpublicpolicy.Yettheyhadchosentostayacoupleofhoursafterworktofindoutaboutstorytelling.Suchathingwouldhavebeenunthinkabletenyearsago;nowstorytellingisoneveryone’slips.

KarenLewisSeniorAssociateandFormerDirector,GeorgeEwartEvansCentreforStorytellingAsseniorproduceroftheBBC’sdigitalstorytellingprojectCaptureWalesitwasalwaysanambitionofminetofindasuitablepartnerwithwhomtoworktodevelopthisareaofworkbeyondtheremitoftheBBC.IwasdelightedtodiscoverthatthethenUniversityofGlamorganhadjustopenedaresearchcentrethatspecialisedinstorytelling;theonlysuchacademicresearchcentreintheUK.SoIcontactedMikeandHamish,thefounderdirectorsoftheGeorgeEwartEvansCentreforStorytelling,andtherest,astheysay,ishistory(ormaybeherstory?).Mike,HamishandIhaveworkedcloselytogetherthroughoutthepasttenyearsandtheCentrehasbecomehometoarangeofflourishingdigitalstorytellingprojects.IamimmenselyproudofwhatwehaveachievedinthisfieldandlookforwardtosupportingthefuturedevelopmentoftheCentre,whichcontinuestocarveoutauniquespaceinthestorytellinglandscape.ProfessorHamishFyfeCo-founderandDirector,GeorgeEwartEvansCentreforStorytellingWhentheGeorgeEwartEvansCentreforStorytellingstartedin2005itconsistedofanidea,twopeopleandapamphlet.MikeWilson,nowProfessorofDramaatLoughboroughUniversity,andIalsoafolkloristandstorytellerdevelopedacommonunderstandingthatstorytellinghadafutureaswellasapast.SincethentheCentrehasworkednationallyandinternationallytobringscholars,artists,mediaworkers,writers,policymakersandotherstogethertofocusonstory.Inafarfromexhaustivelistthishasincludedresearchindisastermanagement,thecurationofcricketstories,medicine,thelawandeventhebrewingofcider!OurfriendsattheCentreincludeJackZipes,MarinaWarnerandMatthewLordEvanswhoisformerlytheChairmanofFaberandFaber.

It’sbeenagreattenyears.Thanksareduetothenowhundredsofpeoplewhohavecontributedtotheworkofthecentreoverthelasttenyears.Thestoryofthenexttenyearsstartsnow.

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HowtofindusAlleventstakeplaceattheAtrium,CardiffSchoolofCreativeandCulturalIndustries,AdamStreet,Cardiff,CF242XF.BytrainOurATRiuMbuildingisrightattheheartofthecity.ATRiuMisashortwalkfromCardiffQueenStreetstationorCardiffCentralstation.ArrivaTrainsBycoachCardiffisservedbyregularNationalExpressCoachesfromLondon,WestWales,theNorth,MidlandsandSouthWestEngland.ThereisalsoadirectservicefromHeathrow,GatwickandBristolAirports.ThecoachstationisashortwalkfromATRiuM.ByairCardiffInternationalAirportis11milesfromthecitycentreandisservicedbyregularbusandraillinks.London‟sHeathrowairportisabouttwo-and-a-halfhourdriveawayandthereisalsoanairportatBristol.BycarTravellingbycar,itcanbereachedfromjunctions29,32or33oftheM4.ThereisalargecarparkoppositetheAtriumBuildingonAdamStreet,alternativeparkingcanbefoundatKnoxRoad.YouneedtoturnleftoffFitzalanPlacetoreachKnoxRoadCarParkifyouarecomingfromtheAtriumbuilding.ThepostcodeisCF242FN.

WheretostayYoucansearchandbookaccommodationonlineathttp://www.visitcardiff.com/accommodation.TheAtriumislocatedincentralCardiffandiswithinwalkingdistance.

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Notes

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Notes