This book explores the affective and relational lives of young people in diverse urban spaces. By following the trajectories of diverse young people as they creatively work through multiple and unfolding global crises, it asks how arts-based methodologies might answer the question: How do we stand in relation to others, those nearby and those at great distances?
The research draws on knowledges, research traditions, and artistic practices that span the Global North and Global South, including Athens (Greece), Coventry (England), Lucknow (India), Tainan (Taiwan), and Toronto (Canada) and curates a way of thinking about global research that departs from the comparative model and moves towards a new analytic model of thinking multiple research sites alongside one another as an approach to sustaining dialogue between local contexts and wider global concerns.
สารบัญ
Chapter 1. Introduction (Kathleen Gallagher).- Part 1: Listening to Youth Differently.- Chapter 2. Art, Collaboration, and Youth Research in a Collapsing World: Conceiving and Enacting a Multi-Vocal Research Project in the Borderland of the Real and the Imagined (Kathleen Gallagher).- Chapter 3. “Listen! We have something to say!” Researching Collaborative Co-Creation with Youth Using Oral History and Devising in a Disunited Kingdom (Rachel Turner-King).- Chapter 4. Methodology as ‘Resistance Aesthetics’: Young Girls in Lucknow, India talk back to Patriarchy (Urvashi Sahni).- Chapter 5. From Personal to Political—Taiwanese Youth Navigating Multiple Identities and Renegotiating Confucian Ethics through Documentary and Ethno-Theatre Methodology (Wan-Jung Wang).- Chapter 6. The Politics of Care in Indifferent Times: Youth Narratives, Caring Practices, and Transformed Discourses in Greek Education amid Economic and Refugee Crises (Myrto Pigkou-Repousi).- Part2: Thinking Across Space with Youth.- Chapter 7. A Method of Mis/Understanding: Translation Gaps, Metaphoric Truths, and Reflexive Methodologies (Kelsey Jacobson).- Chapter 8. Hearing Athens Differently: Desire and Affect in the Methodology of Digital Video Analysis (Christine Balt).- Chapter 9. Methodology as a Practice: Radical Hope Methodologies in Motion Across Toronto and Coventry (Nancy Cardwell).- Chapter 10. Methodology in 3D: Commensality and Meaning-Making in a Global Multi-Sited Applied Drama Ethnography (Dirk J. Rodricks).- Chapter 11. Performative Measures: An Exploration of Cross-Pollinating Drama and Quantitative Research (Scott Mealey).- Chapter 12. A New Hearing: Representation and Relationship in the making of Towards Youth: A Play on Radical Hope (Andrew Kushnir).
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Dr. Kathleen Gallagher is a Distinguished Professor in the department of Curriculum, Teaching and Learning and cross-appointed to the Centre for Drama, Theatre and Performance Studies at the University of Toronto. Her research focuses on questions of pedagogy, the social contexts and relations of schooling, and theatre as a powerful medium for expression by young people of their experiences and understandings. She is especially interested in questions of youth civic engagement and artistic practice, and the pedagogical and methodological possibilities of theatre. Dr. Gallagher is the author of many award-winning books and articles.
Dirk J. Rodricks is an advanced Ph D Candidate in Critical Studies in Curriculum and Pedagogy at the Ontario Institute for Studies in Education, University of Toronto. He has co-authored a monograph on critical race theory in higher education (2015) and co-edited the special issue (Vol. 23; Issue 3: On Access in Applied Theatre and Drama Education) for Research in Drama Education: The Journal of Applied Theatre and Performance (2018). Committed to anti-racist, and de/colonial applied drama pedagogies, Dirk’s research interests include multiply-minoritized young adult identity formations in transnational contexts, inter-generational ethnoracial and queer inheritances, and de/colonizing qualitative methodologies.
Dr Kelsey Jacobson is an Assistant Professor in the Dan School of Drama and Music at Queen’s University. Her research interests include audiences and spectatorship, theatre of the real, qualitative methodology, and applied theatre. She is also one of the founders and directors of the Centre for Spectatorship and Audience Research.
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