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Professor Zoe Trodd has contributed to changes in antislavery policy debate and practice at local, national and international levels—from lawyers' societies and school teachers, to national non-governmental organisations (NGOs) and the European Parliament—through a series of publications, consultations, public talks, and contributions to teaching and digital resources about contemporary slavery and abolitionism. Drawing on her own research, as well as research into historic forms of slave resistance and literary abolitionism by two other professors in the UoA, she has intervened in contemporary abolitionism by advising the government bodies, NGOs and community organisations working to liberate slaves, pass antislavery legislation and remove slavery from industries' supply chains.
Hitchcott's research on the relation between textual and material commemorations of the 1994 Rwanda genocide has benefited survivors and rescuers whose experiences form the basis of the Francophone African novels on which she publishes. As a result of her leadership of a research collaboration between The University of Nottingham and The Aegis Trust, a leading Nottinghamshire-based NGO dedicated to the prevention of genocide through education, an AHRC Collaborative Doctoral Award has ensured that:
Reminiscence theatre's primary goals are to improve the well-being of senior citizens and promote intergenerational dialogue. ARTA has successfully engaged 100 marginalised older people, 13 young volunteers and over 200 others since 2012. The project has created a new model of reminiscence theatre by proving that archive material can be used instead of live interviews. It has learned the strengths and weaknesses of this approach and found creative solutions to the problems. It has also given the Reminiscence Theatre Archive a long-term `living' future. Finally ARTA has disseminated good practice internationally through a website, articles, training events and conferences.
Dr Paul Gladston's (Associate Professor of Critical Theory and Visual Culture, Nottingham, 2005- present) research has served to problematize and add complexity to the public understanding of the relationship between contemporary Chinese art and the wider conditions of its making and showing both within and outside the Peoples' Republic of China (PRC). The Chief Curator of the Hayward Gallery exhibition Art of Change: New Directions from China (2012) drew on Gladston's expertise in the exhibition's presentation. The exhibition attracted over 22,000 visitors, with international media coverage leading to wider critical engagement in broadcast and social media. A challenging review of the exhibition in The Guardian by the high profile artist Ai Weiwei, followed by Gladston's response, stimulated broader public debate around contemporary Chinese art.
Challenging simplistic depictions of Ireland's revolutionary past, Fearghal McGarry's research has facilitated greater public understanding of the causes and consequences of political violence in Ireland. Through impacts arising from an innovative collaboration with a documentary film-maker, as well as through the influence of his research on public discourse, cultural life, civil society and education, McGarry's work has enhanced public understanding by extending the range and quality of historical evidence, contributing to a more meaningful public engagement with both history and commemorative processes within the context of post-conflict Northern Ireland and the current `decade of centenaries'.
Dr Finnin's research has raised and enriched the profile of Ukraine as a multi-ethnic and multi-confessional cultural space bound together by projects of inter- and intra-national solidarity. His scholarly work has inspired and informed a high-profile public engagement programme, which has centred on an annual film festival launched in 2008, an annual evening of literary readings begun in 2010, and two exhibitions in 2009 and 2010. In Ukraine these outputs have in turn garnered extensive media attention, contributing to the preservation of a beleaguered cultural tradition and to the reconciliation of national communities (Ukrainian, Russian, Crimean Tatar) all with traumatic pasts.
For two decades, researchers at Southampton have played a leading role in demonstrating the value of bringing contemporary aesthetics into dialogue with its past. Through an extensive programme of public engagement activities, including talks, podcasts, videos, gallery events and 6th form conferences, we have brought our research on this theme to more than 200,000 people, stimulating them to think about unfamiliar topics, or about familiar topics in new and illuminating ways. These activities have enriched our interlocutors' intellectual and cultural lives, and, in some cases, have influenced their understanding of their own artistic practice.
The Africa in Motion Film Festival (AiM), based in Glasgow and Edinburgh, directly emerged from research led by David Murphy and a community of postgraduate students at the University of Stirling. The festival has attracted new audiences for African cinema (over 20,000 spectators since 2006) and contributed to wider debates about it amongst the general public, NGOs, as well as cinephiles in Scotland and more widely. In particular, two projects on the `lost classics' of African cinema allowed neglected films to be discovered both by a general audience and influential film critics/journalists.
Allwood's research into Women and Politics has looked at women's participation in mainstream and alternative forms of political activity; gender and policy, focusing on prostitution, violence and abortion policy; and the political participation of refugee women. The research has informed government advisory panels, think-tanks, and NGOs, in particular in debates around gender quotas and the relationship between gender and democracy. External voices and actors have helped shape the research process, and the audience of this research has made material and distinct decisions based on new insights effectively shared, as demonstrated by citations of research outputs in policy documents and discussion papers.
Until the Centre for Media and Culture in Small Nations was established in 2006, there was no coherent, multidisciplinary programme of research examining the creative industries through the distinct framework of small nations, including Wales. By drawing together researchers from diverse arts and media disciplines, the Centre has provided a thorough analysis of the creative industries in Wales and informed public debate on their artistic, social and economic contribution to the nation's civic life. Our original research has delivered new insights for organisations, and their users, including BBC Wales, National Theatre Wales, the Welsh Music Foundation and community radio.