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Nirmal Puwar's project, Noise of the Past, has sought to transform the public imagination of war by bringing post-colonial stories into the UK's national memory of World War II. At the same time it has worked to re-imagine the research process and its relation to publics. It has shown how the `noise' of the past, derived from narratives and situations that are usually excluded, can move cultural memory beyond a nationalistic, militaristic consensus. The research produced an award winning film, `Unravelling,' and a live musical performance, `Post-colonial War Requiem'. They were launched in 2008 at a large public event in Coventry Cathedral, opened by Martin Bell (OBE, UNICEF ambassador). On 14 November 2010, Noise of the Past was invited back to Coventry Cathedral to mark the 70th anniversary of the Blitz. The highly affective moving film (20 min) has won international awards and been screened at festivals, museums and public events and is submitted for viewing along with this ICS. Significantly the call-and-response methodology initiated by the project engaged artists and creative practitioners in music, poetry and film as active collaborators in the research process and also engaged publics not simply as audiences but as dialogic participants.
For this case study our impacts include high levels of community engagement, innovative pedagogy, engagement with large and broad audiences (in real life and via an array of broadcast and print media), prize winning activities and quality outputs and publications. Our approach is trans-disciplinary, progressive and experimental and impacts in a local, national and global context. This case study refers to the group of researchers at Leeds Metropolitan University whose work is practice-based, practice-led and often collaborative. This type of innovative and progressive research has characterised the subject at the University since the establishment of Leeds Polytechnic in 1970.
William Wordsworth's poetry is of lasting value to our cultural and national identity and to perceptions of the Lake District. The desire to communicate core Wordsworthian principles shapes and informs the research undertaken by the Wordsworth Centre, Lancaster University, which seeks to vitally reconnect poetry and the region in the twenty-first century. Such research has produced an increased engagement with Wordsworth's poetry and transformed the understanding of his work and its continuing relevance for a range of beneficiaries.
Two research projects undertaken through collaboration with the Wordsworth Trust, Grasmere have realised considerable impact in the assessment period through three main channels:
1) a pioneering website, designed for diverse users, containing the first digital versions of selected Wordsworth manuscripts, which has received over 580,000 hits;
2) contributions to the visitor experience at Dove Cottage, Grasmere;
3) 40 `Wordsworth Walks' around Grasmere and its environs involving over 950 participants from a range of different groupings (business, public sector, general public).
This unique theatrical and film project is based on the use of volunteers to produce work inspired by a combination of their own experiences of class and Friedrich Engels' book The Condition of the Working Class in England. It created significant impact for those taking part, offering beneficial new experiences of creative collaboration and association, authoring their own stories and developing fresh understandings of the wider context of their own individual experiences — a process unprecedented in mainstream media that constitutes a significant contribution to the documentary genre. This impact was, in turn, transmitted to wider civil society through live performance. Insights generated through the documentation and contextualisation of the process of theatrical production as a documentary film were then brought to a still broader range of audiences, including policy- makers at national level and into a larger arena of public discussion that challenged the widespread assumption that `class' is no longer relevant to contemporary society.
Bournemouth University (BU) research by White (BU 2003 to present) focuses on the relationship between art, technology and culture. Exhibitions, workshops and presentations across the UK, Europe and in the USA have provoked societal reflection on critical topics such as genetics and germ warfare, among other controversial ethical issues. The work examines how sites, technologies and events shape our ideas of culture, political and personal life, whilst exposing audiences to ordinarily inaccessible information. Beneficiaries include the arts organisation with whom White has collaborated, and their participants, but more widely, those benefiting from his contribution to socially engaged art. The work has also furthered art-science discourse, providing impetus and critical breadth to the development of art and science as a cultural sector in the UK.
Andrea Phillips has worked with numerous institutions in the public realm to address questions about the commissioning of public art. This commenced with an AHRC-funded research project, Curating Architecture (2007-08), and in 2009 upon the invitation of a Dutch public art foundation [SKOR] she co-founded a research project called Actors, Agents and Attendants (AAA). This comprised public dialogues, expert meetings, and publications that brought together the expertise of commissioners, politicians, curators and directors to investigate the role of art in the shaping of public, social life. The project coincided with major changes to the Dutch arts funding system, and its activities and outcomes were widely disseminated and influential in this context. Thus for example SKOR has changed its shape since 2012, its new approach having been significantly influenced by the outcomes of Phillips' collaborative research. Her expertise in this area also led to her co-curating the public programme of the 2013 Istanbul Biennal on the highly topical issue of citizen's rights to, and use of, the public sphere. The Biennial was attended by over 350,000 people including local and national politicians, commissioners, philanthropists, collectors, artists and curators, many of whom took part in the public events.
This case study focuses on the impact of Professor Adrian Heathfield's research. Heathfield curated numerous multi-form research exchanges with his Performance Matters Co-Directors over a four-year period, expanding non-academic beneficiaries of performance research, influencing prevailing professional discourses as well as creative and curatorial practices across the arts sector. Workshops, collaborative dialogues, symposia, talks, films, screenings and performances were conceived, realised and hosted by major cultural sector partners, involving an international array of leading academics, artists, activists and curators. Direct impacts for the non-academic partner-organisation — Live Art Development Agency (LADA) — were the expansion of its educational, archival and media activities, and user community. Specific professional development effects were delivered for a culturally diverse group of participating established and early-career artists.
The AHRC-funded British Grotowski Project has enhanced international theatre practice and the teaching of theatre in schools, as well as broadening cultural understanding in the UK.
The project enabled the development of new theoretical and embodied understanding of Jerzy Grotowski's oeuvre within and beyond the theatre profession, enhancing theatre skills in actor training and directing amongst professional practitioners, schoolteachers and pupils. Many project events took place under the auspices of the Polish government's Polska! Year in the UK and UNESCO's Year of Grotowski, both 2009, which broadened the global impact.
This case study draws together a number of research projects led by members of the UoA whose work has had shared thematic goals. Collectively, this research has impacted upon the UK theatre industry's understanding of its international influence. This has served to promote and champion a vibrant culture of international new playwriting in the UK, and also to disperse positive practices internationally to encourage equally vibrant playwriting cultures in communities abroad. The research has had effects on the cultural capital of key institutions that support international playwriting and its growth; and formative impact on the praxis of translation and adaptation in the theatre industry.
The principal beneficiaries of the impact are key industry institutions and organisations who have a stake in the development of new playwriting, its funding and its outreach (the Royal National Theatre, the Royal Court Theatre, the Young Vic, the Old Vic, ACE, the British Council, etc.).
Direct impact is in the transfer of knowledge to industry and NGO stakeholders. Secondary impact is in the implementation of policy and procedure by those organisations (establishing initiatives; moving into new territories). Indirect and long-term impact will be felt by arts practitioners, audiences and theatres internationally. Additional spin-off and associated research enquiries are also likely to use this research as a springboard for further enquiry.
The Colonial Film project produced a major new website housing an online catalogue of all films showing life in British colonies held by three major film archives (the British Film Institute National Archive, the Imperial War Museum, and the British Empire and Commonwealth Museum) from 1895 to the separate moments of independence. The project conserved and made newly accessible — both practically and intellectually — a significant global cultural heritage in the service of memorialising the frequently occluded history of the British Empire. It is now a major national and international resource, and has been utilised by its partner archives and others to improve their own cataloguing and hold new exhibitions.