Teenagers Telling Sectarian Stories

The purpose of this article is to examine the socially constructed nature of the story telling process by drawing on an example from one locality in Northern Ireland. The research draws on focus group interviews with teenagers from polarized working-class communities in North Belfast. The overall locality is divided into Catholic and Protestant areas and a recurring feature of the data is the tendency for each group to define themselves in opposition to the other. Throughout the focus group interviews, the teenagers produced four types of stories and the article assesses the relevance of each type to producing, reproducing or challenging sectarian divisions. The first three groups of stories, First-hand stories, Second-hand stories and Collective stories reflect individual and group attitudes to distinctions between ‘us’ and ‘them’ while the fourth, Alternative stories, questions the homogeneity of the in-group and the immutability of these divisions. These stories verbalize the internal recollections of both individuals and groups and rely on real and imagined memories. The thrust of the article illustrates the ways in which sectarian identities are constructed, shaped and diluted through these narrative encounters.

Echoes from the Past: Intergenerational Memories in Cyprus

The purpose of this article is to describe young people's awareness of their parents’ and grandparents’ stories of the events of 1974 in Cyprus and to evaluate the extent to which they perceive teachers as other key figures in their lives endorsing family accounts of history. The article is based on focus group discussions with 20 Turkish Cypriot and 20 Greek Cypriot teenagers from two schools in Cyprus. The article describes how in some cases, young people appropriate these memories as their own, while in other cases, they acknowledge how the passing of time dilutes the significance of past events and allows some young people to envisage a different collective future.

Utilising Creative Methodologies to Elicit the Views of Young Learners with Additional Needs in Literacy

The research described in this article aimed to explore and examine the dominant ‘assessment’ and ‘participation’ stories of upper-primary pupils with long-standing and marked literacy learning needs, their views on how their level of participation in the assessment and remediation of their additional needs might be increased and also how they perceive themselves as literacy learners. This qualitative small-scale study adopted a case study approach and utilised creative methodologies in the context of focus groups to investigate sensitively theviews and experiences of Key Stage 2 pupils with additional needs in literacy. The findings discussed here are based on the outcomes from the four Northern Irish schools that participated in the original cross-border (Northern Ireland/Republic of Ireland) study. Findings are discussed in the context of strategies for promotingholistic and empowering pathways for learners with additional needs in literacy.

Researcher identity: exploring the transformatory power of the research experience.

In consumer research, we frequently focus on the phenomenon of transformation, whether the transformatory effects of a particular consumption community or the great body of work being carried out under the banner of transformative consumer research. However, there is a particular transformation which occurs in the field of interpretivist consumer research that, we would argue, is overlooked—that of researcher transformation. We present as data our reflexive considerations on the ways in which our own research with vulnerable consumers has affected and changed us. We consider short-term transformations in the field, reflecting on the various ways that researcher identity is carefully managed and negotiated to fit with the social–cultural setting. We also consider longer term transformations and discuss the enduring impact of the research process—the people we have met, the homes we have visited, and the stories we have heard. By reflecting on the shaping of identities ‘in the field’, we aim to deepen our appreciation of the interpretive consumer research process and contribute to theoretical understanding of transformative identity research. Copyright © 2012 John Wiley & Sons, Ltd.

Processing the Peace:An Interview with Teya Sepinuck

In this interview, Teya Sepinuck, the Artistic Director of Theatre of Witness reflects not only on her first two projects in Northern Ireland, but also vividly illustrates her way of working by evoking seminal moments in her previous practice. Although, she has resisted attempts to systematise the Theatre of Witness process, preferring to see it as a set of principles rather than a fixed methodology, these principles have given rise to clear guidelines that have come to govern the process through which she works. As the interview illustrates, Sepinuck, a Jewish Buddhist, has no hesitation in explaining her approach within the framework of a humanist ‘spirituality’ that explicitly deploys Judeo-Christian terminology. She invites discussion of each participant's ‘prayer-life’ and positions herself primarily as a listener rather than an interlocutor. The introduction to the interview contextualises Sepinuck's practice in relation to her previous work and other drama-based interventions in Northern Ireland. Concerns that the lack of critical distance between the tellers and their stories inhibits those who see it from freely engaging with it as they might with a fictionalised account, are also critiqued. In the interview, Sepinuck directly addresses the risk of the commodification of her work, explaining the safeguards in place to protect the participants, who have repeatedly asserted how beneficial they have found their involvement in the work to be. The sense of autonomy and empowerment that emerges from these responses represent a persuasive challenge to concerns that they are passive instruments of the Theatre of Witness process.

Cidade Museu

Through the concept of sonic resonance, the project Cidade Museu – Museum City explores five derelict or transitional spaces in the city of Viseu. The activation and capture of these spaces develops an audio- visual memory that reflects architectures, stories and experiences, while creating a sense of place through sounds and images.

The project brings together musicians with a background in contemporary music, electroacoustic music and improvisation and a visual artist focusing on photography and video.

Each member of the collective explores the selected spaces in order to activate them with the help of their respective instruments and through sound projection in an iterative process in which the source of activation gradually gives way to the characteristics of each space, their resonances and acoustic characteristics. The museum city (a nickname for the city of Viseu), in this performance, exposes the contrast between the grandeur and multi-faceted architecture of Viseu’s Cathedral with spaces that spread throughout the city waiting for a new future.

The performance in the Cathedral (Sé) is characterised by a trio ensemble, an eight channel sound system and video projecting audio recordings and images made in each of the five spaces. The audience is invited to explore the relations between the various buildings and their stories while being immersed in their resonances and visual projections.

The performance explores the following spaces in Viseu: the old Orfeão (music hall), an old wine cellar, a mansion home to the national road services, a house with its grounds in Rua Silva Gaio and an old slaughterhouse.