Domestic Violence Perpetrators - Evidence informed responses

Domestic violence is a serious, widespread public, social and health problem that affects the lives of many women, children and men. There is also evidence to suggest it has one of the highest rates of recidivism. This comprehensive book provides an overview of what the research tells us about the perpetrators of domestic violence and what works, and what doesn’t, in promoting positive change.

Collecting together the most up-to-date evidence from the international literature and bringing psychological, sociological, gendered and socio-political theoretical perspectives to bear on the issue, the book explores:
- what domestic violence is, why it happens and how it can be measured
- who the perpetrators of domestic violence are, including discussion of non-stereotypical patterns such as male victims, female perpetrators, couples where the abuse is mutual, and couples with abusive relationships who want the abuse to end but the relationship to be sustained
- strategies for engaging perpetrators in interventions and for promoting behaviour change
- evidence-informed interventions, programmes and policies for working with perpetrators
- where robust evidence is lacking and more research needs to be undertaken.

'Dancing the Downward Slide: Spaces of Affective Adjacency in Rian and Bird with Boy'

This chapter examines how the choreography of affect in two dance theatre works creates a space of affective adjacency—a space in which the building of an alternative structure of feeling and an alternative economy of the body can be experienced. Focusing on the choreographic use of repetition in Junk Ensemble’s Bird With Boy (2011) and Fabulous Beast Dance Theatre’s Rian (2011), it shows how the work required to build an alternative affective space can become visible. Although affect is most often viewed as a preconscious, ephemeral phenomenon (a passage of intensities), that can have little or no lasting impact on socio-political action, theorists such as Megan Watkins have argued for a consideration of the ‘cumulative aspects of affect’. Highlighting Spinoza’s distinction between affectus (the capacity for a body to affect and be affected), and affectio (the impact the affecting body leaves on the affected), Watkins points out that affectio can ‘leave a residue’ allowing for the ‘capacity of affect to be retained, to accumulate, to form dispositions and thus shape subjectivities’. The choreography of repetition in Bird With Boy and Rian presents sites for an examination of this accumulation of affect and its capacity not only to form and shape dispositions, but also, as Lauren Berlant suggests, ‘to move along and make worlds, situations, and environments’.