Evaluation of a Brief Intervention to Assist Health Visitors and Community Practitioners to Engage with Fathers as Part of the Healthy Child Initiative

Aims: To improve engagement of Health Visitors and Community Practitioners delivering the Healthy Child Programme with fathers. To evaluate a one-day, father-focused workshop with a supporting handbook for Practitioners. To identify institutional and organisational barriers to engagement with fathers. Background: The UK government policy encourages health professionals to engage with fathers. This derives from robust evidence that fathers’ early involvement with their children impacts positively on emotional, behavioural and educational development. Yet, there is little evidence that the importance of engaging fathers is reflected in Health Visitor training or that primary-care services are wholly embracing father-inclusive practice. The Fatherhood Institute (FI), a UK charity, has developed a workshop for Practitioners delivering the Healthy Child Programme. Method: A ‘before and after’ evaluation study, comprising a survey followed by telephone interviews, evaluated the impact of the FI workshop on Health Visitors’ and Community Practitioners’ knowledge, attitudes and behaviour in practice. A total of 134 Health Visitors and Community Practitioners from eight NHS Trusts in England attended the workshop from November 2011 to January 2014 at 12 sites. A specially constructed survey, incorporating a validated questionnaire, was administered before the workshop, immediately afterwards and three months later. Telephone interviews further explored participants’ responses. Findings: Analysis of the questionnaire data showed that the workshop and handbook improved participants’ knowledge, attitudes and behaviour in practice. This was sustained over a three-month period. In telephone interviews, most participants said that the workshop had raised their awareness of engaging fathers and offered them helpful strategies. However, they also spoke of barriers to engagement with fathers. NHS Trusts need to review the training and education of Health Visitors and Community Practitioners and take a more strategic approach towards father-inclusive practice and extend services to meet the needs of fathers.

Tropes and Trench Cakes: The Home Front in the Media and Community History

The recent WW1 'fest' has provided a multitude of different engagements with the history of this conflict by media and community groups. The relationship between these histories and academic history is not unproblematic. It provides space for a greater emphasis on the home front but there are questions to be asked about the politics and the accuracy of such history. It is up to academics to find ways of working with popular histories which ensure that troublesome knowledge of the conflict continues to be explored.

Pyramus and Thisbe 4 You or a "Wondrous Strange" Tale of Contemporary Romanian Theatre

Like its title, Pyramus and Thisbe 4 You, Alexandru Dabija’s production at the Odeon Theatre, Bucharest, was a tongue-in-cheek invitation to the audience that at once aimed to tease past and recent Romanian endeavours and to tease out the stage potential a Shakespeare play holds today. My examination of the production re-constructs the local cultural contexts the production plays with and against, referring to the Romanian ways of making Shakespeare this production enters into dialogue with. Take 1, an all-female version casting the mature stars of the Odeon, I read against both Elizabethan all-male stage practice and Andrei Serban’s all-female Lear at the Bulandra (2008). Take 2, “an old device” (V.1.50): a teacher-student “devising” session at the Academy of Theatre and Cinema, I read against critics’ “more strange than true” (V.1.2) parlance on “theories of perception and reception” and against hi-tech Shakespeare dominating the Romanian stages in the first decade of the third millennium. Take 3, local political banter on ethnic discrimination, I read as “satire keen and critical” (V.1.54) on both communist censorship and the recent rise of nationalism in Romania. Take 4, a “cold” reading-cum-improvisation performed by the technical crew – this production’s mechanicals – I read as “palpable-gross play” (V.1.376) on both acting and spectating practices. What I argue in this article is that Dabija’s production goes beyond its local context and mores, and proposes a re-assessment of Shakespeare’s cultural currency in (European) Romania and Europe at large by exposing current tyrannies in Shakespeare studies: from translation and adaptation, through directing and acting, to viewing and reviewing.