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This is a book that challenges contemporary images of ‘place’. Too often we are told about ‘deprived neighbourhoods’ but rarely do the people who live in those communities get to shape the agenda and describe, from their perspective, what is important to them. In this unique book the process of re-imagining comes to the fore in a fresh and contemporary look at one UK town, Rotherham.
Using history, artistic practice, writing, poetry, autobiography and collaborative ethnography, this book literally and figuratively re-imagines a place. It is a manifesto for alternative visions of community, located in histories and cultural reference points that often remain unheard within the mainstream media. As such, the book presents a ‘how to’ for researchers interested in community collaborative research and accessing alternative ways of knowing and voices in marginalised communities.
This chapter is a collaborative piece about doing collaborative ethnography. It primarily draws on the authors’ ethnography over many years in establishing and developing the field of collaborative ethnography through their published work. The chapter introduces collaborative ethnography as a methodology, but also describes the encounter that led to writing this book. In the Rotherham project, collaborative ethnography became a way of closing the distance between those who write about people and those who are written about. It made explicit the discussions and debates that happen when we learn together, but it also went further. As such, this chapter is a multi-voiced piece of writing, which begins with a discussion about the nature of research itself, and then moves on to describe the research encounter.
This chapter articulates an approach to knowing through art, in that we recognise the need for artists as individuals to intervene and change the world. It also argues that the process of making involves a process of change, and art includes a huge diversity of practice and a commitment to knowing together and making together. Art as knowing can be developed through conversations, walks, in moments of interaction that create spaces for more things to happen. Art is a process, and here we think about how things emerge — stuff comes from stuff: trying, helping, working, making, talking — new ideas come from doing.
This chapter draws on a conversation held in Rotherham central library café between the artist Zahir Rafiq, Kate Pahl, and Steve Pool. All of the quotations from Zahir in this chapter come from the transcript of this conversation. The chapter explores with Zahir Rafiq his lived experience of Rotherham, and how he has used art to create a space for conversations and for the articulation of experience. In doing so, this chapter asks the question, ‘What can art do?’ and in this process, it argues for the arts as a mode of enquiry as well as an articulation of experience.
This chapter turns to ‘the Rotherham project’, in which participants aged between 12 and 16 were involved in youth projects at Rotherham United Community Sports Trust. The project aimed to use photography as a means of exploring identity and to investigate themes related to the ethics of representation, informed by the participants’ first-hand experience of living in Rotherham. The young men explored the town on foot and by minibus, visiting the town centre, the surrounding countryside, and places of special interest, such as a local castle. During the photography sessions, the young men highlighted the things they liked about Rotherham, the challenges they found concerning, and their hopes for the future.
This chapter describes a project in which residents shared their visions for making themselves at home in Park Hill flats. The research team conducted a series of ‘events’ with residents, all aimed at exchanging views about the ways in which it was possible to live within the space. Architecturally, Park Hill offers a very different view of how architecture could be, and the socialist vision of the modernist Park Hill Estate in Sheffield was very much of its time. Now subject to urban re-development, we consider, with residents, the potential of Park Hill for a different kind of urban living, that embraces design as a mode of being.
In this chapter, we introduce some of the reasons that drove us to compose this book in the first place. The book is written to challenge a singular view of the university and to move towards more collaborative modes of enquiry.
Here, we introduce the reader to some of the key concepts in this book: (1) unplanning, (2) work, (3) story, (4) embodiment, (5) polyphony, (6) worthiness, (7) audiencing and (8) dis/enchantment. These concepts enable a set of insights to be built up about collaborative interdisciplinary research and constitute a poetics arising from that work.
This piece is an encounter with a school which went wrong, but something was retrieved. It shows how it is important to factor potential failure into collaborative research. It is also about what happens when a team of artists go into a school and work together.
This book invites the reader to think about collaborative research differently. Using the concepts of ‘letting go’ (the recognition that research is always in a state of becoming) and ‘poetics’ (using an approach that might interrupt and remake the conventions of research), it envisions collaborative research as a space where relationships are forged with the use of arts-based and multimodal ways of seeing, inquiring, and representing ideas.
The book’s chapters are interwoven with ‘Interludes’ which provide alternative forms to think with and another vantage point from which to regard phenomena, pose a question, and seek insights or openings for further inquiry, rather than answers. Altogether, the book celebrates collaboration in complex, exploratory, literary and artistic ways within university and community research.
