Affective Movements, Methods and Pedagogies invites readers to think with affect about performance, pedagogies and their inherent activist, embodied and collective natures. It works across multiple spheres to help readers understand how to deploy affective approaches rather than to simply think with affect theory about traditional methods. The book is structured and curated across three main thematic sections: affective movements, methods and pedagogies, each of which treats the core explorations of affect and performance through a different perspective. It is concerned with the ways performance and theatrical methods work with and through a theoretics of affect. The sixteen chapters include work that models theoretical practices in writing, and demonstrates how theorising affect and its methods is itself a performative practice. The contributors offer rich examples from diverse geopolitical as well as disciplinary contexts, innovative methods, and finally, intersectional theoretics. This collection will be of interest to higher education students exploring methodologies, and academic researchers and teachers in the fields of performance studies, communication, critical studies, sociology and the arts.

Passions are high in education, and this edited volume offers bold new ways to conceive of the affective intensities shaping our present historical moment. Concerns over school practices deemed "ineffective," "disruptive," "irrational," or even "promising" are matters modulated by and through feelings, such as, optimism, shame, enhanced concentration, or empathy. The recent turn to affect offers vibrant methodological and theoretical material for an educational present marked by high stakes rhetoric, heated debate, teacher and student vulnerabilities, and extreme educational measures. Affect studies are a part of new materialist and post-humanist turns, and this volume connects these new theoretical directions within education. This comprehensive volume on affect crosses educational subfields and responds to the transdisciplinary interest in thinking through pedagogy, education, and feeling. This comprehensive reader addresses affect in education from a wide range of styles, topics, and perspectives. This collection offers an introduction to theory, empirical research studies, interviews with affect studies scholars, and an assessment of the current and future significance of affect studies in education. Contributors utilize a range of theoretical and interpretive approaches to thinking with and through schooling phenomena. Interviews with affect scholars in the humanities and social sciences address affective dimensions of teaching. The editors' introduction, different foci, and interdisciplinary genres of writing help readers feel their ways into what affect studies in education does and might do. This field-defining collection will be of interest to a range of readers--from graduate students to established scholars--with varying levels of expertise and familiarity putting affect theories to work in education. All the contributions are accessible to those new to the theory, methods, and debates in this vibrant area of educational studies.

This book offers a practical, methodological guide to conducting arts-based research with children by drawing on five years of the authors’ experience carrying out arts-based research with children in Australia and the UK. Based on the Australian Research Council-funded Interfaith Childhoods project, the authors describe methods of engaging communities and making data with children that foreground children’s experiences and worldviews through making, being with, and viewing art. Framing these methods of doing, seeing, being, and believing through art as modes of understanding children’s strategies for negotiating personal identities and values, this book explores the value of arts-based research as a means of obtaining complex information about children’s life worlds that can be difficult to express verbally.

Organizations in the creative and cultural sector are experiencing transformational change. This book offers a new way of exploring the transformational processes that these organizations are going through, by focusing on their organizational space. By bringing together theoretical and empirical contributions from international scholars belonging to different fields of research, such as management, entrepreneurship, sociology, philosophy and anthropology, this volume seeks to provide readers with a multifaceted, comprehensive understanding of the changes that creative and cultural organizations are facing. By exploring them from an original perspective – the spatial one – this volume provides the foundations for developing a coherent research debate on the spatial dimension of creative and cultural organizations, leading to a new research agenda. This book contributes to our understanding of the ‘space’ of the creative and cultural industries and will be a useful reading for scholars involved in arts and cultural management in particular, as well as the social and human sciences more broadly. This book will inspire and inform researchers and managers who look with curiosity at the changes taking place in the creative and cultural sectors.

In this compelling text, choreographer and psychotherapist Beatrice Allegranti invites the reader into the transdisciplinary Moving Kinship project. Moving Kinship spans a decade of practice-led research with people experiencing early onset dementia; Black feminist activists; psychotherapists; lesbian, gay, bisexual, transgender and queer artists and activists; capoeiristas; and an international team of professional dancers and composers, musicians and scientists. Allegranti’s practice is a more-than-collaboration: it involves accounting for deeply embodied and embedded oppression and privilege in the micro-relating of everyday life. She discusses this reckoning as a kin-aesthetic practice, and the message is foundationally feminist. The book opens possibilities for different registers of feminist justice and puts feminist new materialism, posthumanism and intersectional body politics to work in ways that affirm the paradox that every living thing moves everywhere, all the time, yet every movement is never neutral. As a white Italian-Irish feminist with a transgenerational legacy of the corrosive impact of fascism, she also weaves her own kinship story into dominating systems of patriarchy, colonialism and capitalism, intersecting in ways that are alive and well today. Moving Kinship offers a rich resource for feminist activists and scholars, trauma-informed therapists, somatic, movement and dance practitioners, artists and those interested in ethical and politically just ways to materially engage with grief, loss, dispossession and trauma.

This book takes up the challenge that process philosophy and process ontology pose to conventional, entity-based empirical research, even daring to question the relevance of 'methodology' in contemporary process organization studies. A process ontology demands reimagining and ongoing reinvention of how researchers inquire into and engage with the movements and moments of a morphing world. This in turn requires us to notice differently in our empirical engagements. Contributors to this book share a commitment to research that is more-than-representational in its concern to notice and act-with the latencies and diversities of living experience. Drawing inspiration from process philosophies, posthuman subjectivities, post qualitative inquiry, art, poetics, cinematics, and aesthetics, the chapters actively manifest the doing, reading, and writing of process research by attuning to occasions, moments, atmospheres, affects, agencements, with-ness, difference, and multiplicity. In bringing these ideas alive, the authors engage with their own empirical unfoldings by means of communing, corresponding, caring, performative writing, depersonalization, subject proliferation, mindfulness, relating, slow seeing, rhythmanalysis, listening, chromatic empiricism, and diffraction. Each chapter offers a unique worlding constituted in the particular elements it brings together, affording a style of reading that is oriented towards sensing rather than knowing or mastery. The chapters can be read in any order, alone or with and through each other. Collectively they evoke a mycelial web of resonance travelling across, between, and beyond the contents of this book.