Developing and Disrupting Intergenerational Performance Practice
- Submitting institution
-
Goldsmiths' College
- Unit of assessment
- 33 - Music, Drama, Dance, Performing Arts, Film and Screen Studies
- Output identifier
- 2862
- Type
- T - Other
- DOI
-
-
- Location
- -
- Brief description of type
- Report, short documentary films, book chapter
- Open access status
- -
- Month
- -
- Year
- 2018
- URL
-
http://research.gold.ac.uk/id/eprint/24682/
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
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T - Theatre and Performance
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This project explores intergenerational connection and conflict in the context of an ageing and progressively fracturing society. Engaging with studies of community (Amit, 2002; Bauman, 2005), group process (Lewin 1964, Pines 1996), gratitude and reciprocity (Buber’s notion of ‘the between’, 1947), and social psychology (Stang 2006), my methodology, rather than reinforcing stereotypes, facilitates border crossings between generations to challenge traditional intergenerational practice and age-exclusive funding criteria (‘the vast majority’ of ACE’s 829 NPOs being committed to work with children and young people). _x000D_
_x000D_
A model of generational bias and age particularity, emerging from Reminiscence Theatre, prevails in a nonetheless growing field of intergenerational performance practices: different roles assigned to older and younger participants (memory giver/performer). My research contributes pioneering content and approach: participants access activities as individuals rather than having to perform their age. This shifting emphasis has led to significant changes in the field, particularly for Magic Me, the UK’s only arts organisation wholly focused on intergenerational arts. As their Associate artist, I train and mentor practitioners (UK, Brazil and South Korea), and design and lead projects investigating relationality, collective storytelling, reciprocity, community-building and challenging the single narrative. Additional projects include with Metal (Peterborough and Southend), Ovalhouse, WOW Festival, Sydenham Garden and Mulberry School for Girls. _x000D_
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This submission comprises: _x000D_
_x000D_
Rooms with a View (2014 - 15)_x000D_
http://research.gold.ac.uk/id/eprint/23918/_x000D_
_x000D_
The Gratitude Enquiry (2016 - ongoing)_x000D_
documented in four short films http://research.gold.ac.uk/id/eprint/29431/_x000D_
_x000D_
Decorum (2017-18) _x000D_
http://research.gold.ac.uk/id/eprint/24912/ _x000D_
https://magicme.co.uk/project/decorum1718/_x000D_
_x000D_
and my published case study: _x000D_
Mayo, S., ‘The Gratitude Enquiry: investigating reciprocity in three community projects’ Applied Theatre Reader (2nd Edition) Methuen, 2020._x000D_
http://research.gold.ac.uk/id/eprint/28959/
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -