Conjunctions. Transdisciplinary Journal of Cultural Participation Aarhus University en-US Conjunctions. Transdisciplinary Journal of Cultural Participation 2246-3755 <p><em>Conjunctions - Transdisciplinary Journal of Cultural Participation </em>adhere to creative commons. You are free to share, copy, distribute and transmit the work for non-commercial use. However, you must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Furthermore, you must not alter, transform, or build upon this work.</p> <p>Waiver: Any of the above conditions can be waived if you get permission from the author.</p> Introduction: Community and Creative Research. Developing Participatory Methodologies In September 2016, we organized a roundtable entitled “Community engaged cultural research: an emerging agenda of practice” at the 9th Midterm Conference of the <em>ESA Research Network Sociology of the Arts </em>in Porto, Portugal. The authors sharing their research during that session challenged us to go further and publish our experiences with society-friendly research in a variety of cultural contexts, practices, backgrounds and beliefs. By choosing the theme of “community and creative research”, this thematic issue of <em>Conjunctions</em> has gathered experiences from around the world (Australia, Brazil, Denmark, Finland, Portugal, Switzerland, Argentina and Cyprus) on different approaches to democratic practice using the lens of cultural participation. It feeds on the intersection of action research work performed by academics, activists, artist, theorists and citizens, who study and work within different sectors of our societies through participatory methodologies. Lorena Sancho Querol Cláudia Pato Carvalho ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 6 10.7146/tjcp.v5i1.105285 Participatory Contact Zones and Conflict Transformation: The Participatory Intensities of the Cyprus Friendship Program <p>Despite the celebratory approach towards community participation in peace-building, less attention has been placed on the participatory process itself, leaving ambiguous how, and to what degree, power is actually redistributed in these processes. This article aims to address this gap by further developing Torre’s concept of the participatory contact zone. This notion first structures a mapping of Cypriot bi-communal education-related projects (2010-2015) and then supports an in-depth analysis of one project, the Cyprus Friendship Program (CFP). This case study uses Carpentier’s four-level, twelve-step model for participatory analysis to scrutinize the participatory intensity of the CFP’s organizational processes, focusing on the power position of the involved youngsters. It shows that teenagers participate in the CFP at varying degrees: While their power position on a more structural level is limited, there are three areas where these youngsters become more empowered: Co-organization (at lower levels), the teamwork during activities and the development of new initiatives.</p> Derya Yüksek Nico Carpentier ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 21 10.7146/tjcp.v5i1.105286 Working with circus artists: Reflections on a process of collaborative research, participation and commitment <p>The purpose of this article is to share some reflections on the long research experience I have developed with circus artists in the City of Buenos Aires, Argentina. These reflections revolve around the question of the contributions of social sciences, particularly anthropology, through research practices conducted in collaboration <em>with</em> artists. I am interested in rethinking the role of the researcher by understanding science from a conception in which commitment, collaboration, and participatory knowledge-building can potentiate research practices and, at the same time, create dilemmas and challenges. What are the theoretical-methodological implications of the roles we can play throughout a long research process? What are the tools we can use when conducting research on the fields we also participate in, socially and politically? How can we reconcile the time it takes to conduct academic work with the short amount of time it takes for events to unfold in real-time?</p> Julieta Infantino ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 18 10.7146/tjcp.v5i1.105287 Analyzing participatory cultural practices in a medium-scale Swiss town: How multiple belongings are constructed and consolidated through an interactive filmmaking process <p class="BodyA">This paper deals with a participatory filmmaking project involving young residents of a neighborhood in a Swiss town, local sociocultural and political institutions, representatives of the local police, and an independent filmmaker. Seeking to query what participation means in such a setting, we propose an analytical framework that considers three scales of participation: The participatory node, the participative collaboration, and participation as an argument in the top-down setting of a municipal policy. As researchers, we actively participated in the analysis of the entire raw unedited film material that documents the whole production process. Focusing on the interactions between the filmmaker and the youths, the paper explores how multiple belongings are mobilized in order to negotiate the frontier between participation and authority, namely through joking relationships. We differentiate this form of authority from the symbolic violence exerted by institutional representatives in order to highlight the conditions by which active citizenship is made possible.</p> Monika Salzbrunn Barbara Dellwo Sylvain Besençon ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 18 10.7146/tjcp.v5i1.105288 Engagement beyond critique? Anthropological perspectives on participation and community <p>In response to the ideals of cultural critique, complexity and moral relativism promoted in postmodern anthropology, different attempts have been made in recent decades to make anthropology more ‘engaged’ in the promotion of social change. In this article, we focus on three central contemporary positions on anthropological engagement: policy-oriented activist research, feminist-inspired collaborative research, and what we have chosen to call research for alterity and alternatives. Each of these approaches highlights certain ideas of participation and thereby conjure up particular kinds of communities to work with and through. We discuss the value and limitations of the three positions on engagement and argue that, in all its diversity, anthropological participatory research can play an important role in co-creating platforms for resistance and protest against various forms of domination and oppression while simultaneously contributing to preparing the ground for alternative imaginations, desires and ways of living.</p> Gritt B. Nielsen Nanna Jordt Jørgensen ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 13 10.7146/tjcp.v5i1.105289 Touchy Art: A phenomenological approach to artistic practice in stigmatised neighbourhoods <p>This paper outlines an artistic method combining a socially engaged and site-responsive arts practice with sociological discursive reflection that aimed to challenge the stigmatising stereotypes associated with many low-income neighbourhoods in Australia. We characterise our approach as ‘touchy’ to draw attention to issues that informed our approach: the sensitivity of the topic of stigma for residents; the need for a phenomenological method that sensitised participants to see/perceive beyond stereotypes; and aims of creating experiential and tactile artworks that could engage local and wider audiences in the issues. The paper discusses our rationale for the method and explicates components of the approach – excursions, workshop activities and exhibitions – and draws on artefacts, artworks and interview material to visualise and give voice to participants’ experiences of the project. Artistic and social outcomes were suggestive of the potential of this approach to develop alternative, experiential portrayals that might challenge the persistently negative stereotyping of low-income neighbourhoods.</p> Gretel Taylor Deborah Warr ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 16 10.7146/tjcp.v5i1.105290 Community Engaged Research in an UNESCO World Heritage Site <p>With this paper, we wish to share the experience of an arts-based action research intervention in the Sofia Street<em>,</em> in Coimbra (Portugal), a city street that was inscribed as an UNESCO World Heritage Site in 2013. This intervention is part of the bigger action-research project named Arteria<em> </em>(2018-2020), where we wish to explore the possible connections between the artistic practice and the field of social science. In this paper, we describe how the field research, which took place in this street (the preparation of community workshops and their implementation), offers a process of methodological exploration on how social science methodologies may be articulated with the processes of artistic creation. We show how this can be done by developing innovative approaches to cultural participation through the process of immaterial co-creation of knowledge. At the same time, we share reflections on how the artistic intervention may have an impact on the social and cultural transformation of Sofia Street.</p> Cláudia Pato Carvalho ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 13 10.7146/tjcp.v5i1.105291 ArtsEqual 2015–2021: The challenges of a Large-Scale Research Initiative in Finland <p>The article presents the ArtsEqual initiative, which is funded by the strategic research council of the Academy of Finland. The six-year project, funded from a sub-programme aiming to increase equality in society, is constructed on the visionary question: What if the arts were understood to be an essential part of public services? The project sets out to identify mechanisms and remove barriers that hinder equality from being established both within the arts and through them in society at large. The project is multidisciplinary and draws largely upon participatory, practice-led methodologies. It is carried out in six research teams and in two phases, the first of which consisted of numerous arts interventions combined with research. The conclusive phase that links the findings and experiences from the case studies together via qualitative system analysis started in the beginning of 2018. The authors are leaders of two of the research teams, and here they present the entire research initiative as well as exemplary sub-studies from their own teams. They discuss the research project and the preliminary findings in view of the changing role of the artist in society, a shared problematic between their teams. They also reflect on the advantages and challenges that programmatic funding may bring to artistic practices and research.</p> Sari Karttunen Pia Houni ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 11 10.7146/tjcp.v5i1.105292 Under the flyover: Homeless people, power of choice and the practice of autonomy through an exchange fair As it is considered a flow zone, nobody pays attention to flyovers in the cities nor to their regular inhabitants, homeless people. Regardless of their social invisibility, homeless people do not solely adopt strategies to fight against marginalisation but also attempt to achieve certain economic autonomy. This paper focuses on a local economic experience, where homeless people, under a large Brazilian flyover, get together to actively participate in an exchange fair where a social currency is used. I argue that we must draw attention to the emergence of different and complex forms of collaborative work and collective consumption, since they may rescue citizenship, promote a certain kind of economic autonomy, and constitute a powerful tool against social invisibility. I also discuss the different consumption perspective that has been consolidated through this initiative, by bringing forward other forms of consumption not based on social distinction. Luciane Lucas dos Santos ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 22 10.7146/tjcp.v5i1.105293 "Cultural participation as the essence of life" - an interview with Milena Šešić <p>Milena Dragićević Šešić<strong> </strong>is former President of the University of Arts in Belgrade and the Head of UNESCO Chair in Interculturalism, Art Management and Mediation. She lectures at various European universities in the areas of cultural policy and cultural management, cultural studies and media studies. Milena has been President of the Board of the European Diploma in Cultural Project Management and, in recent years, President of the Cultural Policy Research Award at the European Cultural Foundation.</p><p>Born in Croatia in 1954, Milena is a prominent researcher in the fields of cultural studies and cultural policies. She has devoted her attention to both academic and research work as well as to social activism in Europe, the Arab States, Central Asia and the Caucasus region, where she has been strongly involved in civil society and anti-war groups, particularly in the former Yugoslavia.</p><p>Milena also serves as a consultant on strategy building and organization reform to cultural institutions and third-sector organizations and has published a vast diversity of essays and books, among them: “Culture: management, animation, marketing”, “Neofolk culture”, “Art and alternative”, “Horizons of reading”, “Art management in turbulent times” and “Intercultural mediation in the Balkans”.</p><p>These are only some of the reasons why we decided to invite her to speak with us about cultural participation. Milena provides us with an alternative and complementary approach to the theme of this present issue – an approach that derives from Eastern Europe, Eastern theory and action research. In this interview, she shares with us a challenging way of understanding and practicing cultural participation in political contexts and societies that also matters to a Europe in construction – or, shall we say, to a never finished European project?</p><p>Her contribution helps us reflect on the urgency of building more democratic, open minded and inclusive societies. Her experience instructs us on other possibilities of giving life to cultural participation, or to actively participate in cultural life. Possibilities that come from another Europe.</p> Lorena Sancho Querol Cláudia Pato Carvalho ##submission.copyrightStatement## 2018-05-24 2018-05-24 5 1 1 7 10.7146/tjcp.v5i1.105294