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Revoicing intangible cultural heritage
Full text linkIntroduction to edited volume
Revoicing Intangible Cultural Heritage draws upon an original, wide-ranging dataset to show that the dynamics and ethics of participation in European national minority cultures’ intangible cultural heritage (ICH) are more nuanced than has previously been articulated.
Arguing for an approach to analysing ICH that reflects societal change in regions that are historically those of national minorities, contributions to the volume focus on three regions across four countries. This allows for comparative exploration of exemplar contexts that span a range of circumstances in which European national minority cultures thrive and strive for voice and recognition. It explores how a wide range of people engage with national minorities’ ICH, and seeks a better understanding of the ethical and practical dimensions of this participation. It proposes a heritage literate ‘revoicing’ of ICH: to create socially positive pathways to resilient ICH, and in turn ensure ICH is an arena where these positive social relations are shaped as part of an evolving ecosystem into the future.
Revoicing Intangible Cultural Heritage takes an interdisciplinary approach ideally placed to interrogate the interplay of different groups with ICH from multiple perspectives. This makes the book essential reading for academics and students working in heritage studies, sociolinguistics, cultural and event studies, sociology, creative practice, and cultural geography
The role of memory in shaping the future of digital learning: a mnemohistorical exploration
Full text linkThis article explores how memory shapes the way we approach digital transformation in education. Drawing on the concept of mnemohistory—the study of how memory influences our present and future—it looks at how past educational experiences and collective nostalgia continue to affect how we accept or resist digital tools in learning. From online platforms to AI-driven systems, education is rapidly evolving, yet the pull of traditional methods like face-to-face classrooms and paper exams still lingers. Building on Tamm’s (2024) work, this piece offers a personal reflection on the tensions between memory and innovation, and invites readers to rethink what learning could look like in a digital age
Assessing Team-Based Capstone Projects: Challenges and Recommendations
Full text linkTeam-based capstone projects are vital in preparing computer science students for real-world challenges by fostering teamwork, communication, and industry-relevant technical skills. However, their assessment presents challenges, such as aligning academic criteria with other stakeholders' expectations, evaluating individual contributions within teams, fairly addressing the diverse skills required, and determining the appropriate level of external partners' involvement in the evaluation process. Moreover, the high stakes of these projects necessitate transparent and equitable assessment methods that all stakeholders perceive as fair. Our working group (WG) aims to address the challenges of assessing capstone projects by examining the perspectives of instructors, students, and other stakeholders to ensure fair and effective evaluation. Building on insights from our previous WG and a comprehensive review of the literature, we will employ a mixed-methods approach to explore the issues faced by various stakeholders in assessing capstone projects and to capture both common challenges experienced (quantitative), and delve into nuanced individual experiences (qualitative). By conducting this research in a multi-national, multi-institutional context, we aim to capture a diverse range of global perspectives while accounting for the variation in capstone courses. Our goal is to provide actionable recommendations that enhance assessment practices, improve learning outcomes, and foster effective team collaboration in team-based capstone courses, ultimately preparing students for real-world challenges
Revenant: Critical and Creative Studies of the Supernatural, Issue 12
Full text linkIn Issue 12 of *Revenant: Creative and Critical Studies of the Supernatural*, Associate Professor Jeff Howard and Dr Simon Poole introduce and edit contributions by fifteen contributors of articles, creative pieces, and reviews. This special issue is themed around the Occult, defined etymologically from the root "occultus," which means "hidden" and evokes objects, entities, and experiences beyond the veil of the mundane world. The articles in this special issue each explore multiple branches of occult thought and practice. These branches include various media (the music of Ghost or Coven, the ludic adaptations of the occult in videogames or tabletop games) and themes (the occult science of astrophysics or robotics, as well as the paranormal, synchronicity-driven documentary Hellier). All these articles and more suggest point the way to hidden knowledge beyond this world
Voicing Journeys Through Grief:
No full textThis article confronts grief, trauma and dysphonia through transformative techniques of expressive arts therapy. It discusses strategies for easing dysphonia and freeing the singing voice whilst exploring lamentation, incantation and spell casting as vocalizations of grief. Concepts of internalizing and externalizing and the role of the imagination are explored. Selections from the author’s project are presented. These document the process of accessing the pain of loss through recording improvised music and vocalizations, writing, drawing and photography. The approach was methodologically loose and experimental. Seeking recovery and a return to functioning in society, mind, body and voice were allowed to move freely in creative practices whilst being present with memory, soul searching and the experience of loss. The ‘journey’ led from personal to collective grief and rage centred on climate breakdown. The research seeks to draw attention to concepts of intermodality, interconnectedness, the role of music in the grieving process,
vocal rehabilitation and the value of expressive arts as tools for transformation. Photographs, drawings, music and voice recordings are included
Rules of engagement at intangible cultural heritage events
Full text linkAs intangible cultural heritage ecosystems become increasingly pluralised it is important to consider the behavioural and social norms, cues, and considerations that govern their interactions in order to maintain good social relations and to ensure desired opportunities for greater participation are not lost. In this chapter, the authors analyse how outsiders navigate their behaviour and the nature of their participation (or not) in the case study events. While having much in common with any intercultural interaction, the illusion of normativity – of shared habitus intersecting with an unfamiliar one – makes the need to navigate at all less clear-cut. For an ‘outsider’ entering a space that is not theirs, there is a balancing act in identifying which behaviours they should adopt and which they should not, to avoid cultural appropriation, getting in the way, or acting inappropriately. While the stakes of each micro-encounter may be low, there are potentially larger implications for good social relations given the impact of negative or positive intergroup contact on social cohesion. Behavioural norms are locally contingent and often non-transferable between even seemingly similar events, and the outsider wishing to navigate appropriately must be aware of their positionality and ready to act accordingly
A CONVERSATION ABOUT RAC[C]OONS
Full text linkRupert Loydell and John Levy live an ocean apart but have mutual friends and have known each other and read each other's work for decades. Thanks to email, they often have brief conversations about their work, politics, culture and their different lives.
The four poems which follow were prompted by a brief discussion – along with some desert snapshots of Levy's – about wild animals. It prompted Loydell's 'Bandit Country', remembering seeing racoons search through the bins at an American summer camp in 1980 where he taught sailing and art for a season. Although the racoons and camp setting are real, the frequency of the bin raids and the narrator's attitude to his young charges and camp activities are not.
'Bandit Country' prompted Levy to recall and write about his own summer camp experience as a boy, this one a stricter regime with uniforms, punishments and no time to be alone. It directly references Loydell's first poem and also makes a humourous connection to the way poetry can be constructed by 'pawing // through the garbage and making noise'.
Meanwhile, Loydell was doing exactly that, throwing his original poem into an online cut-up machine with phrases found by searching for bandits online. The edited and shaped poem allowed for wider, sometimes surprising, connections, from the 'wild west' to 'racoon accountability' and the animals' education and relationship with humans.
In response to this third poem, which Levy suggested seemed like a missive from another planet, along with a prompt from Carrie Etter's poem 'The Unicorn', published in Loydell's Stride magazine*, Levy riffed on unlikely connections he had made:
No one con-
fuses
a raccoon
with a uni-
corn.
Or trains a
rac-
coon to ride
a
bicycle for
a living
The act of both presenting and denying these ideas holds contradictions in balance, as does the – again negated – second part of the poem which moves from the idea of a God who made the racoons but is not spoken about, to those raccoons who, 'one by one', enter raccoon Heaven.
This poetic exchange was neither premeditated or planned, but does evidence chains of thought (which some might call inspiration) and how the writer sidesteps and dodges the obvious to change the subject, make connections or try to make it new.
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Just as this introduction and the original four poems were finalised, a fifth raccoon poem arrived, from author Mike Ferguson. It is appended here
Making the Invisible, Visible: Traumatic Flashbacks and the Haunting of Paul Nash
Full text linkAbstract: This paper explores visual strategies employed by artist Dave McKean throughout his graphic novel ’Black Dog: The Dreams of Paul Nash’ in which he depicted visual representations of war trauma as experienced by official world war one artist Paul Nash. Discussion of the nature of trauma and difficulties that the traumatised have in articulating their experiences are considered and strategies used by film makers to communicate the concept of ‘the flashback ‘are explored within the narrative sequences of Mc Kean’s astonishing visual response to his extensive research of Nash’s personal experiences of war. Questions are also asked about the ethics of visually representing trauma whilst avoiding sensationalising the theme