This book is based on a three-year international comparative study on poverty reduction and sustainability strategies . It provides evidence from twenty case studies around the world on the power and potential of community and higher education based scholars and activists working together in the co-creation of transformative knowledge. Opening with a theoretical overview of knowledge, democracy and action, the book is followed by analytical chapters providing lessons learned and capacity building, and on the theory and practice of community university research partnerships. It also includes lessons on models of evaluation, approaches to measuring the impact and an agenda for future research and policy recommendations. The book overviews the concept of engaged scholarship and then moves to focus on community-university research partnerships. It is based on a global empirical study of the role of community-university research partnerships within the context of poverty alleviation, the creation of sustainable societies and, broadly speaking, the Millennium Development Goals. The book frames the contribution of community-university research partnerships within a larger knowledge democracy framework, linking this practice to other spaces of knowledge democracy. These include the open access movement, new acceptance of the methods of community-based and participatory research and the call for cognitive justice or the need for epistemologies of the Global South. It takes a particular look at the variety of structures that have been created in the various universities and civil society research organizations to facilitate and enhance research partnerships.
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
spaces of knowledge democracy, such as the open access movement, the new acceptance of the methods of
community-based and participatory research and the call for what is sometimes
called cognitivejustice or the need for epistemologies of the Global South.
The chapters in this book are of two kinds: conceptual and analytic chapters
which have emerged from the several years of research by our partners around
the world (Part I), and summaries of the case studies themselves (Part II), so
that readers can have a look at the diversity of examples we have drawn on and
justice without global cognitivejustice’ (2014, 42). Santos is
concerned with global power dynamics between North and South and
with the legacies of colonialism; however, such power dynamics and legacies also play out in various ways within local contexts in all parts of the
The practices I discuss in this chapter all happened in the UK but
show how knowledge is dispersed and differentiated across space that is
produced locally and globally along what the geographer Doreen Massey
called the ‘power-geometries of time-space’ (1999, 27). Arts projects discussed in