My Personal Experiences In Bel

This book tells the story of Andrew Pearce MEP (Member of the European Parliament), who represented half a million people living in Merseyside and Cheshire at Strasbourg for ten years. It’s a human story, a down to earth account of what the daily job of an MEP is like. When Andrew applied to be a candidate in the first direct elections to the European Parliament in 1979, he could not have foreseen the places he would visit, the people he would meet and the actions he would be part of. Andrew had no knowledge that he’d be arrested ‘at gunpoint’ on a ferry on the Zambezi, bitten by a monkey in Sierra Leone and spend a night in a former Portuguese Army brothel in Angola. He expected to be debating with some of the big figures in European politics but could not know that they would include Barbara Castle, Ian Paisley, Pierre Pflimlin, Otto von Habsburg, French right wing leader Jean-Marie Le Pen and British European Commissioners including Leon Britain and Roy Jenkins. He could not have imagined the depths to which the British media would sink when reporting on the EU and the damage this would do to the British people’s understanding of its activities. He was similarly unprepared for the absence of effective means of co-operation between MEPs and Conservative colleagues in the House of Commons. My Personal Story – In and Out of Europe is the entertaining, informative and personal recollections on the daily life of one MEP. It is a fascinating read for anyone curious about the EU and Britain’s role within it.

The new edition of Playbuilding as Arts-Based Research details how playbuilding (creating an original performative work with a group) as a methodology has developed in qualitative research over the last 15 years. The second edition substantially updates the award-winning first edition by making connections to current research theories, providing complete scripts with URL links to videos, and including a new section with interviews with colleagues. Chapter 1 provides an in-depth discussion of the epistemological, ontological, axiological, aesthetic, and pedagogic stances that playbuilding takes, applying them to research in general. The value of a playful, trusting atmosphere; choices of style, casting, set, and location in representing the data; and pedagogical theories that guide participatory theatre are highlighted. Chapter 2 discusses how Mirror Theatre generates data, structures dramatic scenes, and conducts live and virtual participatory workshops. Chapter 3 is a thematized account of interviews with 23 colleagues who employ variations of playbuilding that show how playbuilding can be applied in a wide range of contemporary contexts and disciplines. Chapters 4 through 9 describe six projects that address topics of drinking choices and mental health issues on campus, person-centred care, homelessness, the transition to university, and co-op placements. They include both a theme and a style analyses and workshop ideas. Chapter 10, new to this edition, concludes with quantitative and qualitative data from audiences attesting to the efficacy of this approach. This is a fascinating resource for qualitative researchers, applied theatre practitioners, drama teachers, and those interested in social justice, who will appreciate how the book adeptly blends theory and practice, providing exemplars for their own projects.

Approaching Druidry as an emerging religious movement that offers an alternative to the mainstream materialist, consumerist culture of the United States, Kimberly Kirner analyses her own life as a Druid through the lens of her profession as a cultural anthropologist. Interweaving lively stories of her life as a Druid with accessible analytical essays drawing from an unusual array of literature from the anthropology of religion, the anthropology of consciousness, organizational anthropology, cognitive anthropology, and ethnoecology, she leads the reader into an experiential and conceptual understanding of Druidry as a way of life and as a contemporary Western new religious movement that challenges Christo-centric definitions of religion. Reflecting on three domains of the Druidic life, the author describes the Druidic worldview (place, time, and the body), community (relational spirituality), and vocation (ethics and action). These descriptions are punctuated with reflective essays that question the boundaries and nature of religion as it is generally understood in the Western world by examining how Druidry might be understood using concepts more appropriate to Druids' conceptualizations of themselves.

'Groundbreaking . . . a scintillating, intellectual investigation into black women and the very serious business of our hair, as it pertains to race, gender, social codes, tradition, culture, cosmology, maths, politics, philosophy and history' Bernardine Evaristo Straightened. Stigmatized. 'Tamed'. Celebrated. Erased. Managed. Appropriated. Forever misunderstood. Black hair is never 'just hair'. This book is about why black hair matters and how it can be viewed as a blueprint for decolonisation. Over a series of wry, informed essays, Emma Dabiri takes us from pre-colonial Africa, through the Harlem Renaissance, Black Power and on to today's Natural Hair Movement, the Cultural Appropriation Wars and beyond. We look everything from hair capitalists like Madam C.J. Walker in the early 1900s to the rise of Shea Moisture today, from women's solidarity and friendship to 'black people time', forgotten African scholars and the dubious provenance of Kim Kardashian's braids. The scope of black hairstyling ranges from pop culture to cosmology, from prehistoric times to the (afro)futuristic. Uncovering sophisticated indigenous mathematical systems in black hairstyles, alongside styles that served as secret intelligence networks leading enslaved Africans to freedom, Don't Touch My Hair proves that far from being only hair, black hairstyling culture can be understood as an allegory for black oppression and, ultimately, liberation.

In recent decades, dance has become a vehicle for querying assumptions about what it means to be embodied, in turn illuminating intersections among the political, the social, the aesthetical, and the phenomenological. The Oxford Handbook of Dance and Politics edited by internationally lauded scholars Rebekah Kowal, Gerald Siegmund, and the late Randy Martin presents a compendium of newly-commissioned chapters that address the interdisciplinary and global scope of dance theory - its political philosophy, social movements, and approaches to bodily difference such as disability, postcolonial, and critical race and queer studies. In six sections 30 of the most prestigious dance scholars in the US and Europe track the political economy of dance and analyze the political dimensions of choreography, of writing history, and of embodied phenomena in general. Employing years of intimate knowledge of dance and its cultural phenomenology, scholars urge readers to re-think dominant cultural codes, their usages, and the meaning they produce and theorize ways dance may help to re-signify and to re-negotiate established cultural practices and their inherent power relations. This handbook poses ever-present questions about dance politics-which aspects or effects of a dance can be considered political? What possibilities and understandings of politics are disclosed through dance? How does a particular dance articulate or undermine forces of authority? How might dance relate to emancipation or bondage of the body? Where and how can dance articulate social movements, represent or challenge political institutions, or offer insight into habits of labor and leisure? The handbook opens its critical terms in two directions. First, it offers an elaborated understanding of how dance achieves its politics. Second, it illustrates how notions of the political are themselves expanded when viewed from the perspective of dance, thus addressing both the relationship between the politics in dance and the politics of dance. Using the most sophisticated theoretical frameworks and engaging with the problematics that come from philosophy, social science, history, and the humanities, chapters explore the affinities, affiliations, concepts, and critiques that are inherent in the act of dance, and questions about matters political that dance makes legible.