Suddenly, about 11 pm last night, the electricity went out in my flat. Boom! Everything shut down. This has never happened before. I remembered that I have a flash light (torch) somewhere, but also that I meant to get batteries for it.
I have one candle. It's sort of a votive candle and scented. I fired it up and sat at my computer which, in good times and bad, makes me feel secure. (I could have used the Macbook, but I forgot that it works on batteries--I always plug it in. I wondered if Wifi works during an electrical outage? I guessed not.)
I looked out on the street and it was quiet. There seemed to be some lights, but most of the properties were dark. Suddenly, a car pulled up and a young man got out and went to the side door at the MOT shop across the road. The top floor is supposedly a men's club of some sort, but he seemed to have a key. He entered quickly and went up the stairs where the lights then went on. Before last night, I hadn't known that someone lived there.
I wasn't sure if the blackout was just in my flat or not. I spooked around the stairwell where the hall lights were still working. One flat had light under the door. I went down to the garage and looked at the row of electric meters. Two were dark, the others not moving. I came back upstairs and sat at the computer with my candle. The smell was beginning to sicken me.
Finally, I called the electric company and was relieved to hear that there were several reports of outages in this area. She said it would be fixed in a few hours. I said, 'Good, because the meters aren't turning and you're not making any money'. She laughed. I went to bed then, feeling better that it wasn't just me and that someone got my little joke.
I woke about an hour later when everything in the flat lit up again.
Boom! Blackout over.
Kip Jones
KIP JONES, an American by birth, has been studying and working in the UK for more than 20 years.
Under the umbrella term of 'arts-led research', his main efforts have involved developing tools
from the arts and humanities for use by social scientists in research and its impact on a wider
public or a Perfomative Social Science.
Jones was Reader in Performative Social Science and Qualitative Research at
Under the umbrella term of 'arts-led research', his main efforts have involved developing tools
from the arts and humanities for use by social scientists in research and its impact on a wider
public or a Perfomative Social Science.
Jones was Reader in Performative Social Science and Qualitative Research at
Bournemouth University for 15 years.
He is now a Visiting Scholar and and an independent author and scholar.
Jones acted as Author and Executive Producer of
the award-winning short film, RUFUS STONE, funded by Research Councils UK.
Kip has produced films and written many articles for academic journals and authored chapters
for books on topics such as masculinity, ageing and rurality, and older LGBT citizens.
Jones' most recent work involves working with Generation Z youth to tell their stories using
social media.
His ground-breaking use of qualitative methods, including Auto-fiction, biography
and auto-ethnography, and the use of tools from the arts in social science research
and dissemination are well-known.
Jones acted as Author and Executive Producer of
the award-winning short film, RUFUS STONE, funded by Research Councils UK.
The film is now available for free viewing on the Internet
and has been viewed by more than 14,000 people in 150 countries.
Areas of expertise
• Close relationships, culture and ethnicity
• Social psychology, sociology
• Ageing, self and identity
• Interpersonal processes, personality,
individual differences,
social networks, prejudice and stereotyping
• Sexuality and sexual orientation
• Creativity and the use of the
arts in Social Science
Media experience
His work has been reported widely
in the media, including:
BBC Radio 4,BBC TV news,Times
Higher Education, Sunday New
York Times, International
Herald-Tribune and The Independent.
Areas of expertise
• Close relationships, culture and ethnicity
• Social psychology, sociology
• Ageing, self and identity
• Interpersonal processes, personality,
individual differences,
social networks, prejudice and stereotyping
• Sexuality and sexual orientation
• Creativity and the use of the
arts in Social Science
Media experience
His work has been reported widely
in the media, including:
BBC Radio 4,BBC TV news,Times
Higher Education, Sunday New
York Times, International
Herald-Tribune and The Independent.
Thursday, 25 July 2013
Sunday, 9 June 2013
"How breakthroughs come: tenacity and perseverance"
The following is a repost of a blog written a while back that describes the process of creating, then publishing,'On a Train from Morgantown: a film script' in Psychological Studies, an academic journal.More than ten years ago now, when I was living in a bedsit in Leicester and had just finished my PhD, I decided to write a conference presentation about Ken Gergen and Klaus Riegel. Both scholars played important roles in the development of my thinking for my PhD thesis (Narratives of Identity & the Informal Care Role). During this time I came across a volume (Life-span Developmental Psychology Dialectical Perspectives on Experimental Research, edited by Nancy Datan & Hayne W. Reese, published by Academic Press 1977) that was a result of the Fifth West Virginia University Life-Span Developmental Psychology Conference held at Morgantown, West Virginia in 1976. The conference centred on the work of Riegel and the book included a chapter by Gergen.
My imagination got the best of me. What if these two, both influences on my own work, had a conversation following that gathering? As I recently explained, reported in a Times Higher Education article, "Gergen is a giant to our generation, so it was good to look back to a time when he was insecure...I wanted to examine how breakthroughs come, and the price people pay for them". Thus, “On a train from Morgantown” was born.
It seems a short time ago now, but we must not forget that in 2001 digital production was limited, at the personal computer level at least. I found video-cassette recorded footage of trains that would have been in service in West Virginia in 1976 then convinced a techy at my university to help me cut and edit it. I wrote a script (much like a radio play) and found people to record it on cassette tape (one in Germany, the rest in Leicester). I produced overhead projections for some of the visuals and created lots of sound files and edited music (again, on cassette) to fill out the imaginary train journey.
I packed up all these production materials and caught the ferry to Hamburg and then a train to Berlin and a conference at the Free University to present my grand production … to an audience that would include Mary and Ken Gergen. When my allotted time came, I spent it dashing about starting up a TV, co-ordinating a cassette player, an overhead projector, etc.—a bit like the Wizard of Oz behind his curtain. Ken Gergen responded quite emotionally following all of this. The mostly German-speaking audience seemed a bit confused by it all.
I recall this as a bit of madness on my part at the time, but also in many ways as the public birth of Performative Social Science, or at least the seeds for its future development. Being a visual person, I wanted to ‘show’ as well as ‘tell’--and this frustration became central to my efforts in developing a Performative Social Science (PSS).
Because publication is (is supposed to be?) the end-all of some academic lives, I began to think about how to possibly publish ‘Morgantown’. Because of my visual inclinations, I thought that a film script with all of its optical instructions might do the trick. So I wrote ‘Morgantown’ up as a screenplay, looking at many scripts in order to get a sense of how to present a visual story as text. A bit of a Pollyanna at publication at that time, I actually submitted the script to a few journals which I naively thought might be adventurous enough to publish it. They were not and it was rejected.
I put ‘Morgantown’ in a drawer somewhere and so it languished for almost a decade. About a year ago, the editor of a special issue on the work of Ken Gergen for Springer’s Psychological Studies contacted me and asked if I would be interested in submitting a paper for the issue. I responded that, yes, I do have something that may be fit for purpose. Go ahead, I told myself: ‘I dare you.’ I submitted the script for 'Morgantown'.

To my great surprise, the submission was accepted with no substantial changes and now is published as a film script (also available here) in the special issue on Ken Gergen in Psychological Studies. In my estimation, this represents a great breakthrough for Performative Social Science, or the use of tools from the arts in dissemination of social science research. It gives others a reference in support of their own work in moving academic publishers to being more open, even inviting, to alternative presentation formats.
‘Morgantown’ and its eventual acceptance holds a special place for me. In so many ways it represents ‘working in the dark’ against unknown forces and circumstances, but still being driven by our muses to create and invent. 'Morgantown' represents what I like to call ‘kitchen sink’ work—work produced because creativity compels us to find the means, the ways, the materials and then the outlets. This mirrors the way in which artists frequently work--something that social scientists and policy wags can learn a great deal from. The artist does not wait for someone, somewhere to establish a 'cultural value' for their outputs. They create and damn the consequences! I never want to forget that it is in these personal efforts the potential to make a difference lies.
Some of the responses to the publication of ‘Morgantown’ are repeated below. They convince me that efforts to open up channels previously closed to innovation and experimentation are not unfounded and offer support and encouragement to others:
· Congratulations. This is really amazing. Thank you for your courage. And for the work that you are doing for all of us.
· It’s
just wonderful to see the glimpse of barriers breaking down between
interdisciplinary research and innovative work. Well done!! It is
happening a step at a time and we just need to keep on pushing those
boundaries.
· Breaks the waves for academics like me dreaming of more than the written words to portray researched life
· I
got very inspired, though, when reading about your publication as I
share PSS' engagement and ambition to intensify publications moving in
between arts/social sciences/performance …I say/shout "GREAT!!!" from
Copenhagen! Thank you for sharing!!
· I continue to watch your career with great interest and derive much hope for my own work from your example.
· Fantastique!!! gives me hope
· Think it is really important to share this kind of news as it gives all of us who research in creative ways hope!
· A massive achievement in the current climate!
· This is fantastic … and
I received this just perfect for our course in qualitative research
methodologies where I am teaching narrative and performative approaches.
Will use your article as a brand new example and hope to encourage some
of our students to be more daring!
Monday, 27 May 2013
A Fog/Dog/Shag Story
I was a stranger in the city
Out of town were the people I knew …
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| PHOTO: eelco de wal |
A new world
for both, their relationship lasted nearly three years. In terms of gay
relationships at the time, this should be measured the way a dog’s age is
calculated in human terms: multiply by seven. Both computations are myths, however.
Later, Steven
coupled with Aaron. They bought property, furnishings, organised dinner parties and
attended many concerts and functions over the years. They are still
together at that late stage in life when couples dress, even seem to look, alike.
Jake moved
from relationship to relationship, job to job, and was in and out of rehab
several times. He is also a success—as an artist and as a scholar. He has lived
in three countries and visited many more. He can get by in French, stumbles in
Spanish and speaks Italian by quoting lyrics from operas that he knows. His
life is one of many romantic encounters.
The story of Jake, a simple country boy who went to
the big city to enrol in art studies, begins somewhat earlier, however.
In Jake’s first year at Art
College, he met Bradley. Bradley had graduated from another of the city’s art
schools that year, having just completed a year’s sojourn in Europe on a
fellowship. He was a star of the student art world and the son of the owners of
a very exclusive jewellery store. He was living at the time in a townhouse with
the owner of the city’s trendiest and most
popular gay bar. Bradley
had a studio in the bar’s atelier.
In fact, the first time Jake
ever nervously entered a gay establishment was in the daytime when the bar
was closed to help Bradley remove some paintings from his studio above the
building’s three uninterrupted étages of gaiety.
Bradley was handsome, talented, sophisticated, and
somewhat older than Jake and about to embark on a career move to a New York
City West Side loft. He listened to show music openly and without embarrassment,
which impressed Jake profoundly. Jake was not so sure of his own sexuality, but
certain that Bradley was attractive. Bradley made overtures, but Jake shyly
fended them off, nonetheless continuing to fawn over him at every chance he
got. He was dazed and confused, but certainly smitten.
Jake offered to help Bradley make the move to his
New York loft. They packed up a rental van and left for NYC and a real West
Side loft situated in an old industrial building with worn wooden floors, lots
of windows and little else. The grimness and decay of this particular West Side
neighbourhood was never reflected in West Side Story that was certain.
Bradley had crammed the van with paintings, a
chandelier, bags of clothes, a small refrigerator full of booze (from the bar it
was assumed) and some mattresses. After the unpacking, drinking and merriment, they
(Bradley, Jake, a young woman who always seemed to be hanging around him, and a male
friend of Bradley’s from New York who came by the loft to help) settled down to
sleep on mattresses on the loft floor. Bradley put himself on the mattress next
to the girl because she was feigning fright at her first night in the “big
city”. He put Jake on the mattress with the stranger. Jake knew little of the
subtleties of social manipulation back then but was learning quickly that
night.
Jake spent that long night on the floor attempting to impede this
stranger's unwanted sexual advances. He was very upset with Bradley's exploitation by using him as some sort of thank-you gift for his friend's help. Better if Bradley had chosen Jake for himself . In fact, he probably
was ready to ‘give in’ to Bradley that night, he admitted to himself in retrospect.
With little sleep and cast off in such a cavalier
way, he left New York for home on an early morning train. He never heard from Bradley
again. Returning to his girlfriend, Jake turned his back on the complexities of this
world that he simply did not understand or find very attractive. A relationship
with a woman seemed a simpler solution, except for the ever-increasing
awareness of the painful dishonesty of the situation, of which he was becoming
more and more conscious.
A few months later Jake picked up a newspaper only to see
a photo of Bradley on the front page with the description, “Bradley, an
artist whose mask was a sensation at the Truman Capote ball at the Plaza last
night”. Bradley had “arrived” in New York.
Several years later, Jake found himself easily
falling into Steven’s arms on that dark, foggy night. Much had transpired in the
time in between—a time consisting of confusion, pretense and grasping at some
sense of self in a hetero-normative world whilst coming to terms with a gay one.
What is the purpose of this story? Well, I suppose
it is to say that being gay and stories about being gay are never straight
forward (no pun intended) or simple. Our life stories are played out in an
entrenched heterosexual culture and society, which often produces not only
angst, insecurities and complexes, but also the variety and richness of
alternative lives and lifestyles as solutions for many.
Before meeting Steven, very much confused and in a
fog of his own making, Jake, his girlfriend and his mates made another trip to
New York City. This will be our
story for next time.
Thursday, 25 April 2013
Catch award-winner Rufus Stone at two local Dorset cinemas in June!
As part of Bournemouth University’s Festival of Learning, we are pleased to be screening Rufus Stone the movie, in the community for the community in June at the Lighthouse in Poole and the Rex in Wareham.
Come along and bring a friend!
The award-winning film Rufus Stone is a story of growing up gay and growing older in rural south west England, based on three years of in- depth investigation at Bournemouth University as part of the New Dynamics of Ageing national research programme.
Rufus Stone stars William Gaunt (The Champions)
Wed 5 June 2013
The Lighthouse
Poole’s Centre for the Arts
21 Kingland Road Poole BH15 1UG
Wed 12 June 2013
The Rex Cinema
14 West Street
Wareham BH20 4JX
Quotes from previous audience members:“Love, sexual tension, betrayal, abandonment, anger, sadness all simmering under the façade of British politeness.”
“I really believe this film will encourage greater communication and encourage acceptance, reduce isolation and enhance quality of life for older lesbians and gay men in rural communities.”
“Actually a wider representation of the community’s cultural and societal norms and values. It will allow citizens who see the film to think reflectively on the ways their own lives are structured and impacted by the environment in which they live. It may also provoke a critical evaluation of their own and their community’s views on diversity.”
“What stood out for me in the film was simply the fact that rarely does one get the chance of seeing a love affair between two men portrayed on screen credibly and realistically, not to say very movingly.”
Details and directions on the registration blue links above.
Sunday, 31 March 2013
He Removed His Cow from Her Field
Stories of Older Lesbians and Gay Men from Rural Britain
I am pleased to announce that the on line research journal Forum: Qualitative Social Research (FQS) has published an article reporting on our project on LGBT ageing and
rurality at Bournemouth University supported by Research Councils UK. The open
access and pioneering journal FQS
affords us the luxury of telling four of the participants' life stores in full in the article.The four-year Gay and Pleasant Land? ... study built upon
foundational Biographic Narrative Interpretive Method (BNIM) interviews
to then create the script for the short film,
Rufus Stone.
| Cows gently grazing at one of the locations of the Rufus Stone shoot. © 2012 KiPjONES |
The article is now published at:
http://www.qualitative-research.net/index.php/fqs/article/view/1919
http://www.qualitative-research.net/index.php/fqs/article/view/1919
"Collecting Older Lesbians' and Gay Men's
Stories of Rural Life in South West England and Wales: 'We Were
Obviously Gay Girls ... (So) He Removed His Cow From Our Field'". Kip Jones, Lee-Ann Fenge, Rosie Read & Marilyn Cash, authors
My thanks to my co-authors, the research team and the citizen advisors who contributed at every step along the way in making this possible.
I am particularly proud of the fact that my writing has evolved through the processes of both writing for this blog and creative writing for the film's back story and treatment. These influences are particularly evident in how I tell the stories in this article.
More than ever, I remain convinced that we as researchers are conduits for the life stories that our narrators give us and must honour that bond to the best of our ability. This spirit continued in writing and producing the film as well.
I hope that you will enjoy the article and have a chance to see the film if you haven't already.
My thanks to my co-authors, the research team and the citizen advisors who contributed at every step along the way in making this possible.
I am particularly proud of the fact that my writing has evolved through the processes of both writing for this blog and creative writing for the film's back story and treatment. These influences are particularly evident in how I tell the stories in this article.
More than ever, I remain convinced that we as researchers are conduits for the life stories that our narrators give us and must honour that bond to the best of our ability. This spirit continued in writing and producing the film as well.
I hope that you will enjoy the article and have a chance to see the film if you haven't already.
Saturday, 2 March 2013
“The Gold Rush to Dementia Studies”—advice to a PhD candidate
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Enid Cronin as Flip’s mother in the award-winning short film, Rufus Stone. © 2012 Bournemouth University and Kip Jones.
|
I feel that your proposal deserves my full consideration and
so, to this end, I contribute a conversation as another scholar who is not
directly involved in the project. Although currently considered a ‘filmmaker’
by some, my scholarship remains within the disciplines of gerontology,
sociology and social psychology. I remark on your proposal with one or more of
those hats on.
The proposal certainly is an interesting one and the
research plan quite detailed and ambitious. This last part of that sentence is the
component that concerns me somewhat.
I will try to explain why.
The project seems to be (perhaps) a continuation of earlier
work that you have engaged in (not always a bad idea). The proposal begins by
expressing that the psychosocial may be a better realm in which to seek some
answers to the complexities of those living with “so-called dementia” (my term). It then goes on to detail a kind of
“intervention” project with many components, which attempts to replicate studies
such as RCTs, etc. (with baseline, during, ‘three-months
following’ indicators, etc). The plan tries to predict any or all of the
stumbling blocks and pitfalls that may or may not occur along the way (the
“anxiety” approach to planning; I use it myself).
Perhaps a better way forward would be to meet with voluntary
agencies, stakeholders, carers, etc., hold confabs, focus groups, etc and then
design a truly collaborative plan that engages these participants at every
stage. My sense from the plan as well as the language of it and your background
is that you are probably more comfortable with projects that involve working
with people hands-on. Conceivably,
considering a more substantially qualitative approach and jettisoning the
measurement approach would be more realistic and fitting for the project. Revising
the research questions to ‘How?’ and ‘Why?” queries would more substantially reflect
an interest in the psychosocial and be more appropriate in terms of exploring
the results of the planned intervention in some depth in regards to meaning. Methods such as Participant Action
Research, where the plan of action and action itself evolves in an iterative or
recursive way by means of a collaboration of researcher with a range of participants
as equal partners, might be explored. The study proposes rural “subjects”: getting to know rural
life in this particular geography may also be helpful.
My second concern is for your “student experience” itself
and what a meaningful PhD progression should be. At Cambridge recently, a
friend who was paying a visit to his Alma Mater said, ‘They showed me that you could learn as much about the Russian
revolution by reading Doctor Zhivago as by reading a history of the
revolution”. His statement stuck with me; I think that this should be the
spirit of the student experience at universities generally.
The “Gold Rush to
Dementia Studies” currently in vogue benefits from years of much less currently
trumpeted work at its foundation. Decades of pioneering work was accomplished by
such luminaries as Lawton at the Philadelphia
Geriatric Centre who ‘laid the foundation within the gerontology community
upon which all scientists and planners think about the unique needs of people
afflicted with Alzheimer's disease’. You mention Kitwood and I would
also suggest Stuart-Hamilton: ‘Dementia
is not a cut and dried business. We need to stop thinking about it as if a one
size fits all explanation will ever suffice, and realise that beyond the
illness, a vast range of factors all impinge to make the person with dementia
what they are.’ (Stuart-Hamilton
2012, “The Gift of Ageing” Psychology
Today). I would add modestly, also makes the person ‘who they are’—which then potentially challenges us to move into the
realm of the study of personality and life histories.
I would suggest that you take the time (and breathing space)
to both confront and interrogate the status quo in the field of so-called
dementia and read laterally, not only for inspiration for your own project, but
also to strengthen your scholarly skills.
For example, the etymology of the term “dementia” would be an
interesting one to explore. It seems to have now occluded Alzheimer’s as the “popular”
term. Yet, the types of “dementia” are quite varied, from alcohol-induced to
Aids-related, and from Parkinson’s to Binswanger’s disease. If “dementia” is ‘a
blanket term for a set of signs and symptoms’, it would be an interesting
challenge to explore how the term is being used (or misused) and what are its
origins.
I know personally that I remain uncomfortable with a term
that simply by adding the suffix “-ia” may be attempting to mask one route
definition of the word demented: ‘behaving in a strange, stupid or crazy way because
you are upset or worried.’ What
carer is prepared to pejoratively label their loved one as “demented”?[1] How does adding the softening suffix
move us any further from that kind of assumption really? As an invented term in
a parallel universe, ‘Dementia’ could
just as easily be a new perfume by Katie Price.
I suggest reading Susan Sontag’s Illness as a Metaphor as a starting inspiration for a consideration
of so-called dementia as a socially constructed concept assembled by language
and usage. I would recommend, along with reading within the scholarly
publications on dementia, that you also widen your academic explorations and
influences. Consideration of films
about carers of people with so-called dementia may enrich your approach (e.g., Amour, Away from Her, Iris, etc). Also
reading novels, poetry and auto-ethnographic studies written by carers may prove
beneficial. Writing personal reflections about these lateral encounters will
produce powerful resources for your use later in writing the thesis.
Part of post-graduate level education is accepting that ‘not
knowing’ is part of the process. A
PhD is not simply another examination of what you already know, even have
learned. It is training your self
to be comfortable enough with not knowing to explore, investigate and hopefully
discover, thus making your contribution to knowledge as a result.
I hope that some of this is helpful.
[1] The demise of the
nomenclature, ‘Spastic Society’,
in the UK is an interesting example of language vis-à-vis use and misuse of
terms. ‘In an attempt to show disability in a positive light … the society
changed to its current name (Scope) on 26 March 1994’
Monday, 18 February 2013
Interfacing with older LGBT citizens Two-day Masterclass
Wed 17 April and Thurs 18 April Bournemouth University's Executive Business Centre 9:30 am to 15:30 pm
Now FULL! but you can add your name to the wait list by emailing with your name & location.
Who should attend:
Representatives from both statutory and voluntary groups are invited to Bournemouth for two days—to learn about our research, view the award-winning film, Rufus Stone, and take part in exercises drawn from the Method Deck-Methods to Diversity, a learning tool to inspire agencies, practitioners and communities to think about diversity within their ageing population. The two days will feature stimulating activities and informal discussions, the potential damage of discrimination experienced by many older gay and lesbian citizens, and what can be done about it.
What you will gain by attending:
Participants will go away from the two days of activities with new knowledge about growing older as gay or lesbian. They then will be equipped to return to their groups with training in organising their own meaningful exercises around interfacing with older gay and lesbian citizens in their organisations and reducing discrimination in their communities.
Participants will receive a complimentary copy of the Method Deck – Methods to Diversity and a DVD of the award-winning film, Rufus Stone, upon completion of the two-day training.
REGISTER AT: http://impactmasterclass.eventbrite.com/#
Costs: The cost of the Masterclass is covered by Bournemouth University, including lunches and refreshments. Travel expenses and accommodation will not be reimbursed.
Please insure that you will be able to attend for the full two days before registering for the event. Places are limited to 25 participants only.
Sunday, 27 January 2013
Buzz around Rufus Stone continues to create academic, cinematic and community impact
“Anyone
of any age and background can sit and watch this film, understand it, learn
from it and emotionally connect to it”.— Dr Patricia
Leavy in The Qualitative
Report
The short film, Rufus
Stone, (Kip
Jones, Author and Executive Producer), seems to move from strength to
strength. The movie was based on research as part of Research Councils UK funded research at Bournemouth University and
a project of the national New Dynamics of
Ageing programme.
Harry Kershaw, Martha
Myers-Lowe & Tom Kane
Rufus Stone was
screened as part of an ESRC
Festival of Social Science event at BU in November for representatives
of health and social care organisations. Participants went away from the day of
activities with new knowledge about growing older as gay or lesbian in rural
settings. Attendees each received a set of Method Deck cards produced by the
research team to encourage their own groups in discussion and activities around
these issues.
A Masterclass is in the planning stages for late April where
representatives from both statutory and voluntary groups can come to
Bournemouth for two days, learn about our research, view the film and take part
in exercises drawn from the Method Deck. They then will be equipped to return
to their groups with training in organising their own meaningful exercises
around interfacing with older gay and lesbian citizens in their organisations.
By partaking in the two days of activities, participants will receive copies of
the Method Deck and the film. Stay tuned
for details.
Freshers on HSC’s “Exploring Evidence to Guide Practice’
unit as well as Social Work students have had recent screenings as part of
their learning experiences. There will be future opportunities for BU students
to take advantage of this ‘home grown’ successful learning resource.
The film was screened in January at Birkbeck/University of
London’s very modern Gordon Square cinema in Bloomsbury for their Doing
Critical Social Research seminar series. A lively discussion followed with what seemed a very
appreciative audience.
Cambridge University welcomes Rufus to the Cambridge Arts Picturehouse cinema on
the 22nd of February at 4 p.m. as part of their Arts and Science
Researcher Forum. A Q&A
with Jones and Rufus Stone’s director,
Josh Appignanesi, will follow the screening, BU’s Trevor Hearing will moderate.
There will be a screening of Rufus Stone in March at Talbot campus hosted by BU Media School’s
Narrative Group. Following the film, Jones will discuss the use of narrative research,
biography and autobiography in creating the film’s story and script. Great chance to catch the film if you
haven’t seen it already. 18 March, Kimmeridge (KG03) at 1 p.m.
Community screenings at local cinemas in
Poole and Wareham are set for the BU Festival
of Learning on June 5th at the Lighthouse and June 12th at the Rex. Both start at 1 p.m. with refreshments and conversation to
follow. We are particularly hoping to draw crowds of a range of ages and
backgrounds from local communities.
William
Gaunt, Lin Blakley & Niall Buggy
For information,
registration and/or ticket details for all future screenings, check the sidebar
on Rufus Stone the
movie BU microsite.
Buzz around the film has also hit the net. The Sociological Imagination features
the trailer for the film on its pages and discusses ‘Turning
Research into Film’. The Qualitative
Report frequently features updates about Rufus Stone in its Weekly Report and recently ran a review of the film by
author and educator, Patricia Leavy.
London School of Economics and Political Science (LSE) “Impact of Social Science” web pages
recently interviewed Kip Jones about Rufus
Stone. Topics covered include: “How did Rufus Stone come about?” “What is
the relationship between the research and the film?” and “What advice to you
have for social scientists interested in using tools from the arts?”
5 Minutes with Kip Jones: “we engage in the creative process and open new doors for communication”.
5 Minutes with Kip Jones: “we engage in the creative process and open new doors for communication”.
As well as winning two awards at the prestigious Rhode
Island International Film Festival last summer, the film has also recently
featured in the Torin (Italy) Film Festival and the UK Jewish Film Festival in
London.
An academic article by HSC’s Kip Jones, Lee-Ann Fenge, Rosie
Read and Marilyn Cash goes live in Forum:Qualitative Social Research, an on-line journal, shortly. The paper
outlines the research behind the film, then presents in-depth life stories of four
of the research participants.
Jones has also recently published , “Connecting Research with
Communities through Performative Social Science”, which makes a case for the
potential of arts-based social science to reach audiences and engage
communities.
Friday, 9 November 2012
Rufus Stone selected for Torin Film Festival
The 30-minute film is the result of three years of in-depth research into ageing and sexuality in rural Britain at Bournemouth University. The project, led by Bournemouth University’s Dr Kip Jones, uses the film as its main output.
Rufus Stone was directed by Josh Appignanesi (The Infidel) and produced by Parkville Pictures, London. The film stars well-known stage and television actor, William Gaunt in the title role. Jones was author of the story and acted in the capacity of Executive Producer for the film.
The film will be shown three times during the festival, which opens with a screening of Dustin Hoffman’s directorial début, Quartet. The festival will close with Ginger & Rosa, a 1960s coming-of-age story from U.K. director Sally Potter.
Rufus Stone will be screened in the Festa Mobile sidebar, made up of mostly European and Italian premiers, including Anna Karenina, Joe Wright’s adaptation of the Leo Tolstoy classic that stars Keira Knightley and Jude Law.
Rufus Stone was recently featured as part of the ESRC Festival of Social Science at Bournemouth University and will be shown locally as part of BU’s Festival of Learning next June. Future screenings are also planned for Birbeck, Cambridge and Oxford Universities.
More information on the research project and the film
Torin Film Festival
Watch the film here: https://vimeo.com/109360805
Sunday, 28 October 2012
Case is made for fusion of the Arts and Social Sciences
In an article in The Qualitative Report (Vol 17: 18, 1-8) published electronically
recently, I make a case for the potential of arts-based social science to reach
audiences and engage communities
Entitled,
“Connecting
Research with Communities through Performative Social Science” (PSS), the paper contextualises both the use of the Arts in
Social Science, as well as the utility of Social Science in the Arts and
Humanities. PSS is conceived of as a fusion of the Arts and Social
Sciences, creating a new paradigm where tools from the Arts and Humanities are
explored for their utility in enriching the ways in which we investigate Social
Science subjects and involve communities in our research efforts and diffusion
of our collaborative endeavours. Performative Social Science is redefined in terms of a synthesis that
can break down old boundaries, open up channels of communication and empower
communities through engagement.
The
article harks back the beginnings of PSS by recalling the influential AHRC
funded series of workshops, “Social Science in Search of its Muse”
held at BU throughout 2006-07, reported in a short video. This was followed
by a Special
Issue on Performative Social Science
for the online, qualitative journal, Forum:
Qualitative Social Research (Jones et al., May, 2008), providing a wide
range of examples and manifestations of PSS, with contributions from various
disciplines/subject areas, and realized through a wide variety of approaches to
research practice.
Since these early efforts in PSS, the impact of these
explorations has been measurable, including several completed PhDs utilizing
principles of PSS, many journal articles, films and conference presentations
nationally and internationally and further funding by Research Councils UK of
research based in Performative Social Science
methods.
I then turn to examples from my own work to illustrate what happens when Art
talks to Social Science and Social Science responds to Art. The benefits of
such interaction and interdisciplinarity are outlined in relation to a recently
completed project using multi-methods, which resulted in the production and
current dissemination of the professional short film, Rufus Stone.
I conclude that “Performative Social Science provides the overarching intellectual
prowess, strategies and methodological and theoretical bases to engage and
unite scholars across disciplines and, in turn, connect researchers’ endeavours
with communities and stakeholders. Performative
Social Science or a fusion of the arts and sciences are central to both
community engagement and as catalysts for change”.
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