Recordings of presentations by Amelia Walker and Victoria Vargas-Downing from the What Happens Next radical creative writing symposium, 21 June 2023, Salford, UK and online.
This item features recordings of the first two presentations to the What Happens Next radical writing symposium held at the University of Salford, June 2023.
Dr Amelia Walker (on behalf of the Critically Creative Reading and Writing Collective) University of South Australia
Email: amelia.walker@unisa.edu.au / poetryisdangerous@gmail.com
Title: Enriching reading group dialogues through creative and arts-based praxes: examples from the Critically Creative Reading and Writing Collective
Abstract: This presentation shares strategies used by the Critically Creative Reading and Writing Collective (CCRWC), a reading group members of which share interest in creative arts research methods and methodologies, particularly for researching complex socio-political and ethical challenges including those of privilege and marginalisation, ecological sustainability, and more. Like most reading groups, we meet on a regular basis to discuss a set journal article or scholarly book chapter. Our point of difference is that, in addition to discussion of key themes and concepts from the set text, each meeting also involves a set of creative exercises such as writing or sketching in response to set prompts and/or deploying prescribed artistic processes and constraints. We also co-author together using collaborative artistic processes. Our approach is informed by theories of cognition that describe how processes of poetry, story, and art making open modes of thinking beyond those typically associated with more standard research methods and discourses. We are also informed and inspired by the creative critical movement, fictocriticism, and writing-as-inquiry, among other praxes that articulate creative with critical processes. Our presentation begins with an overview of how these ideas support our ways of working, then provides examples of activities we have used in our reading group meetings and co-authoring collaborations. By sharing examples of our processes, we aim to open dialogues about the benefits creative approaches to reading, writing, and collaboration can bring across diverse scholarly contexts, and the scope for network building among creative researchers across differing disciplines and locales.
Bio: Amelia Walker is the author of four poetry collections and three poetry teaching resource books in Macmillan's All You Need to Teach series. Her fifth poetry collection, alogopoiesis, is forthcoming in 2023 (Gazebo Books). She completed her PhD in 2016 and currently teaches courses in creative writing and literary studies. She also supervises HDR candidates undertaking creative writing research. Amelia is chief investigator on 'Invisible Walls', an Australia-Korea Foundation funded project focused on building intercultural connections between Korea and Australia.
Victoria Vargas-Downing
University Affiliation: University of Leeds
Contact: fh16vevd@leeds.ac.uk
Title: “Decolonising academic writing; approaches to writing in the boarder.”
Abstract: This paper is an enactive reflection about dominant academic writing practices. Drawingon decolonial and feminist theories and practices, I reflect on the concepts of ‘ambivalence’, ‘tension’ and ‘precarity’ from a border perspective. I question the notion of writing about decolonisation using the Master’s tools. As a subversive act, this presentation invites the audience to stay and feel the tension and ambivalence, to embrace the discomfort, its conflictual strands and trust an ambivalent path. To let go of some of the power and the scepticism to trust the path where tension is productive to work through. As a planned imperfection, this presentation will trigger uncomfortable feelings that come from critical disobedience to the dominant structures.
Firstly, I argue that breaking the monolingual feature of hegemonic academic writing makes it possible to start decolonising it. Secondly, using language differently makes it possible to enact alternative ontologies rather than translating them. Language usage choices behave as theories of relationality and not just as abstract representations. Therefore, a different use decolonises the form. And thirdly, through acknowledging our precarity and interdependency on others, this presentation works as a precarious act; it’s an invitation to allow the vulnerability to sustain us while this text is performing—a way of decolonising the reader and rebalancing voices and silences oppressed by colonial pasts.
Bio: Victoria Vargas Downing is an Art historian, heritage researcher and PhD candidate at Leeds University. She holds a BA in Fine Theory and History of Art at the University of Chile, a Curating Diploma and MA in Arts Management and Heritages studies, also at Leeds University. She has participated in art projects in Chile, Sao Paulo, Los Angeles CA, Vienna, Belgrade and the UK. She has worked as teacher and research assistant in different projects and art organisations in Chile (museums, galleries and non-profit organisations). She is interested in the relationship between contemporary art and heritage from decolonial perspectives.
