Side by Side: Navigating the Messy Work of Staying Relational in University-Community Partnerships

ArtsAction Group and the Roots of Reciprocity

Arts and culture have historically worked outside of institutional frameworks, cultivating subversive imaginaries and resistance movements (Becker, 1994) that contribute to societal development (Clammer & Giri, 2017; Maguire & Holt, 2022). Participatory creative collaborations are critical– especially for those making art in conditions of unfreedoms and oppression (Fleetwood, 2020). Communities and academic institutions are increasingly collaborating in “respectful co-creation of useful knowledge” and contributing to a “knowledge democracy movement” (Hall et. al., 2013, p.16).

However, these collaborative efforts are challenging when imposed from outside, as systems of power that can override the other(s) (Yassi et al., 2016). Faculty researchers who do the relational work of co-creating knowledge with communities can find themselves working within (or in spite of) hierarchies, and navigating neo-liberal agendas that increasingly cut budgets and undermine diversity of opinion, cultural awareness, and faculty expertise (Brackmann, 2015).

We are faculty positioned in our respective institutions of higher education in the United States and in ArtsAction Group (AAG), a non-profit, international, community-based collective of professional and student volunteer arts educators, art therapists, and teaching artists. AAG works only where invited, with children and youth in conflict-affected communities (artsaction.org). As transdisciplinary artist researchers, we use socially engaged arts research that is practice-based, collective, community-centered, and sustainability-minded, towards capacity-building (Maguire, 2017; Mecelicaite & Simpson, 2022).

Through our experiences straddling university/community partnerships, we have learned: a) how to operate within fluid realities, b) how to identify strategies for navigating university policies within systems, c) caring and empathetic ways to translate and educate between the university and community, d) how to design creative workarounds, and e) the value of enacting courage when necessary to upstand and uphold ethical standards (for example, with tenure/promotion reviews).

Partnerships involve artful coalitions (Kay & Wolf, 2017) in solidarity (Gaztambide-Fernández et al, 2022), being and working in reflexive ways that honor and respect context with people from different geographic, cultural, and social-positionings (Fernando, 2002). Here we describe experiences navigating the impossible-to-avoid, complex and multiple egos, traditions, rules, bureaucracy, expectations, and roles that are entangled in arts and cultural university/community partnerships, understanding that university decision-making functions within knowledge silos that operate hierarchically and vertically (Dawson et al., 2018). Universities and communities navigate different standards, cultures, and practices, and use different metrics and languages in determining success.

Discovery in the Trouble: Profiles in Messy Co-Creation

Here we share knowledge produced with our partners in Kosovo, Sri Lanka, and the Sahrawi refugee camps in Algeria, communities where people who, in the face of generational trauma and oppression, cultivate and sustain a sense of hope with strong convictions to envision change. Arts and culture are recognized across all sites as a means towards community development.

Side-by-side extends beyond the work, honoring reciprocity in many forms—shared stories, art, music, meals, macchiato or tea breaks, and making time for play and recognizing our shared humanity. Staying with the trouble (Berman & Kembo, 2022; Haraway, 2016) embraces the unexpected to spark creative solutions and new ways of approaching equitable, community-centered research, which requires solidarity and being inclusive of participant voices– on their own terms. Messiness is part of the work. Solidarity is an ethical commitment that seeks to transform. Solidarity without consent or reciprocity risks failure and the continuation of oppressive conditions (Gaztambide-Fernández et al, 2022, p. 254).

Through the following narratives we attempt to tease out ways to address questions of how collaborative approaches provide new models of diversity and equity and/or inspire new community-centered research projects.

Suhareka, Kosovo: Background

Figure 1. Map of Kosovo and surrounding region. Kosovars experienced over a decade of cultural and economic oppression leading up to the 1998-99 war and the breakup of Yugoslavia launched by war criminal and former Serbian President Slobodon Milosevic. His forces perpetrated genocide, ethnic cleansing, rape, and disappearances. Although recognized by the European Union and its allies, Kosovo’s sovereignty is still contested; this map of Kosovo available on Google Maps shows a dotted line along the border between Kosovo and Serbia.

A green map with Kosovo at the center including Montenegro, Serbia, North Macedonia, and Albania.

Google Maps (2024)

Video 1. Context for AAG Kosovo. The focus of the work is to engage in arts as a mode towards healing and innovative, pedagogical arts-centered community development. This video documents the "Transformimi: Dikur, Tani Dhe Nesër/Transformation: Past, Present, Future" project (ArtsAction Group, 2019).

In 2010, with funding through a university grant, AAG members first visited the Fellbach-Haus Centre for Creative Education in Suhareka/Theranda, Kosovo to co-design and produce community arts workshops with children and youth. Digital media is recognized as a potential economic growth lever and so we include STEAM (science, technology, engineering, ART and math), design thinking, and interactive art and design, exploring these possibilities through project-based learning.

Figure 2. At work in the art classroom at Fellbach Haus. Each project involves children and youth and various classrooms at the centre are used for making.

Young people working with art materials on a table in an art studio. There are large windows and a mural behind them.

ArtsAction Group (2018)

Figure 3. Local youth and Adelphi students prepare the installation for the final community exhibition in the main gallery space.

Young people prepare an art exhibition in a gallery with polished wood floors and white walls. The artwork is still on the floor and being arranged.

ArtsAction Grop (2018)

Figure 4. A photo on the evening of the final exhibition. In this mural are touch sensors that trigger sounds. The audio in this mural plays the voices of community members sharing personal stories about life during the war. Each year the whole community comes out to celebrate the work of the young people in these exhibitions.

A group of people gather in the gallery space with art exhibited on the walls.

ArtsAction Group (2018)

Figure 5. Each year we share a meal together as a way to celebrate the workshop and our ongoing AAG/Kosovo partnership. Joining us is the team from Fellbach Haus as well as government officials from the Suhareka Municipality including the mayor and deputy mayor.

A group of approximately twenty people sits around a long rectangular table. The table is covered in white cloth and there are place-settings, salads, bread, and wine bottles on it.

ArtsAction Group (2018)

Video 2. Kosovar a capella singing group at exhibition celebration dinner.

ArtsAction Group (2018)

Suhareka, Kosovo: Discoveries

In 2018, after three years co-developing a study abroad with partners, ten enrolled students and four faculty/AAG members are going to Kosovo. The Kosovo team has organized student workshop participants, local facilitators, curator-guided arts museum visits, and various activities with municipal leaders. One week out from departure, the university informs us they can no longer approve us renting a van. The option proposed by the university to hire a local driver is unrealistic given budget and partner availability. Lack of understanding regarding the context, coupled with a focus on liabilities, almost derails the study abroad. After much deliberation, the university approves a van rental.

Although supported academically and financially by way of the study abroad course, we experienced some gaps: the university not sufficiently recognizing faculty expertise and planning efforts, understanding the Kosovo and US context vis-a-vis liabilities, and understanding the need for context-sensitive care within community partnerships. The knowledge produced included the need for fluidity and flexibility (i.e. working with new administrators unfamiliar with study abroad), and learning how to translate context (care and empathy). It is often a burden for community partners to manage liability. In this case it was necessary to enact courage to stand up for our community partner.

Ilavalai, Sri Lanka: background

Figure 6. Ilavalai, in the Jaffna district at the northern tip of Sri Lanka. Tamil areas in the north and north east of the country were significantly impacted by a drawn-out civil war (1983-2009). UN data indicates the killing and/or disappearing of over 100,000 civilians and 50,000+ fighters from both sides of the conflict (Petrie, 2012). There has been little to no state-sponsored work to address gross human rights violations that took place and there is continued militarization of the region including efforts to forcibly erase Tamil history, society and culture.

A map of land with water on two sides. Major highways are marked and the area around the town of Ilavalai is outlined in red.

Google maps (2024)

In June 2018, AAG is invited to St. Henry’s College by our partner, Father Joel Godfrey, for a two-week project. It is our second trip to Sri Lanka, and first time in the village of Ilavalai. Our shared goal is to introduce arts and healing into workshops for boys ages 11-17.

Video 3. Context of the Region: A walk through the villages with the students and ArtsAction Group team.

ArtsAction Group (2018)

Figure 7. ArtsAction Group partner for 2018 and 2019. Henry's College, a boys grades 6 - 12 school in Ilavalai, Sri Lanka.

A building painted light green with dark green trim sits to the left of a road. The front of the building has the words “St. Henry’s College,” a Latin motto, and the year “1907” on it. The road is narrow, and there are head-high walls and high electrical wires alongside it. There is a sunset in the background.

ArtsAction Group (2018)

Figure 8. Integrating art therapy into our work for the first time, our team includes art therapists from Johannesburg, South Africa, and art therapy students from a university in the UK. In this image, Grade 6 boys are exploring self and family through the creation of a series of large collaborative murals on paper. The AAG team is seated on the floor with the boys, facilitating the artmaking around the main themes. As the entry point we asked each boy to trace the outline of their hands and to add personal imagery linked to opening circle activities and an “I Am” poem. We chose the handprint as these are a powerful mark of our individual identities. Next steps included drawing more personal imagery around the hands before moving into visualizing and drawing connections between themselves, their friends in the group and the broader community of Illavalai. Teachers and counselors from the school are walking around observing the processes and assisting with translation needs.

In a large, windowed room, boys in white shirts and ties work on large murals spread out on the floor. Some teachers are seated with the students and some are walking around to observe the activities.

ArtsAction Group (2018)

Ilavalai, Sri Lanka: Discoveries

Weeks prior to travel, the lead art therapy faculty member from the UK, who helped organize her students’ trip, is denied permission from her institution to attend. Instead, she regularly meets with them via group phone sessions in the two weeks before departure. The students take the initiative to travel without their faculty mentor. AAG, side-by-side, oversees and directs participants on site.

Universities and communities need to prioritize the relational value of their collaborations to truly benefit all participants. Given the newly introduced art therapy components and the size of the group (nine team members and 120 Sri Lankan student participants), the team would have been better served with their supervisor’s expertise and presence, assisting and managing expectations in an unfamiliar setting and enhancing the relational experience for everyone.

Video 4. Context for the Work: As part of our teaching routine, we met daily with the after-school Recycling Club. Working with an informal educational model centered around play, we co-created projects using recycled and found materials. Our first endeavor was to build a large-scale inflatable sculptural piece using newspapers, colorful tissue paper, glue, and air from the fans. Through the shared work and laughter we began to establish our community. While engaged in the processes, we could see the boys opening up in ways that expressed risk taking, perseverance, joy, care, and collaboration. One boy could not carry this dragon alone. They had to carry it together.

ArtsAction Group (2018)

Figure 10. This space, the Interactive Room, was newly built for collaborative teaching and learning and based on the prior work we did with our Sri Lanka partners. It exemplifies the relational value of this kind of work to truly benefit all participants, especially those on the receiving end of the work.

Students gather on the floor and around a table in a room with white walls and large windows. There is a small bookshelf and a sculptural tree hung with colorful garlands.

ArtsAction Group (2019)

The Sahrawi refugee camps in Algeria

Figure 11. The Camp Boujdour landscape with family homes. Western Sahara, also referred to as Africa’s Last Colony (Martín, 2017) was invaded by Morocco in 1975, instigating a war for independence led by the Frente POLISARIO. Many Sahrawi communities sought refuge in Algeria where they established five refugee camps near the town of Tindouf. Although a UN-brokered ceasefire was negotiated in 1991, the ongoing existence of the refugee camps (1975 to present) reflects the political impasse and resistance that exists when discussing the future of the Western Sahara community.

Flat-roofed buildings nestle between ridges in a sandy, desert landscape. There are more buildings beyond a ridge, in the distance.

ArtsAction Group (2013)

Figure 12. The interior of our host’s khaymas (خيام), a tent, with the team.

Interior of a tent. A group of people sit around a low table drinking tea and eating. Patterned fabric hangs on the walls, and a patterned rug covers the floor.

ArtsAction Group (2013)

The Sahrawi refugee camps in Algeria: Background

It is 2013 and AAG is invited to present research at the Annual ARTifariti Festival held in Camp Boujdour and to facilitate arts workshops at the primary school. A university professor (also a Co-Director of AAG) and her student are conducting university-supported research (including travel) on the Sahawari situation. Several weeks prior to departure, a meeting with a dean results in the travel permissions being withdrawn because of a concern that the region is too dangerous. As AAG, we honor the invitation and travel without university support. The student, with additional financial support from AAG, joins.

Figure 13. Enas (the student) interviewing community members for the documentary, "When the Sun Came for Them" (Ross & Maguire, 2016). This interview reflects a side-by-side ethos. ARTifariti invites artists, including AAG to the camps to co-create and learn about the ongoing Sahwari conflict and right to sovereignty and self determination. There is an expectation that when the artists leave, they will share both the creative collaborations and the history similar to the mission and practice of AAG.

Groups of people sitting in a tent on brightly colored and patterned cushions and rugs. Similarly bright fabric, supported by poles, comprises the walls and ceiling.

ArtsAction Group (2014)

Students in a classroom sit and stand around a large, colorful hand-made picture of a person. The picture is lying on the floor, and similar large pictures hang on the wall behind the students.

ArtsAction Group (2014)

Figures 14 and 15. After exploring the maps created by young people in the USA and Kosovo, students start creating their own collaborative body maps. Body maps as a form of art and narrative therapy are used to gain understanding of self and the world; they are simultaneous engagement with/between the internal and external worlds. Choosing paper fragments, symbols, colors, and textures, students translate ideas, experiences, hopes and feelings into visual imagery, this project invites students to engage with ‘the self’ creatively.

Four boys sit on the floor, gathered around a large, colorful hand-made picture of a person. They are adding to the picture with crayons and paint.

ArtsAction Group (2014)

The Sahrawi refugee camps in Algeria: Discoveries

Again, a gap in institutional understanding emerges around liability and context; faculty financial support is withdrawn due to security concerns even though multiple NGOs work on-site year round with security provided by the Sahrawi government-in-exile. Identifying a policy strategy, we design a creative workaround by traveling through AAG.

The university ultimately recognized value in the work after learning about the results, and used it to promote the institution. The same dean who initially withdrew support included our work in The Catalyst (2014) college magazine, stating “This issue of The Catalyst focuses on the college’s many global learning and engagement initiatives. The articles highlight the work of students, faculty, and staff who are committed to the simple fact that the world is not someplace else.” (p. 2)

Figure 16. Cover photo of the College of Arts and Science magazine. That year (and in subsequent years), the work was highlighted extensively in university publications and web content (Donohue, 2014; Mikell, 2014, Conti, 2016). This led to conversations with the communications team about the ethical considerations around visual images (care and empathy), as university/community collaborations must be mutually beneficial without being exploitative.

Cover of a magazine bears the words “Adelphi University College of Arts and Sciences. ‘The Catalyst.’” A photo of a person’s hands decorated with henna.

Enas Elmohands (2014)

Conclusion

As evidenced, a crucial aspect of this work at the university level lies in having to fill in where institutional support falls short when following power dynamics rooted in colonial histories (Jones & de Wit, 2014). Decolonizing the university involves countering how universities have benefited, and continue to benefit, from privilege and systemic inequality. Collaborative approaches set in motion by institutions must include ethics of responsibility centered in reflexivity to create fluid structures and processes responsive to all those involved. Faculty partners can facilitate this work, within a side-by-side approach with university support and community partners’ guidance. Side-by-side “artful coalitions,” sustained over time, allow for reciprocity and learning with each other. In other words, “partnerships are forever” (Hall et. al., 2013, p. 202).

Therefore, what is needed is a multiplicity of ongoing partnerships and alliances that the community can count on for years. In turn, such long-term collaborations offer the greatest power to transform our institutions of higher education (ibid, p. 202). Side-by-side can be enacted through giving informed respect to unfamiliar histories, being responsive to community partners and their needs, sharing extended opportunities and resources, co-authoring whenever possible (Godfrey et al, 2022), decentering the university tenure/promotion review structure that rewards first authorship, and insisting on open access publishing to ensure access to knowledge for those about whom we write or with whom we partner. Sustainable university/community partnerships stay with the trouble (Haraway, 2016); in solidarity, they continue and they evolve.

References

Allen, H., Holt, A., & Maguire, C. (2018). Outside in/Inside out: Adelphi University Suhareka, Kosovo 2018. [Exhibition catalogue]. Exhibited at PAC Gallery, Garden City, NY, May, 2018. https://www.blurb.com/bookstore/invited/7567167/70def51d125a7e9ebfabb65c863f3cc8a611b843

ArtsAction Group. (2021a). Transformation: Past, present, future/Transformimi: Dikur, tani dhe nesër. [Exhibition catalogue]. Exhibited at Fellbach Haus Centre for Creative Education, March 19, 2021. https://spark.adobe.com/page/swDvgQJcIgvbf/

ArtsAction Group. (2021b). Utopia/Dystopia. [Exhibition catalogue]. Exhibited at Fellbach Haus Centre for Creative Education, March 17, 2017. https://spark.adobe.com/page/3RYVR04zqOk5E/

Becker, C. (Ed.). (1994). The subversive imagination: Artists, society and social responsibility. Routledge.

Berman K. & Kembo, B. (2022). Turning higher education hierarchies inside out: Sticky encounters in co-designing a community centre using multimodal interventions. In C. Maguire & A. Holt, (Eds.), Arts and culture in global development practice (pp.69-85). Routledge. https://doi.org/10.4324/9781003148203

Brackmann, S. (2015). Community engagement in a neoliberal paradigm. Journal of Higher Education Outreach and Engagement, 19(4), 115-146.

Clammer, J. & Giri, A. K. (Eds.). (2017). The aesthetics of development: Art, culture and social transformation. Palgrave McMillan.

Conti, S. (2016, November 30). Where memory is everything: Documenting the stories of exiles in North Africa. News at Adelphi. https://www.adelphi.edu/news/where-memory-is-everything-documenting-the-stories-of-exiles-in-north-africa/

Dawson, S., Eshleman, K., & Siemens, G. (2018). Complexity: A leader's framework for understanding and managing change in higher education. Educause Review, 27-42. https://er.educause.edu/-/media/files/articles/2018/10/er186101.pdf

Deneulin, S. (2009). An introduction to the human development and capability approach: Freedom and agency. Earthscan, IDRC. https://www.idrc.ca/en/book/introduction-human-development-and-capaability-approach-freedom-and-agency

Donohue, E. (2014, March 4). Enas Elmohands: A true testament to interdisciplinary study. News at Adelphi. https://www.adelphi.edu/news/enas-elmohands-a-true-testament-to-interdisciplinary-study/

Fernando, S. (2002). Mental health, race and culture (2nd ed.). Palgrave.

Fleetwood, N.R. (2020). Marking time: Art in the age of mass incarceration. Harvard University Press.

Gaztambide-Fernández, R., Brandt, J., & Desai, C. (2022). Toward a pedagogy of solidarity. Curriculum Inquiry, 52(3), 251-265. https:doi.org//10.1080/03626784.2022.2082733

Godfrey, J., Gollopeni, R., Holt, A., Maguire, C., McCallum,R., & Simpson, J. (2022). ArtsAction Group: Artful coalitions through socially engaged art. The Canadian Art Teacher/Enseigner les arts of Canada (CAT) 17 (2), 36-49.

Hall B., Jackson, E., Tandon, R., Fontan, J., & Lall, N. (2013). Knowledge, democracy and action: Community–university research partnerships in global perspectives. Manchester University Press.

Haraway, Donna J. (2016). Staying with the trouble: Making kin in the Chthulucene. Duke University Press.

Jones, E. & de Wit, H. (2014). Globalized internationalization: Implications for policy and practice. IIEnetworker, Spring, 28–29.

Kay, L. & Wolf, D. (2017). Artful coalitions: Challenging adverse adolescent experiences. Art Education, 70(5), 26-33.

Maguire, C. & Holt, A. (Eds.). (2022). Arts and culture in global development practice: Expression, identity and empowerment. Routledge.

Maguire, C. & McCallum, R. (2019). ArtsAction Group: Fostering capabilities through social practice. In A. Wexler & V. Sabbaghi (Eds.), Bridging communities through socially engaged art. Routledge.

Maguire, C. (2017). Learning with refugees: Arts and human rights across real and imagined borders. Art Education, 70 (4), 51-55.

Martín, J.C.G. (2017). Western Sahara: Africa’s last colony. Tensões Mundiais, ForTaleza, 13(25), 37. www.academia.edu/37498480/Western_Sahara_Africas

Mecelicaite, E. & Simpson, J. (2022). Cross-cultural collaborations through the lens of art therapy: Sri Lanka. In C. Maguire & A. Holt (Eds.), Arts and culture in global development practice (pp. 131-147). Routledge. DOI: https://doi.org//10.4324/9781003148203

Mikell, V. (2014). Using the arts as a means of social change. The Catalyst, 10-11.

Nussbaum, M. (2011). Creating capabilities: The human development approach. Harvard University Press.

Petrie, C. (2012). Report of the Secretary-General's Internal Review Panel on United Nations Action in Sri Lanka. United Nations.

Ross, T., Maguire, C. (Producers) & Ross, T. (Director). (2016). When the sun came for them: The story of the Saharawi told by the Saharawi. [Film]. United States: Ross.

The Catalyst. (2014). Introduction. The Catalyst, 2.

Yassi, A., Spiegel, J.B., Lockhart, K., Fels, L., Boydell, K., & Marcuse, J. (2016). Ethics in community-university-artist partnered research: Tensions, contradictions and gaps identified in an ‘Arts for Social Change’ project. Journal of Academic Ethics 14, 199–220. https://doi-org./10.1007/s10805-016-9257-7

Acknowledgements

ProfVal LLC, Lukaj Foundation Inc., Arber Balidemaj, and other donors to ArtsAction Group

Supporting Materials

1. ArtsAction Group Video Kosovo 2019: https://youtu.be/-YVhYEPY0dQ Video documenting a project with ArtsAction Group members in Suhareka, Kosovo.

3. Godfrey, J., Gollopeni, R., Holt, A., Maguire, C., McCallum, R., and Simpson, J. (2021). ArtsAction Group: Building Artful Coalitions. The Canadian Art Teacher/Enseigner les arts of Canada (CAT). Theme: Art education, trauma, and difficult knowledges, Vol. 17, No. 2, pp. 36-49. For the Canadian Art Teacher special issue on Art Education, trauma and difficult knowledges https://csea-scea.ca/canadian-art-teacher-volume-2-no-17-2021/

Contributors	Ann Holt^†: Conceptualization, Investigation inquiry, Methodology, Production - Social, Project administration, Reflective Analysis, Relationship Development Outreach, Visualization, Writing – original draft, Writing – review & editing Cindy Maguire^†: Conceptualization, Investigation inquiry, Methodology, Production - Social, Project administration, Reflective Analysis, Relationship Development Outreach, Visualization, Writing – original draft, Writing – review & editing Rob McCallum: Conceptualization, Reflective Analysis, Production - Social, Project administration Barrie Maguire: Production - Creative Refki Gollopeni: Production - Social Relationship Development Outreach Mohamed Sleiman Labat: Production - Social Relationship Development Outreach Joel Godfrey: Production - Social Relationship Development Outreach
Roles	Conceptualization: Ann Holt^†, Cindy Maguire^†,, Rob McCallum. Investigation and inquiry: Ann Holt^†, Cindy Maguire^†. Methodology: Ann Holt^†, Cindy Maguire^†. Production - Social: Ann Holt^†, Cindy Maguire^†, Rob McCallum, Refki Gollopeni, Mohamed Sleiman Labat,, Joel Godfrey. Project administration: Ann Holt^†, Cindy Maguire^†,, Rob McCallum. Reflective Analysis: Ann Holt^†, Cindy Maguire^†,, Rob McCallum. Relationship Development and Outreach: Ann Holt^†, Cindy Maguire^†, Refki Gollopeni, Mohamed Sleiman Labat,, Joel Godfrey. Visualization: Ann Holt^†, Cindy Maguire^†. Writing – original draft: Ann Holt^†, Cindy Maguire^†. Writing – review & editing: Ann Holt^†, Cindy Maguire^†. Production - Creative: Barrie Maguire. ^† denotes by-line credit.
Completed	Between March 2010 and July 2023
Website:	Project Site
Sites and Institutes	ArtsAction Group Penn State University Adelphi University St. Henry's College, Ilavalai Alampil Roman Catholic School, Mullaitivu Lefika La Phodiso, Johannesburg Fellbach Centre for Creative Education, Suhareka
Keywords	Relational Practice Sri Lanka Sahrawi Kosovo
Disciplines	Art Design Digital Media Arts Installation Art Art Education
Views	256 views
Collection	Creating Knowledge in Common
Collection Indexing Tags	#Community Art #Participatory Design #Radical pedagogy #Service Learning #Intermediary #Reciprocity #Reproducibility #Risktaking #Capacity building #Power

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Side by Side: Navigating the Messy Work of Staying Relational in University-Community Partnerships

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Side by Side: Navigating the Messy Work of Staying Relational in University-Community Partnerships

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Creating Knowledge in Common

ArtsAction Group and the Roots of Reciprocity

Discovery in the Trouble: Profiles in Messy Co-Creation

Suhareka, Kosovo: Background

Suhareka, Kosovo: Discoveries

Ilavalai, Sri Lanka: background