Applied Practice

Acknowledgements
Introduction: Evidence, A Rope Comprising of Several Cords
Matthew Reason and Nick Rowe
PART 1 â" FRAMING REFLECTION ON EVIDENCE AND IMPACT IN PARTICIPATORY ARTS - Matthew Reason and Nick Rowe
Chapter 1: Purpose, Outcomes and Obliquity: To Plan or Not to Plan - Matthew Reason and Nick Rowe
Chapter 2: Evidence, Knowledge and Persuasion in Arts Impact Research â" Matthew Reason
Chapter 3: Intrinsic and Instrumental Impacts in Participatory Art â" Matthew Reason
Chapter 4: Participatory Research in the Participatory Arts - Matthew Reason and Nick Rowe

PART 2 â" RESEARCHING PARTICIPATORY ARTS: ANALYTICAL PERSPECTIVES
Introduction - Matthew Reason and Nick Rowe
Chapter 5: On the Need for Diversity of Methods in Researching Arts and Health Practice - Stephen Clift, Sidney De Haan Research Centre for Arts and Health, UK
Chapter 6: Do you see what I see? Art, Science and Evidence in Autism Research - Nicola Shaughnessy, University of Kent, UK
Chapter 7: Wrestling with Beauty: Putting the Aesthetic into Arts Evaluation - Katya Johanson and Hilary Glow, Deakin University, Australia
Chapter 8: Capturing the Intangible: Exploring Creative Risk-taking through Collaborative and Creative Methods - Elanor Stannage, York St John University, UK
Chapter 9: Besieged by Inappropriate Criteria: Arts Organisations Developing Grounded Evaluation Approaches - Anni Raw and Mary Robson, Durham University, UK
Chapter 10: The Performance of Prison Theatre Practices: Questions of Evidence - Caoimhe McAvinchey, Queen Mary University of London, UK
Chapter 11: Researching applied arts through ethnographic performance: Perspectives from African contexts - Kennedy C. Chinyowa, Tshwane University of Technology, South Africa
Chapter 12: Thou Art, I am: Discovery and Recovery in the Art Making Process - Olivia Sagan, Bishop Grosseteste University, UK

PART 3 â" RESEARCHING PARTICIPATORY ARTS: PRACTICE-ORIENTATED CASE STUDIES
Introduction - Matthew Reason and Nick Rowe
Chapter 13: Dear Younger Me: Writing, Songwriting and Choral Singing While Incarcerated as a Means to Bridge Communities and Build Identities - Mary L. Cohen and Perry Miller, University of Iowa, USA
Chapter 14: Exploring the Perceived Benefits of Shared Musical Experience - Chris Bates and Liz Mellor, Leeds College of Music and York St John University, UK
Chapter 15: The Wisdom of Crowds: Applied Theatre, Social Media and Data Visualisation â" Paul Sutton, applied theatre company C&T, UK
Chapter 16: A Community Based Theatre Arts Program for Adults with Disabilities: Evidence through Research, Observation and Individual Transformation - Natalie Russo, Melissa Luke, Luis Columna and Elizabethe Ingram, Syracuse University, USA.
Chapter 17: Bespoke Practices: A Practitionerâs Perspective on Documenting And Evaluating the Experiences of Artists with Disabilities - Jennifer Gilbert, UK
Chapter 18: âThereâs no pill for thatâ: A Practitionerâs Perspective on the Evidence Imperative in the Arts and Mental Health - Linda Boyles, Arts and Mind, UK
Chapter 19: Embracing Indeterminacy in Participatory Storytelling in a Mental Health Context â" Catherine Heinemeyer, International Centre for Arts and Narrative (ICAN), UK
Chapter 20: Art Know No Boundaries: Cross Cultural Bridge Building through Transnational Arts Project - Matthew Hahn with Lungile Dlamini & Marius Botha, UK and South Africa
Chapter 21: Foot in Mouth, Mouth in Trough: Doing Good, Evaluation and other Megalomania - Scott Rankin, Big hART, Australia
Afterword: Confidence in Art as EvidenceEndnotes â" Ross W. Prior, University of Wolverhampton, UK
Bibliography
Notes on Contributors
Index