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While the main emotional labor strategies are well-documented, the manner in which professionals navigate emotional rules within the workplace and effectively perform emotional labor is less understood. With this contribution, I aim to unveil “the good, the bad and the ugly” of emotional labor as a dynamic theatrical performance.

Focusing on three geriatric long-term care units within a French public hospital, this qualitative study relies on two sets of data (observation and interviews). Deeply rooted within the field of study, the chosen methodological approach substantializes the subtle hues of the emotional experience at work and targets resonance rather than generalization.

Using the theatrical metaphor, this research underlines the role of space in the practice of emotional labor in a unique way. It identifies the main emotionalized zones or emotional regions (front, back, transitional, mixed) and details their characteristics, before unearthing the nonlinearity and polyphonic quality of emotional labor performance and the versatility needed to that effect. Indeed, this research shows how health-care professionals juggle with the specificities of each region, as well as how space generates both constraints and resources. By combining static and dynamic prisms, diverse instantiations of hybridity and spatial in-betweens, anchored in liminality and trajectories, are revealed.

This research adds to the current body of literature on the concept of emotional labor by shedding light on its highly dynamic and interactional nature, revealing different levels of porosity between emotional regions and how the characteristics of each type of area can taint others and increase/decrease the occupational health costs of emotional labor. The study also raises questions about the interplay of emotional labor performance with the level of humanization/dehumanization of elderly people. Given the global demographics about an aging population, this gives food for thought at a social level.

The onset of the COVID-19 pandemic certainly exacerbated the teacher shortage in the United States for all racial/ethnic groups, but especially for Black teachers. Black teachers account for 7–8% of the total teacher population and this percentage is the direct result of decades of systemic and structural barriers set against Black teachers in the form of racism. Still, Black teachers who enter the profession do so with the willingness to support all students and uplift Black students who often go years without seeing a teacher that looks like them. Black teachers often face different expectations than their white counterparts and these expectations, without the proper support, lead to Black teachers burning out at higher rates. In an effort to understand Black teachers' and the experiences that contribute them remaining in the classroom, the researchers explored Black teachers' working conditions through a phenomenological approach. The findings of this study suggest that Black teachers deserve working conditions that nurture who they are culturally and professionally, that reject actions of oppression toward them – both implicitly and explicitly, and offer spaces for Black teachers to be authentically heard.

The facilitation of digital spaces, in lieu of urban material spaces, for social interaction through computer gaming and other play activities has become particularly important to children in the wake of the 2020–2021 Coronavirus pandemic, to combat the negative effects of physical lockdown restrictions. Pre-pandemic, autistic children living in urban areas may already experience exclusion from physical society and may consequently already be isolated from current imposed normative societal groupings due to their neuro-difference, sensory sensitivities to the surrounding environment, communication comprehension, and social understanding. However, an exploration into personally and independently chosen play activities by autistic youth has identified how such isolation can be overcome and positive social experiences created. A particular play practice, cosplay, and related companionable fandom activities are providing and creating digital spaces for autistic youth to be social. Character play is also enabling the use of limited physical spaces within urban contexts and as such combatting anxiety from sensory overstimulation. Thematic analysis of online content together with semi-structured interviews with autistic young people have indicated a positive connection between cosplay practice, increased social activity, and reduced levels of sensory overload, anxiety, and depression, with early findings suggesting transferrable elements that could inform more effective support for others with social, environmental, and communication challenges or restrictions.

A focus on how visual cultures in domestic spaces influence older migrants' identification with the homeland has been noted in previous research, ¹ yet migrant youth have not typically been the sole subjects of investigation in this regard. This chapter seeks to fill this gap by offering insight into the practices of young Indian women in domestic spaces and how these practices influence their sense of belonging to India. This chapter highlights the practices of young Indian women living in Brisbane, Australia, through an exploration into how the young women recreate their histories and cultural attachments in domestic spaces. The research presented in this chapter illustrates the processes of emotional attachment for young migrants and how these processes demonstrate new ways of practising diaspora, including the use of the internet to learn about their cultural histories. With the use of PhotoVoice, where photographs were retrieved from mobile phones and the internet, the participants discussed their everyday lives relating to their emotional attachments to material objects in domestic spaces and the connection to their identities. This chapter's main argument is to highlight the need for researchers to avoid the tendency to place young migrants into the same diasporic categories as their parents and to recognise the diverse ways in which young migrants actively shape their own cultural attachments.

This chapter frames the educational journey of an Iskwew, or Cree woman who has navigated the different spaces of settler education, sometimes reluctantly and sometimes eagerly. The author engages the usage of her Cree Nisgaa Methodological Framework that is framed by protocol, mamatowisin, or engaging inner mindfulness, and reciprocity. The author makes and holds space for readers to journey with her, offering an opportunity to bear witness to the experiences of First Nation (Indigenous) education, from her positionality as a Cree woman. The author engages, embodies, and enacts ethical relationality throughout the chapter as it is her pedagogical hope that this chapter contributes to a collective space where Indigenous and non-Indigenous relationships can be forged with respect, relevance, relationality, and reciprocity on behalf of students everywhere.