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This paper aims to contribute to understandings of the dynamics of marketplace exclusion and explore the benefits of a performative approach to knowledge production.

Interactive documentary theatre is used to explore the pressing issue of marketplace exclusion in a deprived UK city. The authors present a series of three vignettes taken from the performance to explore the embodied and dialogical nature of performative knowledge production.

The performative mode of knowledge production has a series of advantages over the more traditional research approaches used in marketing. It is arguably more authentic, embodied and collaborative. However, this mode of research also has its challenges particularly in the interpretation and presentation of the data.

The paper highlights the implications of performative knowledge production for critical consumer learning. It also explores how the hitherto neglected concept of marketplace exclusion might bring together insights into the mechanics and outcomes of exclusion.

While theatrical and performative metaphors have been widely used to theorise interactions in the marketplace, as yet the possibility of using theatre as a form of inquiry within marketing has been largely neglected. Documentary theatre is revealing of the ways in which marketplace cultures can perpetuate social inequality. Involving local communities in the co-production of knowledge in this way gives them a voice in the policy arena not hitherto fully addressed in the marketing field. Similarly, marketplace exclusion as a concept has been sidelined in favour of marketplace discrimination and consumer vulnerability – the authors think it has the potential to bring these fields together in exploring the range of dynamics involved.

The purpose of this poetic inquiry was to understand how the professional development school (PDS) model can help pre-service teachers (PSTs) develop an inclusive philosophy of teaching while positioning themselves as social justice advocates. Four clinical interns collaborated in the research process guided by the university professor-in-residence (PIR).

To conduct this poetic inquiry the interns kept journals, participated in individual interviews and weekly book club discussions to help us understand how education is situated within a broader social justice framework. Transcription poems were created from discussion and interview transcripts to capture the interns' perspectives and experiences in developing their philosophies.

The findings, shared through transcription poems, indicate that the interns established inclusive beliefs, experienced tensions between their beliefs and practices and emphasize the importance of community in developing as social justice advocates.

By sharing the findings through poetry, this study invites a more focused look into the nuances of PST’s emerging beliefs on inclusive education in a PDS.

This paper aims to explore graduate perspectives about the creation and use of professional artefacts to communicate work-based inquiry projects to professional audiences.

The study was based on constructivist qualitative interviews with 14 graduates from a part-time professional practice in arts programme and used thematic analysis to interpret and discuss the findings.

Participants indicated a perceived value in the use of the professional artefact as a way of articulating their professional inquiry. Professional artefacts enable essential communication skills for professional contexts, have the capacity for engaging with professional audiences that are external to the university, have the potential for enabling further study and workplace employability, show awareness of project management and leadership capabilities and helped some individuals build on and share their own personal philosophy of practice with peer professionals.

As a small-scale research project that used purposive sampling, the findings are not representative, but could provide the creative means to develop professional artefacts within work-related educational programmes and workplace learning programmes.

It is argued that the process and production of professional artefacts can provide the means for communicating work-based projects to professional audiences within workplace settings.

Professional artefacts explore and present developmental aspects of work-based inquiries with distinctive creative approaches to favour practice knowledge and innovation that can be expressively shared with peer professionals.

The purpose of this study is to examine the potential of integrating material from the arts into postgraduate curricula to deepen students’ engagement with marketing phenomena. The authors assess the use of arts-based activities, within a broader critical pedagogy, for encouraging imaginative and analytical thinking.

The authors devised two learning activities and an interpretive method for studying their value. The activities were an individual essay connecting themes in song lyrics to marketing, and a group photography project. These were applied, within a broader, critical approach, in postgraduate modules on sustainability, ethics and critical marketing. Data collection comprised diaries kept by the teachers, open-ended feedback from students and students’ assignments.

Students showed high levels of engagement, reflexivity and depth of thought, in felt experiences of learning. Their ability to make connections not explicitly in the materials, and requiring imaginative jumps, was notable. Several reported lasting changes to their behaviour. Some found the tasks initially intimidating or, once they were more engaged, stressful or saddening.

This adds to scholarship on management education by showing the usefulness of an arts-based approach towards a transformative agenda.

It offers a template of how to draw from the arts to strengthen critical engagement upon which marketing teachers can build. It also contains practical advice on the challenges and benefits of doing so.

The authors provide evidence that this approach can enhance sensitivity and reflexivity in students, potentially producing more ethical and sustainable decisions in future.

The pedagogical interventions are novel and of value to lecturers seeking to enhance critical engagement with theory. An empirical study of an attempt to integrate arts into teaching marketing represents a promising direction, given the discipline’s creative nature.

As an exploration of how “impact” might be reconsidered, the purpose of this paper is to suggest that current contemporary understandings of “impact” fail practice and research by obscuring the space for reflexive criticality that is crucial for an individual or organisation to flourish. That it thus leads to an already predefined enculturated understanding of “impact”.

Offering some interrogation and folkloristic analogy of the meaning of “impact”, three brief expositions of differing arts-based práxes concerned mainly with reflection and connection, are then discussed through the lens of Ricœur’s et al. (1978) conflation of the hermeneutical process with phenomenology.

It is suggested that the implications of restoring, refreshing, or representing “impact” give license to a personal/professional revitalisation, and that reformulating an understanding of “impact” through re/search might offer a potential pedagogic tool, and alternative organising feature.

Through the introduction of inter-disciplinary thinking and práxes, the paper offers novel autoethnographic arts-based methods for personal, professional and organisational development and growth.

The concept of personal recovery is now a key pillar of service delivery. It aims to support individuals to flourish and establish a new identity following an acute episode or diagnosis. This view of recovery is unique to each person on that journey. However, there has been a significant focus on measuring these experiences. This paper aims to explore the influence of social constructionism on the concept of recovery within an Irish context, seeking to understand the influence of language, discourse and power on service users’ experiences.

A qualitative, interpretivist methodology was adopted for this case study design. Semi-structured interviews were conducted with 12 service users. Thematic analysis was chosen as the method of analysis.

Personalising recovery did not always lead to the removal of biological symptoms, but with the appropriate supports, individual’s recovery journey was greatly enhanced. On the contrary, personal recovery places overwhelmingly responsibility on the individual to succeed, largely driven by neoliberal discourse. This focus on individualism and the pressure to succeed was further experienced when people sought to re-integrate into society and participate in normalised social order. Ultimately, for many service users, they viewed personal recovery as an unfulfilled promise.

It is not a representative sample of service users within an Irish context.

To the best of the authors’ knowledge, this is the first study to explore influence of social constructionism on the concept of personal recovery within a mental health service context.

This paper examines the impact of a blockchain platform on the role and importance of trust in established buyer-supplier relationships.

A literature review provides insight into trust development in supply chains. Research uses a case study of two wine supply chains: the producers, importers, logistics companies and UK Government agencies. Semi-structured interviews determine how trust and trustworthiness develop in buyer-supplier relationships and the impact of a blockchain-based technology proof of concept on supply chain trust.

A blockchain-based platform introduces common trusted data, reducing data duplication and improving supply chain visibility. The platform supports trust building between parties but does not replace the requirements for organisations to establish a position of trust. Contrary to literature claims for blockchain trustless disintermediation, new intermediaries are introduced who need to be trusted.

The case study presents challenges specific to UK customs borders, and research needs to be repeated in different contexts to establish if findings are generalisable.

A blockchain-based platform can improve supply chain efficiency and trust development but does not remove the need for trust and trust-building processes. Blockchain platform providers need to build a position of trust with all participants.

Case study research shows how blockchain facilitates but does not remove trust, trustworthiness and trust relationships in established supply chains. The reduction in information asymmetry and improved supply chain visibility provided by blockchain does not change the importance of trust in established buyer-supplier relationships or the trust-based policy of the UK Government at the customs border.

The purpose of this study is to fill a gap in the literature by examining the import and impact of the generative leadership philosophy and praxis of Ambassador Aurelia Erskine Brazeal, an African American Female Foreign Service Officer.

This single subject case study, augmented by portraiture, employs an interdisciplinary methodological design also using polyvocal narrative, oral history and arts-based research.

The research revealed that a prosocial disposition, compassion, strategic vision, clarity of purpose, commitment to fair play, focus on balance, hearing everyone out and the practice of leadership as a potentiating art are the hallmarks of a generative leadership praxis.

The research posits that to be effective in the 21st century, leaders would do well to incorporate generative leadership qualities and characteristics into their praxis.

This study found that listening, co-creating connections and safe spaces, promoting dialog, critical reflection and collective action are as important to diplomatic tradecraft as they are to generative leadership practice.

The challenge of epistemic exclusion suggests that a well-conceived case study examining the life, leadership philosophy and praxis of Aurelia Erskine Brazeal – an individual of merit and distinction – can serve as an exemplar in efforts to reimagine public leadership in the 21st century.

The value of this research is found in its phenomenological approach which shares insights drawn from personal biography as well as key perspectives on public history.

The purpose of this paper is to consider the social turn in contemporary capitalism and contemporary art through the lens of art-based social enterprises (ASEs) that aim to create positive social benefits for young people experiencing forms of marginalisation, and which trade creative products or services to help fulfil that mission. A growth in ASEs demonstrates a growing interest in how the arts can support social and economic development, and the ways new economic models can generate employment for individuals excluded from the labour market; extend opportunities for more people to participate in art markets; and challenge dominant market models of cultural production and consumption.

This paper considers a number of challenges and complexities faced by ASEs that embrace a co-dependence of three goals, which are often in tension and competition – artistic practice, social purpose and economic activity. It does so by analysing interviews from staff working with 12 ASE organisation’s across Australia.

While the external forces that shape ASEs – including government policy, markets, investors and philanthropy – are interested in the “self-sufficient” economic potential of ASEs, those working in ASEs tend to prioritise social values and ethical business over large financial returns and are often ambivalent about their roles as entrepreneurs. This ambivalence is symptomatic of a position that is simultaneously critical and affirmative, of the conditions of contemporary capitalism and neoliberalism.

This paper addresses a gap in social enterprise literature presenting empirical research focussing on the lived experience of those managing and leading ASEs in Australia.

In exploring the impact of reflective and work applied approaches, the authors are curious how vivid new insights and collective “Eureka” momentums occur. These momentums can be forces for work communities to gain competitive advantages. However, the authors know little of how learning is actively involved in the processing of creating new insights and how such a turning to learning mode (Pässilä and Owens, 2016) can be facilitated. In the light of cultural studies and art education, the purpose of this paper is to explore how the method of dramatising characters (DC) in a specific innovation culture can be facilitated. In this viewpoint, the authors are suggesting one approach for this type of turning to learning which the authors call Beyond Text, outlining its theoretical underpinnings, its co-creative development and its application.

In this Beyond Text context, the authors are introducing the method of DC and the method of iStory both of which are the authors’ own design based on the theory of the four existing categories of a research-based theatre.

The findings of this viewpoint paper are that both iStory as well as DC methods are useful and practical learning facilitation processes and platforms that can be adopted for use in organisations for promoting reflexivity. Especially they can act as a bridge between various forms of knowing and consummate the other knowledge types (experiential, practical and propositional) in a way that advances practice-based innovation.

The originality and value of iStory and DC is that they can be utilised as dialogical evaluation methods when traditional evaluation strategies and pre-determined indicators are unusable.