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In this chapter, I suggest that institutional guidelines and principles for conducting ethical research within Indigenous and cross-cultural contexts (see for example, the Australian Institute of Aboriginal and Torres Strait Islander Studies Guidelines for Ethical Research in Indigenous Studies, 2012) may not, in themselves be enough to promote the ethical practices nor lead to innovative outcomes if the fundamental premises of Western research in Indigenous contexts remain the same. Alternatively, valuing and applying Indigenous conceptions of Being, relationality and knowing when engaging with Indigenous participants and also, within actual procedures of research may lead to greater ethical know-how and a deeper understanding of how Indigenous modes of knowledge production can extend the frontiers of knowledge to solve real world problems. Such possibilities are predicated on recognising the limitations of our own epistemologies and ontologies and addressing the question of how we might refigure the role and positioning of ‘outsider’ researchers in ways that imbed, more self-reflexive and culturally appropriate modes of engagement and the application of Indigenous notions of Being, knowing and doing into research procedures to enhance the impact and benefits of research both within and beyond Indigenous communities.

This paper comes from workshop activities and structured reflection by a group of artists and researchers who have been using artistic practice within research projects aimed at enabling researchers to collaborate with communities. The paper aims to discuss these issues.

Three out of four in the group have a practicing creative background and their own studio/workshop space.

Artists are often employed – whether in schools or research projects – to run workshops; to bring a distinctive set of skills that enable learning or collaboration to take place. In this paper the authors reflect on the different meanings and connotations of “workshop” – as noun (as a place where certain types of activity happen, a bounded space) and a verb (to work something through; to make something together). From there the authors will then draw out the different principles of what artistic practice can offer towards creating a collaborative space for new knowledge to emerge.

Key ideas include different repertories of structuring to enable different forms of social interaction; the role of materal/ality and body in shifting what can be recognised as knowing; and the skills of “thinking on your feet”, being responsive and improvising.

The authors will conclude by reflecting on aspects to consider when developing workshops as part of collaborative research projects.

We issue a double Souvenir number of The Library World in connection with the Library Association Conference at Birmingham, in which we have pleasure in including a special article, “Libraries in Birmingham,” by Mr. Walter Powell, Chief Librarian of Birmingham Public Libraries. He has endeavoured to combine in it the subject of Special Library collections, and libraries other than the Municipal Libraries in the City. Another article entitled “Some Memories of Birmingham” is by Mr. Richard W. Mould, Chief Librarian and Curator of Southwark Public Libraries and Cuming Museum. We understand that a very full programme has been arranged for the Conference, and we have already published such details as are now available in our July number.

Life studies are a rich source for further research on the role of the Afro‐American woman in society. They are especially useful to gain a better understanding of the Afro‐American experience and to show the joys, sorrows, needs, and ideals of the Afro‐American woman as she struggles from day to day.

ONE OF THE questions I get thrown at me at fairly frequent intervals by undiscerning friends is ‘Why don't you go on Mastermind/Brain of Britain/ etc? You're a librarian. You could do it easily.’