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This paper offers a new child‐centred methodology that explores children's visions of their futures, encourages self‐reflection and depth and shares children's voices with peers and researchers, as unbrokered as possible. This final stage of a longitudinal, arts‐based, social science‐informed project was delivered by partnering with schools in socially disadvantaged areas of Bristol, a UK city. Our two‐phase activity used a Tree metaphor to explore children's hopes, ambitions and support, looking forward to recovery from the COVID‐19 pandemic. The analysis combined multi‐disciplinary thematic and visual‐narrative analysis, and revealed diversity, intersection and individuality in themes that scaled out from the child and their family over different timescales. Themes included emotion (concerns; empathy), experiences (happenings, resources skills; aspirations) and relationships, linked to their recent experiences of COVID‐19 mitigation. The paper reflects critically on children's and researchers' positionality, and the complexities involved in developing research methods that encourage children's autonomy, agency and authenticity. [ABSTRACT FROM AUTHOR]

Art and other creative approaches can be a resource or a mobilising strategy for activists and artists. Little work has been done, however, on what happens in the interactions between artists and activists in the daily life of a conflict. We suggest that social mobilisations may be seen as organising processes as well as mobilising actions, and we analyse how creative and artistic approaches may contribute to this organising/mobilising reciprocal relationship. Based on an analysis of the conflict that accompanied the announcement of the Lejaby plant closure in Yssingeaux in 2012, which inspired several artists, we show that these approaches, by their capacity to grasp sensitive dimensions, favour spatio-temporal episodes that structure the struggle: some constitute protected spaces, which can correspond to an intimate reflexive time or to a collective moment of synchronisation of subjective temporalities; others correspond to hybridised spaces, which can be sometimes empowering and sometimes theatrical. We thus contribute both to the field of social movement analysis and to the role of art and creativity in the organisation and mobilisation within these movements; we also contribute to a relational reading of the spatial and temporal dimensions of organisation and collective action, in the tradition of Lefebvre and Massey. [ABSTRACT FROM AUTHOR]