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In wartime and post-war situations, the opposition of friend and enemy—based on national divisions—often condemns the dead “enemies” to be ungrievable. To grieve for the excluded others in such times means to break with the friend-enemy opposition. This article examines how the friend-enemy opposition is broken in the case of the actions of Women in Black and Dah Teatar in the context of the civil war in Yugoslavia. By analyzing the vigils of Žene u crnom (Women in Black) in Belgrade and the play Priča o čaju (The Story of Tea) by Dah Teatar, the author discusses the particular strategies through which grief was made possible beyond the friend-enemy opposition and how these strategies open a communitas of mourning. The term “communitas of mourning” refers to the concept of grievability, proposed by Judith Butler in Frames of War.

Introduction to the essay cluster "Theater and Communitas."

The term communitas, introduced into anthropological discourse by Victor Turner in the late 1960s, returned to humanist debates at the threshold of the twenty-first century by way of Roberto Esposito. Referring to Esposito’s concept of communitas, this essay brings out the anthropological tradition in thinking about the common, which Esposito had marginalized. The present author emphasized the importance of processuality and antistructural dimensions of egalitarian forms of togetherness, along with their potential to liberate human capacities of creativity. Examining the relation between munus and ludus, she shows theatricality residing immanently in the root of communitas. Focusing on the aesthetic and creative dimensions of togetherness helps in detecting multiple forms of commonality, and indicates various models of theatrical communitas. Exploring a nonnormative, transformative potential in experimental theater (Jerzy Grotowski, Sarah Kane, Ron Athey, Krzysztof Garbaczewski), she emphasizes collective, temporal, and excessive natures of theater that eschews the market-driven economy, along with the importance of a transversal communitas where the human being is only one of many actors. Some threads of the argumentation are expanded upon in a conversation with Leszek Kolankiewicz, included as an appendix.

Ecopoiesis invites us to become response-able from within our position as part of, rather than separate from, the natural world. What happens, however, when nature disrupts? When being ‘within’ and ‘part of’ becomes disturbing? And, in such situations, what may creative arts therapy offer? When earthquakes struck my home in Aotearoa/New Zealand (2010 onwards), I floundered within my own reactions to nature unchained. And yet, through poietic engagement with natures’ creative and destructive elements, my clients and I found ways to endure and even play within the chaos. I’ve subsequently used arts-based auto-ethnography to chart positionings and practices that may help other therapists to navigate living/working within similarly uncertain situations. In this arts-based exploration, I creatively revisit arts therapy that evolved in response to earthquake disaster and invite wonderings about similar ecopoietic responses to current contexts of COVID and climate change.

Este texto defiende una idea de fraternidad o de sororidad apoyada en la noción de communitas, tal y como fue desarrollada por la antropología de la experiencia en la década de los años sesenta del siglo pasado. De manera más particular, sostiene que la communitas no es una mera comunidad emocional, sino una agrupación de personas que, provenientes de distintas sectores o posiciones sociales, se hermanan y se igualan durante procesos rituales políticos, religiosos o sociales.

Recent years have seen a renewed interest in integrating creative activities into statutory mental health practice in high‐income countries. In this article, we offer an exploratory analysis of an arts project delivered within UK mental health services, Creativity for Enablement and Wellbeing (CREW). Drawing on data collected for a process evaluation of the project, we suggest that conceptualising CREW as liminal and liminoid provides a helpful way to articulate the processes, atmospheres, relationships, and practices of the project. Through this theoretical lens, we identify CREW as a mode of engagement comprising looseness, possibility and collectivity, all brought together through a unique community event, the showcase. We explore CREW's mode of engagement through three themes: 'carving out a liminal space', 'looseness and experimentation,' and 'from liminal to liminoid'. Implications for service delivery are discussed, focussing on how CREW managed to create a transformative space of liminoid possibility rather than a recovery journey delineated by service‐defined imperatives. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Theatre Criticism & Dramaturgy / Tiyatro Eleştirmenliği ve Dramaturji Bölümü Dergisi is the property of Journal of Theatre Criticism & Dramaturgy and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The majority of literature on wars understandably focuses on the horrific aspects of war, such as death, destruction, displacement, and trauma. In this article, however, I want to highlight that life in war is not only brutal and disastrous but also is in some respects deeply joyful and at times even fun. This requires that we portray the horrific experiences of death and destruction but that we also ask: What kind of life emerges in these injured landscapes? Guided by this question, I argue that we cannot understand what war looks like and feels like if we do not understand the relationship between humans and other than humans. More specifically, I show how during the Bosnian War, in the devastated city of ruins, Bihać, shared experiences of joy, fun, and togetherness (communitas) materialized between the town's people and the Una River. Swimming in the river together provided the people of Bihać with an opportunity to create moments of play and laughter between life and death. As people in Bihać explained, these were moment‐by‐moment living situations, where generations blended and where divisions, superiority, and pride were broken down, however temporarily, and new undifferentiated bonds among people were created—communitas. [ABSTRACT FROM AUTHOR]

Comedy is a multidimensional, diverse, and versatile spectacle, an identifiable art form and source of entertainment and it has a rich historical identity and purpose. It contributes to cultural identities and has more recently been proven to provide positive impacts in mental healthcare. It offers social and cultural benefit and influences social change. The growth of live comedy has a strong background in working-class venues, which has possibly predisposed it to being perceived as less significant than other performance arts such as dance and theater. Given the untapped potential for further research this empirical article sought to evaluate the potential opportunities for comedy to make a greater positive impact on local communities. To facilitate this, data were collected through surveys administered online and in comedy clubs in the West Midlands (UK). A total of 179 questionnaires were received, supported with in-depth interviews with comedy club managers. Key issues for live comedy engagement were found to include a lack of awareness, perceived price barriers, and a lack of publicity. Seventy percent of respondents agreed that live comedy could have a wider, positive social impact and also offers a platform to address difficult social issues. A number of participants expressed the importance of communitas and the opportunity to discuss difficult and sensitive issues in a structureless state of liminality. [ABSTRACT FROM AUTHOR]

This ethnographic study uses a phenomenological approach to better understand how Appalachian Trail (AT) and Long Trail (LT) thru-hikers create meaning and make sense of their experiences while hiking. Drawing on participant observation and in-depth interviews with 13 hikers, I analyze hikers’ initial reasons for hiking, their reflections while on the trail, and the impacts thru-hiking had on their self-concepts and social lives. Key findings demonstrate how life on the trail contrasts with hikers’ everyday lives in society and thus suggest ways that their experiences on the AT/LT may give insight into nature, community life, personal change, and the process of personal reflection. In particular, this study suggests that long-distance hiking builds personal skills and confidence. Further, this research uses a phenomenological approach as well as the concepts of liminality and communitas to analyze the creation of an alternative trail subculture and new personal identities on the trail, including trail families.

Since their advent, geographies of religions have emerged as a kaleidoscopic, vital, yet often misunderstood subset of social and cultural geography. In this article, I respond to Kong's call (2010) for geographers to turn to the often neglected functional, mythic, and symbolic dimensions of religion. First, I offer a brief disciplinary biography, outlining seminal currents of research over the past century. In doing so, I identify two scalar poles of analysis around which the emergent literature is oriented – the individual/affective and the collective/structural. At the interface of these poles is a rich, albeit under‐theorised, field of geographic analysis. To address this, I turn to Turner's theory on ritual performance as a way for geographers to better approach this interface and engage with the fundamentality of rituals in the (re)generation of religious worlds. [ABSTRACT FROM AUTHOR]

This article explores aspects of separation from "post-traditional" religiosity characteristic of certain late/post-modern affiliations. To do so, I analyze indepth interviews with 44 individuals who formerly identified with straightedge -- a clean-living youth-oriented scene tightly bound with hardcore music that is centered on abstinence from intoxicants -- about their experiences transitioning through associated music assembly rituals. While features of hardcore music assemblies -- e.g. moshing, slamdancing, sing-a-longs -- have long been treated as symbolic connections that potentially conjure the religious as conceptualized in ´ Emile Durkheim's "effervescence" and the liminality of Victor Turner's "communitas," data on transitions from these features of ritual remain scant. Ex-straightedgers generally believed the sorts of deep connections they professed to experience in hardcore rituals as youths were not necessarily currently accessible to them, nor were they replicable elsewhere. Findings then ultimately suggest some post-traditional religious experiences might now be profitably considered in terms of the life course, which has itself transformed alongside the proliferation of newer late/post-modern affiliations and communities. [ABSTRACT FROM AUTHOR]

This article aims at filling some theoretical gaps in understanding status liminality as a transition state in the processes of social mobility. Based on the ideas of A. van Gennep and V. Turner on the nature of rites de passage, the author reconstructs the types of status liminality - ascending, descending, recursive, permanent liminality and liminoidity. The article identified some features that distinguish liminality from marginality and deviance: transitivity - the altered preliminal position and identity combined with the incomplete metamorphosis; temporality - normative temporal and (possibly) spatial boundaries of the transition period; consequentiality - social significance of the postliminal status transformation for both its bearer and society or social groups involved. The phenomenon of communitas discovered by Turner is of particular importance for understanding the state of liminality for it represents a tendency of liminal people to depart from the mundane domain into the anti- and non-structural social-psychological state in which social ties are vividly affective and social experience has a profound existential effect. For each type of status liminality, the author provides examples from the traditional and modern societies using research in sociology of death, medical sociology, criminal sociology, sociology of tourism, social psychology, etc. To conclude, the author considers such phenomena as precariat, morphological freedom and edgework in the liminality perspective. Thus, the heuristic potential of the concept liminality can make a significant contribution to the study of social changes and understanding mechanisms of reproducing social order at the individual, group and societal levels.

Social capital discourse occupies an important place in disaster studies. Scholars have adopted various inflections of social capital to explain how those with greater amounts of this crucial resource are generally more resilient to disasters and experience speedier recovery. Disaster scholars have also discovered that people typically display altruistic tendencies in the wake of disasters and develop novel networks of mutual support, known as 'communitas', which is also seen to build resilience and boost recovery. In this paper, we use the work of Pierre Bourdieu to synthesise these literatures, conceptualising communitas as 'disaster social capital'. We offer a fleshed‐out definition of disaster social capital to distinguish it from regular social capital and discuss the barriers to, and the enablers of, its formation. While primarily a conceptual discussion, we believe that it has practical and policy value for disaster scholars and practitioners interested in inclusive disaster risk reduction as well as full and just recoveries. [ABSTRACT FROM AUTHOR]

It refers here to the field of cultural management in Mexico and Latin America, and the urgency of attracting epistemologies that have a political impact on practices and elaborations in the field. From the documentary analysis of proposals for professionalization discussion around the subject, the possibility of attracting logical frameworks to think and focus the community as the center of practical deployments from the communitas defined from the biopolitical vector in the manner of R. Esposito, together with a call for the production of knowledge that can overcome traditional discussions about culture, to give way to possible epistemologies that result in the praxis of the field of management as a fundamental contribution in the unfolding of the field. [ABSTRACT FROM AUTHOR]

The popular Latin American musical lyrics that we know today are the result of an intersection of multiple musical currents and social, cultural, political and historical processes. It is important to point out the role of the participants that promoted and transformed them: composers, singer-songwriters and performers, whose musical complexity gradually led them to become representative of their cultures. In turn, this complexity corresponds to the contextual conditions in which the said participants were formed, and are thus reflected in their compositions, which have generated meaning among the listeners of several generations, through ideas that have been shared and disseminated transsubjectively, thereby integrating a variety of national identities. Transsubjectivity can be verified through contemporary rituals: commemorative dates and international festivals, whereby subjects are integrated as a group, in stages of liminality, around dominant characters such as the complex singer-songwriters themselves, along with their continuity through the popular musical lyrics they represent. [ABSTRACT FROM AUTHOR]

In 2020 and 2021, the restrictions imposed by the Covid-19 pandemic suspended or limited important rites and the web became the place to fill the void. In March 2020, I started to conduct virtual fieldwork on this development from the perspective of what happened to the pilgrimage to the Holy Trinity of Vallepietra (Central Italy). [ABSTRACT FROM AUTHOR]

Responding to the Covid-19 crisis, Zoe Seaton, Artistic Director of Big Telly Theatre Company, directed the adaptation for an online experience of two productions that had been conceived originally for face-to-face stagings. The first, co-produced with Oxford's Creation Theatre, was based on a 2019 multi-site production of Shakespeare's The Tempest that challenged many of the dominant conventions of theatrical spectatorship. The second, Operation Elsewhere, had been initially planned as part of a sequence of performances that used gaming approaches to reconfigure and imagine towns and villages in Northern Ireland. Seaton staged both productions via ZOOM to connect audiences and performers enduring various conditions of lockdown - primarily in the UK and Ireland, but also from further afield. Each of the productions was performed in real time online. Each provided a new experience of contingency and copresence to create a reciprocity in performance that had hitherto been the preserve of body-to-body theatrical encounters or online gaming. In a time of intense social isolation, I suggest too, that exercising this mode of spectatorship has the potential to create an experience of communitas that constitutes participation in an assembly that exceeded the limits of co-location in a physical social space. [ABSTRACT FROM AUTHOR]

The author makes an attempt to take a critical look at R. Frost's book of the history of the Polish-Lithuanian union up to 1569, but he was interested only in those fragments which chronologically do not go beyond the Middle Ages. Among the issues the author presents in polemics with R. Frost are: the nature of the Polish-Lithuanian union, an assessment of the Act of Krevo, the theory of Polish incorporationism, an understanding of the role played by the community of Polish realm, a characterisation of the policy of Vytautas Kiejstutowicz and his relations with Wiadyslaw JagieHo, an assessment of the Vilnius-Radom union of 1401 and the Horodlo union of 1413, the consequence of the political upheaval in Lithuania in 1440. [ABSTRACT FROM AUTHOR]

Copyright of kul-tur: Revista Interdisciplinària Sobre la Cultura de la Ciutat is the property of kul-tur: Revista Interdisciplinaria Sobre la Cultura de la Ciutat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Service Industries Journal is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

O artigo caracteriza a autoridade docente como fruto da tradição patriarcal e cristã, na qual a performance do professor instaurava a disciplina e o silêncio. Mas, tal como a Aura da obra de arte entra em decadência pelo avanço técnico, o mesmo ocorreria com a aura do professor: a democratização/laicização da educação, ao desvincular o saber do divino, gera desterritorialização da autoridade docente. Em resposta, busca-se em obras de arte e na filosofia formas de reverter dialeticamente a Aura e o Sagrado no ensino, apontando para a construção de communitas de aprendizado, cujo professar seja experiência estética e coletiva, marcada pela presença de entusiasmo nos corpos.

The article characterizes the teaching authority as a product of patriarchal and Christian tradition, according to which the teacher’s performance would establish discipline and silence. Just like the aura (Benjamin, 2017) of a work of art decays through technical advance, so would the teacher's aura: the democratization/secularization of education, by unlinking knowledge from the divine, generates deterritorialization of authority. In response, means of dialectically reverting the aura in teaching are sought here in works of art and philosophy. These point toward the construction of communitas in learning, in which professing becomes an aesthetic and collective experience, marked by the presence of an embodied enthusiasm.

Despite the fragmentation of audience behaviour and the pluralization of platforms within the media cultures of the digital age, cultural memory practices retain an important feature: They echo a basic existential quest for communitas. The present article compares two seemingly incomparable regimes of memory of our time: the anniversaries of 9.11 on Swedish television and web communities of commemoration of lost loved ones. It suggests through these contrasting examples that existential themes are pursued in the face of three challenges: the temporality of instantaneity, the all-pervasive networked individualism that makes memory into a matter of elective affinities, and the technological capacities that subject memory to endless revision. The article explores the existential dimension of these memory practices in line with research within the culturalist emphasis on the study of media and religion. This debate recognizes the need for a broader understanding of the mediated qualities of religion and the religious qualities of the media. The article argues that both televisual anniversaries of trauma that invite audiences to an annual return, and our new multiple and fragmented media memories compel us to conceive of our hyper-contingent, late-modern digital age as a quest for meaning, transcendence and cohesion – for what Victor Turner (1969) called existential communitas.

In an effort to provide new ways of theorising pilgrimages as global encounters (White, 2012) and sites of cosmopolitan interactions, I offer a sound-centred investigation into inter-pilgrim musical events that occurred along the Camino de Santiago (Camino), a historically Catholic pilgrimage in northern Spain. This ethnomusicological perspective on the Camino highlights contemporary pilgrim rituals and artistic practices that are frequently overlooked in other Camino scholarship, which tends to focus on historical musics or the tangible arts. On the Camino, music primarily facilitates cross-cultural encounters for pilgrims, though at varied levels of mis/understandings. This paper explores the ways that participatory musicking (Small, 1998) connects international pilgrims who otherwise would not have come in contact with one another and reinforces the Camino’s Catholic heritage, despite the recent rise in non-religious walkers. The study is based on participant observation and autoethnographic engagement with musical rituals that occurred in two religious albergues (lodging for pilgrims) during the summer of 2019. Due to increased levels of fleeting global-local interactions between pilgrims, the twenty-first century Camino has become a site for cosmopolitan communal formations, although they are often constructed on the basis of language or nationality. Throughout my research, the religious albergues were significant social spaces for interactions across these barriers, as they emphasised communal evenings and activities involving Western popular or Catholically inspired musics after full days of walking alone. I argue that these participatory rituals utilised assumed cosmopolitan musical knowledges and religious backgrounds in order to create idealised senses of heightened community, conceptualised here in terms of Turnerian communitas. These encounters heavily relied on Western musical aesthetics in order to be meaningful for the pilgrims, and at the same time, national distinctions were constructed and broken down in order to create the feeling of a global pilgrim community. Communitas was only achievable after essentialised difference was first sounded, which it often occurred at the cost of excluding particular groups of pilgrims.

Stemming from one creative experience that emerged in London during the lockdown period of early 2020, called the “Emergency Festival”, this article is a result of observations based on practice, centred around the festival that a group of multicultural, interdisciplinary movement-based researchers and dancers created, curated, and participated in. It explores the possibility of making a radical alterity out of a hitherto previously established ideas of territory, time, and community, using performative writing as practice-based analysis scheme. Employing the concept of “communitas” by Victor Turner (1969) to approach the phenomenon of dance through distance, the article examines the importance of the emergence of collaboration as a way forward, epistemologically looking at dance as a method of creating and sustaining communities that are longing for a sense of home in times of change. The writing is divided into three parts, focussing on the aspects of space, time, and community, all the while embedded in the nature of movement and its effect on the practitioners, and onlookers, concluding with contemplation on the place of dance in varied mediums and the way forward to study it in a period of global disruption.

Pilgrimage has evolved alongside the evolution of communication technology. Emergent communication technology is changing how people present themselves and tell others about their experiences, including within the context of pilgrimages. Building upon this recognition, this paper examines how evolving communication technologies have changed pilgrimage using Victor Turner�s concepts of rite of passage and communitas. This conceptual paper recognises that technologies, such as the internet, mobile phones and social media, all influence the three stages of the pilgrimage ritual process: separation, liminality, and reintegration. This paper provides a conceptual clarification of the differences between how the medieval and the 21st Century pilgrims experience and represent rite of passage and define the spirit of community, and position themselves in relation to both. The paper shows that the power of the physical journey clearly remains the same in modern pilgrimages as it was in the medieval era, but the mental journey is meaningfully altered. Using Goffman�s theory of �self-presentation�, this paper highlights changes in how pilgrims present themselves and their pilgrimage experiences on social media. In this context, self-presentation is described as the way the pilgrim manages the impressions they make on other people, particularly at the liminal stage. While medieval pilgrims kept diaries, modern pilgrims document their pilgrimage experiences via constant status updates on social media. Social media is an important medium for modern pilgrims to present a certain version of self-identity to other users of sites. This paper emphasises the need for a deeper assessment of the conceptualisation of pilgrimage in the contemporary era as technology creates and facilitates new layers of the pilgrimage experience.

This essay uses both published and archival material to reconstruct the ideological and social contexts of Martin Buber’s 1909 address “Judaism and the Jews”. It suggests that Buber’s address became immensely influential because it equated mysticism and politics into one metaphor. Secondly, it shows that Buber imported this idea from debates and discussions that took place almost a decade earlier in Berlin, among the bohemian circle known as the Neue Gemeinschaft (new community). Finally, the author hopes to show that the social context can be as crucial to understanding an idea as the ideological context. The question about the functions and potentials of the “community” so central to Buber and the Neue Gemeinschaft must be examined, this essay contends, not only conceptually but also as a lived reality. In order to get a glimpse of “the new community”, this essay reproduces archival material that testifies not only to what people thought but also what they did, who they were, and how they interacted.

Disaster scholars have long complained that their field is theory light: they are much better at doing and saying than analyzing. The paucity of theory doubtless reflects an understandable focus on case studies and practical solutions. Yet this works against big picture thinking. Consequently, both our comprehension of social suffering and our ability to mitigate it are fragmented. Communitas is exemplary here. This refers to the improvisational acts of mutual help, collective feeling and utopian desires that emerge in the wake of disasters. It has been observed for as long as there has been a sociology of disasters. Within the field, there have been numerous efforts to name and describe it. Yet there has been far less enthusiasm to theorize it, which means that the disaster literature has not adequately explained the social conditions under which communitas arises (or fails to). In this article, we synthesize numerous case studies to do so. This takes us beyond simple statements of what communitas is and what it should be called, to considerations of the conditions under which it emerges, how it should be conceptualized, the factors that might prevent communitas, and how we might encourage it. While primarily a theoretical work, the identification of communitas' facilitators and barriers have practical import for disaster risk reduction (DRR) policy as communitas has frequently proven to be a positive and potent force. [ABSTRACT FROM AUTHOR]

In an effort to provide new ways of theorising pilgrimages as global encounters (White, 2012) and sites of cosmopolitan interactions, I offer a sound-centred investigation into inter-pilgrim musical events that occurred along the Camino de Santiago (Camino), a historically Catholic pilgrimage in northern Spain. This ethnomusicological perspective on the Camino highlights contemporary pilgrim rituals and artistic practices that are frequently overlooked in other Camino scholarship, which tends to focus on historical musics or the tangible arts. On the Camino, music primarily facilitates cross-cultural encounters for pilgrims, though at varied levels of mis/understandings. This paper explores the ways that participatory musicking (Small, 1998) connects international pilgrims who otherwise would not have come in contact with one another and reinforces the Camino's Catholic heritage, despite the recent rise in non-religious walkers. The study is based on participant observation and autoethnographic engagement with musical rituals that occurred in two religious albergues (lodging for pilgrims) during the summer of 2019. Due to increased levels of fleeting global-local interactions between pilgrims, the twenty-first century Camino has become a site for cosmopolitan communal formations, although they are often constructed on the basis of language or nationality. Throughout my research, the religious albergues were significant social spaces for interactions across these barriers, as they emphasised communal evenings and activities involving Western popular or Catholically inspired musics after full days of walking alone. I argue that these participatory rituals utilised assumed cosmopolitan musical knowledges and religious backgrounds in order to create idealised senses of heightened community, conceptualised here in terms of Turnerian communitas. These encounters heavily relied on Western musical aesthetics in order to be meaningful for the pilgrims, and at the same time, national distinctions were constructed and broken down in order to create the feeling of a global pilgrim community. Communitas was only achievable after essentialised difference was first sounded, which it often occurred at the cost of excluding particular groups of pilgrims. [ABSTRACT FROM AUTHOR]

This article is an examination of the intercultural alliances that made use of performative methods during the 1980s and 90s to protect the Stein Valley from industrial logging. This work historicizes the questions this special issue asks about non-Indigenous strategic disruptions of settler colonial systems and beliefs to demonstrate festival organizing and the creation of a subjunctive experiences of sovereignty using "communitas" in order to protect biotas and Indigenous relations to land and waters. [ABSTRACT FROM AUTHOR]

Pilgrimage has evolved alongside the evolution of communication technology. Emergent communication technology is changing how people present themselves and tell others about their experiences, including within the context of pilgrimages. Building upon this recognition, this paper examines how evolving communication technologies have changed pilgrimage using Victor Turner's concepts of rite of passage and communitas. This conceptual paper recognises that technologies, such as the internet, mobile phones and social media, all influence the three stages of the pilgrimage ritual process: separation, liminality, and reintegration. This paper provides a conceptual clarification of the differences between how the medieval and the 21st Century pilgrims experience and represent rite of passage and define the spirit of community, and position themselves in relation to both. The paper shows that the power of the physical journey clearly remains the same in modern pilgrimages as it was in the medieval era, but the mental journey is meaningfully altered. Using Goffman's theory of 'self-presentation', this paper highlights changes in how pilgrims present themselves and their pilgrimage experiences on social media. In this context, self-presentation is described as the way the pilgrim manages the impressions they make on other people, particularly at the liminal stage. While medieval pilgrims kept diaries, modern pilgrims document their pilgrimage experiences via constant status updates on social media. Social media is an important medium for modern pilgrims to present a certain version of self-identity to other users of sites. This paper emphasises the need for a deeper assessment of the conceptualisation of pilgrimage in the contemporary era as technology creates and facilitates new layers of the pilgrimage experience. [ABSTRACT FROM AUTHOR]

This phenomenological study opens up the embodied nature of play, adding to the field's understanding of embodiment as it manifests in a non-standardized (outside formal education) realm of human experience. The location-aware, augmented reality mobile game, Pokémon Go, provided a viable context to consider the ways the game/device, players, play spaces, and even non-players come together in lived, embodied play moments. The authors analyzed lived-experience data from 30 Pokémon Go players to better understand various possibilities for play, specifically how these possibilities were embodied in the lifeworld of players. This paper explicates two salient manifestations of the phenomenon. The first concerns the player-space-technology entanglements, detailing the simultaneous emergence of virtual and real spaces, variant modes of embodied mobility, the way players shaped physical spaces, and the emergence of human–technology relations. The second elaborates on the community that emerged among Pokémon Go players, helping to characterize embodiment as it permeates social and cultural aspects of play. The phenomenological insights explicated here provide explanatory power that has the potential to inform ludology and game studies while further grounding and extending the work of embodied cognitive scientists, possibly contributing to social accounts of embodiment. [ABSTRACT FROM AUTHOR]

Copyright of Creative Arts in Education & Therapy is the property of Inspirees International B.V. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article draws on interview data with women in two prisons in the UK to understand the emotionally nuanced and sensorially attuned relationship between confined individuals and carceral space. The article presents an 'emotional map' comprising: (i) living or 'being' spaces; (ii) free places; and (iii) 'therapeutic spaces' in prisons.This tri-spatial thematic analysis enables us to use Victor Turner's concepts of 'liminality' and 'communitas' to uncover the complex, contradictory and sometimes transient emotions that permeate spaces in prison. This in turn allows us to explore the particular challenges that accompany transitional periods of adjustment to prison life, the environmental constraints that women in prison live with and navigate, and the careful 'spatial selection' strategies they implement in order to seek or avoid particular emotional states. [ABSTRACT FROM AUTHOR]

Initial Teacher Education (ITE) can be viewed as a formative space in professional teacher identity development. Practice plays a key role in shaping teacher identity, providing a window into the reality of school life, as well as nurturing professional autonomy. Due to the Covid-19 pandemic, school life shifted suddenly and unrecognisably in March 2020. This paper focuses on the experiences of preservice teachers on an ITE programme (post-primary) in one Irish University during the period of sudden school closures. The data show the transition to be problematic, underscored by a chaotic pivot to virtual communication and a destabilising of the structures that normally provide consistency. Yet it also presented opportunities and responsibilities. We explore Victor Turner's work to consider school placement as an 'in between' space for preservice teachers and to examine the extent to which sudden school closures heightened this sense of 'in betweenness'. We argue that the pandemic and its lifting out of pervasive and predictable social structures, gave rise to a period of 'anti-structure'. We view school closures as an example of anti-structure, which challenged preservice teachers' identity formation yet also gave rise to 'communitas' through experimentation with different modes of being and doing. [ABSTRACT FROM AUTHOR]

Social reintegration of veterans following military service is a complex, nonlinear, and highly individualized phenomenon, yet much of the existing literature on transition of veterans represents a narrow and limited perspective of transition and trauma—mostly written from an external (nonveteran) perspective. We present an alternative based on concepts of personal and social transformation through collaborative, veteran-led social science research designed from an interdisciplinary Adlerian (social systems) perspective. Participants are military-connected students, defined as service members, veterans, family members, and mental health practitioners experienced in working with military and veteran populations. Research projects described were designed by the students, and these typically involved informal data gathering and self-reflection, combined with extensive review of current interdisciplinary literature in the military psychology field. A case study of informal participative research with a cohort of female Navy Chief Petty Officers by the first author is presented as an example. Conclusions and recommendations support further extension of this cohort-driven adult learning model as a means of combining personal growth and social transformation by including military, veteran, and family perspectives in research and literature directed toward veterans' social and mental health programs and policies. [ABSTRACT FROM AUTHOR]

This study aimed to examine the role of the experiencescape and co-creation behavior in the formation of customers' subjective well-being in the context of home-based accommodations at cultural heritage sites with communitas as the moderator. Empirical data were collected from 413 respondents in the ancient city of Pingyao, China. The results of the structural equation model indicated that the experiencescapes formulated by home-based accommodations at cultural heritage sites attracts customers who became 'active creators of value' to generate more active participation and interaction behavior. Affective/cognitive value was a useful mediator in bridging experiencescapes, co-creation behavior, and subjective well-being. In addition, communitas strengthened the effects of the interaction and active participation behaviors on affective value and of the active participation behavior on cognitive value. Further, the study investigate how combinations of value co-creation dimensions might lead to subjective well-being by utilizing fuzzy set qualitative comparative analysis. These findings provide valuable information for applying experiencescape to create a more value experience in home-based accommodations at cultural heritage sites. • This study validated the pivotal role of experiencescape in HBA value co-creation. • Experiencescape had a stronger impact on co-creation than co-creation behavior. • Affective and cognitive values as the outcomes contribute to subjective well-being. • Communitas strengthen the effects of co-creation behavior on co-creation value. [ABSTRACT FROM AUTHOR]