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Abstract Introduction Clinical trials must include diverse participants to ensure the wide applicability of results. However, people from ethnic minorities are included in clinical trials at rates lower than expected given their share of the population. Working with South Riverside Community Development Centre (SRCDC), Talking Trials used public engagement to foster discussions around the underrepresentation of those from minority ethnic communities in clinical trials and to identify and address concerns surrounding trial participation. Methods We conducted three workshops with 13 co‐researchers from minority ethnic backgrounds. We explored perceptions and understanding of clinical trials alongside participatory art activities to help move away from verbocentric methods of communication. These artworks formed an exhibition that was presented to the community, prompting further discussions and engagement. Findings Co‐production workshops were an effective tool to introduce the public to trial research. With little knowledge of clinical trials at the beginning of the process, our co‐researchers formed a cohesive group, sharing initial fears and mistrust towards trials. As conversations progressed these attitudes clearly shifted. Artwork produced during the workshops was incorporated into an exhibition. Quotes and creative pieces from the group were included to reflect the themes identified. Presenting the exhibition at Riverside Festival enabled further engagement with a wider diverse community. The focus on co‐production helped build a network of individuals new to research and keen to become involved further. Conclusion Inclusive and democratic co‐production, enriched by participatory art practices, provided a powerful means of enabling our group to create new insights and foster new relationships. Projects like Talking Trials can diversify the research process itself—for example, four co‐researchers have commenced lay research partner roles on trial management groups and a lay advisory group is in development. Patient or Public Contribution Three members of staff at SRCDC were on the project delivery group and involved in the initial project design, subsequently helping to connect us with members of the Riverside community to work as co‐researchers. Two of the SRCDC staff are co‐authors of this manuscript. The project had 13 public co‐researchers guiding the direction of this research and creating the artwork displayed in the art exhibition.

IntroductionThe role of the arts in health is increasingly recognised, with participatory arts-based approaches facilitating public engagement. However, little is known about men's involvement in art-based participatory research. We aimed to investigate how men who are fathers may be engaged creatively to explore experiential aspects of fathering and parenthood.MethodsFathers collaborated with an artist, sharing individual perspectives around fatherhood by telephone and email, leading up to creative representations of fatherhood. Initial conversations were prompted by images from a 2020 exhibition catalogue entitled “Masculinities” (Barbican Centre, London) inviting participants' responses to the photographic curation. The catalogue served as an artistic reference to gauge a sense of participants' creative predispositions, as well as a foundation to facilitate spontaneous dialogue about personal meanings of fatherhood. Fathers' experiences of contemporary arts varied greatly; yet all fathers confidently shared responses ranging from photographers' representation of masculinity and fatherhood and perceptions of what was excluded or privileged within this very specific curation. These discussions further led to conversations around representations of fatherhood and highlighted particular areas of interest in terms of fathers' involvement in research and public engagement. The artist provided reflections to each participant by email with links to arts resources building on the initial conversations. Two further shorter sessions followed as fathers' key messages emerged, and the final forms of their own creative expressions crystallised.ResultsThe final pieces included a musical composition around sharing vulnerability as a new father, a word cloud to represent gendered language of parenthood, an animated graphic image representing the bond between father and child, a combination of short poetic stanzas highlighting assumptions around fatherhood, an experiential photographic record of a father and a son in the early years, and a cartoon strip around emotional intelligence in parenting.DiscussionArts-based participatory engagement enabled to capture deep-rooted experiences of being a father in modern society, illuminating common cultural and intergenerational perspectives, while also tapping into unique individual experiences. The richness and diversity of these unique responses suggest that arts-based methodology can facilitate public engagement with men and lead to deep reflections on complex and socially constructed phenomena such as fathering and parenthood.

This paper explores the experiences of disabled sailors on board a tall sailing ship, adapted for accessibility. Eight disabled sailors kept audio diaries and created artwork during the voyages, as well as taking part in interviews afterwards. In reporting their accounts, we explored what it meant for participants to go to sea. We became particularly interested in embodied activities on board ship, the ways in which sailing created and highlighted new identities, and the social aspects of sailing in a team. Our account brings together some of the central concerns in Disability Studies with the perspectives of social practice theorists, and seeks to add layers of meaning to both approaches. Since this is a nautical project, the paper is structured by following the stages of going to sea, and in the words of one participant, we seek to ‘join the dots between medical, academic and anecdotal knowledge’.

Since 2004, medical students at the University of Bristol have been required as part of their core curriculum to submit creative works for assessment. This requirement, which we term, ironically, “compulsory creativity”, may be unique within medical education where arts-based modules are typically elective. Such courses often harness the insights of established artists and writers in the illumination of medical themes. Less commonly students are called upon to link their own creative work with clinical and other life experience. Occasions for students to develop such an interpretative voice are generally sparse but the benefits can be argued theoretically and practically. In this paper we explore the rationale for the inclusion of such opportunities, the ways in which we have woven creativity into the curriculum and the sorts of artistic outputs we have witnessed. Contextualised links to a wide range of original student works from the www.outofourheads.net website are provided, as is a range of student reflection on the creative process ranging from the bemused to the ecstatic. The paper provides a model and a guide for educationalists interested in developing artistic creativity within the medical curriculum.

The Medical School at Bristol University is noted for offering, and in some instances requiring, its students to work creatively with medical themes. Students, artists, educationalists and a web designer have worked to create an on-line exhibition of the resulting creative output. This can be viewed at www.outofourheads.net. This site is a themed repository of poetry, prose, drawings, paintings, cartoons, films, music, dance and rap. Most works come with commentaries that can be as illuminating as the works they describe. The site invites comment and welcomes new postings from anyone connected to medicine. As an alternative to the conventional pedagogical report, and in keeping with the subject matter, in this paper we tell the story of this unique educational enterprise through the narratives of four of its principle architects. The ‘Teacher's Tale’, the ‘Designer's Tale’, the ‘Curator's Tale’ and the ‘Artist's Tale’ offer different, personal, tellings of how the site came to be. Each tale contains hypertext links to notable works on the site some of which have become teaching resources within the institution. This paper is of relevance to anyone who seeks to explore and champion the human insights of this privileged community.