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There have been several arguments for the need to generate evidence-based creative\ud forms of psychological interventions in Improving Access to Psychological Services\ud (IAPT), the main primary mental health provider in hospitals in England, UK. In this\ud feasibility study, we sought to identify helpful and unhelpful factors of a new creative\ud group psychotherapy, titled Arts for the Blues. We also wanted to find out whether\ud the research tools used were acceptable and sensitive. We therefore engaged a group\ud of seven patients attending an IAPT service in the North West of England, and a group\ud of six staff working in the same service, to attend one creative workshop each, followed by a focus group. The two focus groups were transcribed and analysed using\ud thematic analysis. We also collected pre- and post-measures of depression (PHQ-9)\ud and anxiety (GAD-7), measures commonly used in IAPT services, plus measures of\ud well-being (WHO-5), the PANAS, and goal-setting, which were considered for acceptability and sensitivity. We received largely positive responses from service users\ud and staff in the use of creative methods in psychotherapy. Although the measures\ud used had limitations due to the short duration of one-off creative workshops, we\ud found that they were sensitive enough, easy to complete and, thus, were acceptable.\ud We concluded that Arts for the Blues is a promising intervention in IAPT, especially\ud since it is shaped by service users and staff working in these services. Further work is\ud needed to establish the effectiveness of this new intervention.

Jennifer Pike (1920-2016) was a major artist whose practice traversed the disciplines of painting, drawing, sculpture, textiles, ceramics, photography, jewellery-making, poetry and performance. Although a fuller appreciation of the scale and range of her achievements has been recently enabled by the making of a film about her life and work by Holly Antrum (Catalogue, 2013) and the publication of two volumes of selected works by Veer books (The Conglomerization of Wot and Scrunch, both 2010), her work has still yet to be the subject of extended academic consideration. One aspect of Pike's practice which is of particular interest to my larger project of examining the relationships between poetry and movement (2011, 2012, 2013), is her dance and movement work which was often conducted in the context of collaborative performance with sound and visual poet Bob Cobbing and musicians such as Veryan Weston, Lol Coxhill and Hugh Metcalfe. This article introduces this aspect of Pike's practice and offers some theoretical framing from Dee Reynolds' work on economies of effort (2007) and Daniel Stern's work on vitality dynamics (2010) before analysing recordings of performances from 2002 and 2007. An earlier draft of this article was presented as a paper at 'Outside-in / Inside-out: A Festival of Outside and Subterranean Poetry' at the University of Glasgow, 5-8 October, 2016. See Ellen Dillon's conference report in JBIIP 9.1. This article is dedicated to the memory of Jennifer Pike.

A new, evidence-based, multimodal, and\ud creative psychological therapy, Arts for the\ud Blues, was piloted with survivors of cultic\ud abuse in a workshop within a conference\ud setting. The five facilitators, who occupied\ud diverse roles and perspectives within the\ud workshop and research project, reflected on\ud their experiences of introducing this novel\ud intervention to the cult-survivor population.\ud In this underreported territory of using\ud structured, arts-based, psychological\ud therapy with those who have survived cultic\ud abuse, the authors used a process of\ud collective biography to compile a firstperson, combined narrative based on those\ud reflections. This approach allows for a\ud visceral insight into the dynamics and\ud obstacles encountered, and the\ud countertransference responses of the\ud facilitators. This reflexive process shined a\ud light into aspects of research and practice\ud that were not all visible to the individual\ud researchers previously, with implications for\ud research ethics, psychological therapy, and\ud creative arts within the cult-survivor field.

This sequence of twenty-five poems is the latest product of a sixteen-year process of integrating dance and movement into my poetic practice. The poems draw on the practice of Five Rhythms, Movement Medicine, Authentic Movement, Alexander Technique, Qi Gong and Iyengar Yoga, as well as encounters with artists and researchers in the areas of Dance Movement Psychotherapy (Vicky Karkou); philosophy (Kyoo Lee) and contemporary dance and poetry (Billie Hanne). The poems process these experiences and speculate on further areas of enquiry and articulate the term kinepoetics for the first time in relation to this interdisciplinary practice.

A detailed account of early editorial pieces by Robert Sheppard (b. 1955) - a major figure in Linguistically Innovative Poetry - in his magazine Pages - laying the theoretical groundwork for a new movement in poetry. The piece also consider Sheppard's poetry in relation to contemporary concepts of pulse and creative linkage.

Until recently women’s position on the British innovative poetry scene has been difficult to say the least, often risking being “doubly excluded,” as an anonymous writer is quoted in the introduction to Maggie O’Sullivan’s crucial 1996 anthology Out of Everywhere. Thankfully, women’s experimental writing now seems to be in a healthier state than ever, although the refusal of key figures Geraldine Monk and Maggie O’Sullivan to be included in Carrie Etter’s 2010 anthology: Infinite Difference: Other Poetries by UK Women Poets, reveals the need to be cautious about the gender label. As Monk and O’Sullivan declared as far back as 1984: ‘the most effective chance any woman has of dismantling the fallacy of male creative supremacy is simply by writing poetry of a kind which is liberating by the breadth of its range and innovation . . . to exploit and realise the full potential and importance of language.’ This article reflects on the risks entailed by identifying poets as ‘women’ poets in its examination of the work of three younger British writers working in the innovative ‘tradition’: Holly Pester, Sophie Robinson and SL Mendoza. The article uses a theoretical approach adapted from David Kennedy and Christine Kennedy’s recent study Women’s Experimental Poetry in Britain 1970-2010 (2013), proposing a modification of their key terms ‘voicing and unvoicing’ to ‘revoicing’.

Containing an essay, and poems, occasioned by the author’s engagement with Five Rhythms and other improvised dance and movement practices over more than a decade, Poems for the Dance is a multi-faceted enquiry into the relationship between poetry and movement, exploring the shared vitality dynamics of both artistic forms as it seeks for personal, social and political truths. With an introduction by Camilla Nelson and photographs by Roger Bygott.

A sequence of thirty prose poems

A dance with and against sense, Scott Thurston’s sequence moves and stands still, opens and closes itself, around a core of thought sentience and heart’s risk. A bodywork of language, intimate and extimate - William Rowe.

This paper was delivered at the 2nd International Arts in Healthcare Event – Arts, Creativity and the Global Crisis: Reimagining Identity, Otherness and the Possible, Pratt Institute, Brooklyn, New York, 4th-6th October 2019 \ud \ud In 1871, the poet Arthur Rimbaud declared in a letter ‘je est une autre’ [I is an other] – an articulation which has resonated in literary history ever since. The materiality of art allows one to encounter oneself as other, and this distance enables perspective, insight and understanding. I want to approach the central questions of the conference from the point of view of a poet moving into interdisciplinary artistic practice as a dancer, and also involved in projects relating to the role of expressive arts in therapy. What is gained in the transition from one art form to another? How is otherness re-encountered, re-exposed, to be made available for critical and personal reflection? Some of these questions have been made possible by my reading of Daniel Stern’s notion of vitality dynamics, but Carrie Noland’s critical poetics of gesture has also been useful for developing a dialectical understanding of the relationship between the textual and the embodied self. I want to trace this journey through poetry, dance, theory and practice to propose a vision for art and the artist’s role in culture which sees no divergence between wellbeing and cultural practice, and which cultivates radical empathy through a committed practice to encountering otherness through creative work.

This doctoral thesis is a work of poetics, which speculatively casts into the future of possible writing, to ask how contemporary innovative poetry can enact or contribute towards political resistance. More specifically, it asks how poetry that finds its conditions materially and ideologically oppressive might imagine alternative realities through the language of those conditions, and contribute to their realisation.\ud The stakes and difficulties of resistance are established through an Althusserian account of ideology as universal and subject-forming. The question of poetic resistance is not how poetry can directly alter material conditions, but how poetry contribute to falteringly shifting those conditions by critiquing and re-forming the ideological premises for action and relation.\ud This takes the form first of a theoretical account of this problem and prospective solutions, integrating preceding radical poetics with a range of theoretical positions. This lays the groundwork for close engagements with works by four contemporary poets: Sean Bonney (1969-2019), Lisa Robertson (b. 1961), Bhanu Kapil (b. 1968) and Anna Mendelssohn (1948-2009).\ud This thesis contends that previous innovative poetics, while heavily invested in resistance, have focussed on poetry’s ability to destabilise conceptual and linguistic frameworks, leaving under-discussed the possibility of gesturing towards new possible frameworks, relations and subjectivities.\ud It instead builds a tentatively propositional poetics, which takes the subject as a primary site of struggle. Resistive potential and instability in the cycle of ideological reproduction is found in divergent, not-yet-intelligible affective experiences, pains and desires. A poetry whose forms disrupt conventional, ideologically-formed limits of coherence might, I suggest, best gesture to, evoke or constitute these affective resistive potentials. This poetry posits and attempts forms of communication and affective recognition that are not based on realist expression, but nonetheless build solidarities across experiences rendered outside comprehension, between subjects who do not wish to be comprehended.

Distinct from the increasing interest in Research on L2 creative writing in a pedagogical context, this practice-based PhD research attempts to situate the process of writing poetry in a second language as a creative practice in its own right. This enquiry focuses not only on the outcome of my creative practice, which is memory poetry: poetry of remembrance, in a second language, but also reaches through the process and methodology towards opening the way to developing artistic practice, of writing poetry in a second language as the production of knowledge in action and as a genre, of finding my voices, of my transformation from a reader, a language learner into a writer and of contributing insights toward the definition of a second language poetry. Self-reflection and critical investigation of Women poets of Asian background, namely: Kamala Das, Eunice De Souza, and Jennifer Wong, facilitate cultural learning; a valuable source of authentic materials that makes me able to reflect my own identities and to write my own memory poetry. By combining autobiography, memory and second language creative writing, I develop a collection of poetry consisting of 70 poems within five thematic issues: Memories of Mother and Daughter in an Islamic and Matrilineal Society, Memories of Diabetes Heritage, Study Abroad Setting, Motherhood PhD and The Making of a Second Language Poetry. The poems narrate my personal history, exploring the religious-cultural convergence of being a mother as well as a daughter and investigating the different aspects of being a student mother in learning a language and pursuing a degree in a study abroad setting. 10 of the 70 pieces are self-translated poems signifying the creativity in the translational process of “self” while handling the meaning both in my first and second language.

This Creative Writing thesis argues for the need to rethink our understanding of climate change and focuses on the response of creative writers to this phenomenon, whilst also offering its own creative contribution. The critical component aims at articulating a post-climate change poetics. It reviews the mainstream literature in popular science writing, fiction and poetry from the point of view of a political frame-analysis of climate change, to demonstrate how a certain understanding of climate change maps onto conventions of literary genre. The thesis takes the view that many mainstream literary attempts to negotiate climate change are compromised by the teleological way in which they conceive of the phenomenon. As an alternative position, it draws on the work of climatologist Mike Hulme and physicist and cultural theorist Karen Barad to encourage participation in climate change as a condition for negotiating its meaning. Lewis Carroll’s Through the Looking Glass is proposed as a model for literary production informed by this poetics and as a model for the author’s own creative practice. The creative component of this thesis is an intra-generic text presenting the fictionalised narrative of a cycle expedition the author made from Salford to the Greek island of Ikaria in the summer of 2010. This substantial work aims to interrogate, imagine, and enquire into the epistemology of a post-climate change world.