Conference paper for IBBY Congress, 2022: Dr Julia Hope and Rosemary Rich

As an “insider” research team, being the descendants of a conscientious objector in World War II, this paper brings together our respective fields of historical memory studies and literary theory to consider children’s literature about pacifism and war resistance.  Over the ages, a multitude of children’s books about war have offered many different angles on the adventure, hardships, and suffering involved.  Such stories have become increasingly popular since the turn of the century, offering a progressively more realistic treatment, with wars in living memory providing the largest corpus, although recent conflicts around the world are also coming into focus.  However, little has been written that confronts themes of pacifism and war resistance for children, especially concerning conscientious objection.

With a particular focus on World War I and II, we explore through critical content analysis (Johnson et al., 2017) how this contentious area is dealt with in four recently published middle grade/young adult texts recently published in the UK. Two books chosen focus on World War I: “Remembrance” by Theresa Breslin (2002) and “Across the Divide” by Anne Booth (2018); and two on World War II: “Run Rabbit Run” by Barbara Mitchelhill (2015) and “In the Mouth of the Wolf” by Michael Morpurgo (2018).

Using this framework we ask the following questions: Whose story is told? From whose point of view? How is pacifism and war resistance presented and explained to children and young people?  How do wartime attitudes compare with those of the present day?  How is the story resolved and what might this suggest about author standpoint?

These controversial issues would seem to be a necessary part of the wide-ranging tapestry of children’s literature that demonstrates the power of stories, within the theme of empathy and memory in storytelling, with a particular focus on moral values, peace and human rights.

Blog by Julia Hope

Dr Julia Hope has just completed a chapter for the Routledge Handbook of Refugee Narratives entitled: “Applying RefugeeCrit to Recent Middle Grade/Young Adult Children’s Literature About Refugees” and to be published imminently.

This chapter considers that since the millennium there have been a plethora of texts about the refugee experience for children and young people across the Western world.  Although not a homogeneous category, literature of this kind can follow an almost formulaic representation of the refugee experience, with a recent trend towards increasingly grim and explicit depictions of the suffering of refugee children, especially when trapped in refugee camps.

There is an emergent field of academic study that questioning the motivations of authors, the messages of such stories, and the images of refugees proffered by the books.  I examine in depth two middle grade/young adult texts, “The Bone Sparrow” by Zara Fraillion (2016) and “Boy, Everywhere” by A. M. Dassu (2020), both of which have received considerable public acclaim.  However, RefugeeCrit suggests that narratives can depict refugee children as victims of politically sanitised global disasters, without background explanation of the causes, and in need of “white saviours” with “helping hands” to bring them to safety.  Nevertheless, this framework is helpful in critiquing these texts, but can prove challenging when authoring this literature, and when recommending quality refugee narratives for middle grade/young adult readers.

Blog by Julia Hope

In our second webinar of the virtual events series ‘Re-imagining language education during and after Covid-19: opportunities, challenges and possible futures’ we attend to the lived experiences of multilingual families during the pandemic. We show how the digital mediation of communication has shifted language use in transnational families (in some cases towards the majority language for home schooling purposes, in other cases in support of the heritage language, celebrating the oft-ignored role of grandparents in heritage language maintenance), expanded possibilities for interaction between extended family networks and facilitated the creation of new “brave spaces” (Mahera Ruby) to express uncomfortable feelings associated with, for example, grief and financial instability.

Our four invited panellists Dr Mahera Ruby (Personal growth and family coach, founder of ‘Blooming Parenting’); Busra Akgun-Ezin (PhD candidate, Goldsmiths, University of London); Dr Sara Young (Lecturer, UCL/Institute of Education) and Linda North (parent and teacher assistant at the Czech School without Borders London) share personal and community experiences on these and other topical questions raised by the audience:

• How has communication adapted and changed within multilingual families during the pandemic?
• What role can language play in sustaining social and emotional resilience during times when we are told to keep apart in order to stay safe?
• What new possibilities for language learning and interaction within families might the digital mediation of communication open and how might these be sustained?

The webinar is organised and moderated by Dr Froso Argyri and Dr Vally Lytra.

Watch the webinar and join the conversation.

About ‘Re-imagining language education during and after Covid-19: opportunities, challenges and possible futures’: We are a group of researchers based at the Centre for Language, Culture and Learning, at Goldsmiths and UCL BiLingo. We are passionate about multilingualism and language education and want to share our passion with language educators from formal and non-formal educational settings, parents, researchers, policy makers and other interested parties. The pandemic has brought about unprecedented change and we wish to collectively reflect on how it has affected language education in the UK and beyond.

Group members: Dr Froso Argyri (UCL BiLingo), Dr Jim Andrerson (Centre for Language, Culture and Learning, Goldsmiths), Dr Vally Lytra (Centre for Language, Culture and Learning, Goldsmiths), Dr Merle Mahon (UCL BiLingo), Dr Vicky Macleroy (Centre for Language, Culture and Learning, Goldsmiths), Dr Dina Mehmedbegovic-Smith (UCL BiLingo and hld) and Dr Cristina Ros i Solé (Centre for Language, Culture and Learning, Goldsmiths).

Blog by Dr Vally Lytra

Inspire Conference 2021

Mark Kirkbride delivered an important online workshop as part of the Centre for Language, Culture and Learning’s Inspire conference, which was organised by Dr Francis Gilbert (Head of MA Creative Writing and Education) and Dr Vicky Macleroy (Head of MA Children’s Literature). Here you can read a summation and reflection of his important work.

This is an unedited video of Mark Kirkbride’s talk at the Inspire Conference 2021.

Mark Kirkbride: Learning to write by doing it!

The timeline of my experience of the ‘Inspire: Exciting Ways of Being Creative’ conference begins at 9:30am on Thursday when I get to attend the introductions from Dr Vicky Macleroy, Dr Francis Gilbert and Carinya Sharples, then promptly have to log off to give an online workshop elsewhere.

In my lunch break, I catch Jake Smith’s presentation on ‘Re-writing Narrative’, championing nonlinear narrative, and wish I could adopt a nonlinear approach myself because by then it’s time to switch platforms and deliver another workshop. That finishes at 4:30pm, by which time the first day of the conference has already ended. I’ve missed so many great sessions with fascinating topics but at least I’ll be able to catch up via the videos and while I wish I could have been present for the whole day, the dipping in and out has certainly had an energising effect on the external workshops.

The second day starts with Camilla Chester’s presentation on ‘What Makes A Successful Author Visit?’ As well as being informative, it’s also hugely entertaining, with the highs – effectively being treated like a rock star – sounding like they make up for the lows.

At 9:30am it’s time for my presentation on ‘Promoting Active Learning’, exploring the dilemma inherent in teaching creative writing that knowledge acquired second-hand doesn’t have the same impact as discoveries made for oneself, and setting out to demonstrate that if as much learning as possible is embedded in prompts and exercises, that sense of discovery can still be retained. I illustrate what I mean by running through how I would teach characterisation for beginners. We each construct a character from two or three traits, together with a flaw, then describe that character as if to a friend. The workshop is even more interactive than I’d hoped with some really astute comments in group chat and complex characters emerging. For example,

Bill enjoys the company of others but often overshares his thoughts.

Sadly people avoid him. He has no idea this is happening.

Next we convey our characters’ qualities without describing them at all. Instead, we dramatize them, using action and dialogue, and more work comes through in chat, including

 I rap my knuckles against the reception desk as they continue to sift

through my belongings, removing a laptop, pens and a six-pack of

Dr Pepper. The sign next to me says, ‘Please keep noise to a

minimum on arrival.’ I rap a little harder, the micro-rebellion

thrilling me.

       The tiny red-head manager pulls one final item from my case.

       ‘Oh, come on, I’m not allowed biscuits?’ The words slingshot out,

high-pitched and pink-cheeked.

In just this mini-scene, one really gets a sense of a fully-formed person acting and speaking for themselves.

The half an hour goes quickly, so I race to the conclusion. While new writers might think, perfectly reasonably, that adding more and more layers of detail to the description of a character will bring that person to life more vividly for the reader, they demonstrate, to themselves, that characters live or die on the page by what they do and say. The trial and error involved in writers working in isolation and figuring things out for themselves is designed into the workshop, so that they have a sense of making their own discoveries. Loading prompts and exercises with key knowledge, so that the lightbulb moments happen during the writing, enables new writers to become active participants in their learning, thereby increasing engagement.

The half an hour comes to an end and it’s time for me to introduce Emily Davison’s presentation on ‘Using social media and fairy stories to inspire creative writing’. I at least get to enjoy all of that before having to rush off again, this time to take a family member to a hospital appointment, a trip that takes longer than expected, meaning I once again miss a lot of the day but at least get back in time for the Plenary. It’s a privilege to witness the progress of Emma Brankin’s drama pupil and be there for the launch of Niall Bourke’s book.

Somewhere between work and life, we reflect.

Biography

Mark Kirkbride is the author of two novels and a novella published by Omnium Gatherum in LA. His most recent novel was a semi-finalist in the Kindle Book Awards 2019. His short stories have appeared in Under the Bed, Sci Phi Journal, Disclaimer Magazine, Flash Fiction Magazine and So It Goes: The Literary Journal of the Kurt Vonnegut Memorial Library. He teaches creative writing and writing for wellbeing and is currently an Arts Facilitator for OPEN Ealing arts centre and a Creative Workshop Tutor for the University for the Creative Arts.

https://markkirkbride.com/

Blog by Mark Kirkbride

INSPIRE CONFERENCE 2021

Niall Bourke delivered an important keynote address as part of the Centre for Language, Culture and Learning’s Inspire conference, which was organised by Dr Francis Gilbert (Head of MA Creative Writing and Education) and Dr Vicky Macleroy (Head of MA Children’s Literature). Here you can read a summation and reflection of his important work.

Below is an unedited video of the introduction to Niall’s keynote address for the Inspire Conference, 2021. Please note Dr Vicky Macleroy, Dr Francis Gilbert and Carinya Sharples introduce this talk.

Niall addressed these key questions: What does it mean to write creatively? What are the barriers to facilitating creative writing practices in the current educational landscape? How might we overcome them? Why should we bother? Can writing creatively be means to a wider academic end? Does this matter? Should we, as educators, try to justify creative writing as having tangible benefits for students? Can we afford not to? Is it important that educators make time to be creative themselves?

His keynote address sought to answer these questions and more, while also providing practical ideas, exemplars and resources to help educators of all persuasions facilitate creative writing exercises with their students.

You can find his PowerPoint here and his notes here. Please note you will need a OneDrive account to open these documents.

Niall’s reflections

It wasn’t long ago that I was a Goldsmith MA student myself, so it was a great pleasure and a privilege for me to deliver this keynote speech for the Inspire Creativity conference.

My focus was to look at some of the barriers to fostering creativity (and particularly in the domain of creative writing) in the current educational landscape, and then offer ideas, resources and suggestions as to how educators can foster creativity in students. Although I stressed that, in general, educators should resist pseudo-justifications encouraging creativity (i.e. – being creative is almost always a valuable process in and of itself and regardless of outcome), being the Head of an English department myself I was particularly keen to be pragmatic when acknowledging the pressures teachers are under. Therefore, I sought to suggest creative exercises which, while excellent in their own right, can also be used to develop understanding of some of the core threshold concepts of English Literature and Language curriculums. Through a series of short activities, I looked at how educators can encourage ‘low-stakes’ creative exercises, and then go on to foster creative response from students by using high quality style-models. The extracts used on the day included the Lyrics of Barrie Louis Polisar’s ‘All I Want Is You’, Leone Ross’s ‘The Woman Who Lived in A Restaurant’ (from her collection ‘Come Let Us Sing Anyway’ – Peepal Tree Press, 2017), John McGregor’s ‘The First Punch’ (first published in Granta Magazine) and ‘The Red Wheelbarrow’, by William Carlos Williams. It was a lot of fun!

Biography

Niall has taught English for sixteen years (in Ireland, New Zealand and the UK) and is currently Head of English at St Michael’s College, in Bermondsey. He completed the Teacher/Writer MA (as it was called then) at Goldsmiths in 2015. His writing has been published widely in magazines and journals, in both the UK and Ireland, and his poems and short stories have been listed for numerous awards, including twice for the The Costa Short Story Award, The ALCS Tom-Gallon Trust Award, The Mairtín Crawford Short Story Prize, The Hennesy New Irish Writing Award and the Fitzcarraldo Novel Prize. In 2017 he was selected for Poetry Ireland’s Introductions Series. His debut poetry collection Did You Put The Weasels Out? was published in April 2018 and was longlisted as one of The Poetry Schools’ books of the year. In April 2021 Tramp Press  publishied his debut novel, Line. In 2020, The Arts Council Awarded him a grant to develop a ‘Choose Your Own Poetry Adventure’ collection called The Erection Specialists, which will be published by Broken Sleep Books in 2022. He is represented by Brian Langan at Storyline Literary Agency. He blogs on his website about both creative writing and education.

www.niallbourke.com

Twitter: @supersplurk

Niall Bourke

INSPIRE CONFERENCE 2021

Helen Moore delivered an important online workshop as part of the Centre for Language, Culture and Learning’s Inspire conference, which was organised by Dr Francis Gilbert (Head of MA Creative Writing and Education) and Dr Vicky Macleroy (Head of MA Children’s Literature). Here you can read their summation and reflection of  her important work.

Wild Writing: co-creative practices & inspirations

It’s a truism that teaching and learning go hand-in-hand. And yet participating in the conference and contributing my insights to an audience of writers and teachers was far richer than I’d anticipated, particularly given its virtual nature. And although I’d always prefer an onsite setting to explore ‘wild writing’, I was delighted to sense that my attempts to convey it online were successful, both in describing it and through a short workshop, with participants sharing what I sensed to be deeply felt experience of wildish places.

But to start at the beginning, what is ‘wild writing’ and how is it ‘co-creative’?

Acknowledging that there are doubtless many definitions, I understand ‘wild writing’ as part of my own ecopoetic practice, stemming primarily from a desire to respond to the social and ecological crises that we collectively face. I believe wild writing encourages an ‘untaming’ of its practitioners, and builds resilience and wellbeing, allowing us to get in touch with our ‘humanimal’ nature and offering us the opportunity to progress the development of the ‘deep ecological self’ advocated by the ecophilospher Arne Naess.

At this point I shared some examples of my own ‘wild writing’, and I’ll include a poem here – ‘Green Drift’, from my debut ecopoetry collection, Hedge Fund, And Other Living Margins, (Shearsman Books, 2012).

Green Drift (by Helen Moore)

“There is no force in the world but love.” – Rilke

Crawling into bed like a peasant,

with mud-grained feet, soil under the nails

of my toes – but too tired to care –

the heaviness of the day’s exertions draws

my body downward – each muscle and bone

finding its bliss – and I close my eyes

on a green panorama, shades of every

nuance, the contours of leaves in high

definition.  A film encoded on the visual cortex,

I observe again those lanceolate shapes, the forage silk

which slipped between our fingers and thumbs

(still redolent with that Ramson scent),

the mounding herbage that we plucked,

backs bent as in a Van Gogh study.

Behind my eyelids, vernal waves rise and fall,

hymn of this community to which my senses flock –

ancient rite of magnetic birds, Dionysus riding me,

greens rushing on the inside of my eyelids,

mosaics of foliage, fingers ablaze with Nettle stings,

soles still alive to the narrow woodland path,

its vertebrae of roots, pad of compressed earth.

High on Spring, I’m a biophile

and incurable; nor would I care for any cure –

would only be a node in Great Mother’s body

where, drifting into the canopy of sleep, I see foliar veins

close-up – illumined as if by angels –

feel the breathing of stomata.  Then, like a drunken Bee,

I surrender to this divine inebriation.

So how does wild writing happen?

Given that it’s a practice emerging from the wilder aspects of our consciousness, there is a strong need to carve out space in our busy schedules/timetables to get away from the digital world to nourish our creativity and deepen our connection with the other-than-human natural world. But we don’t need to seek out places that might typically be defined as ‘wild’. The wild is everywhere, even in our local park/garden/school playing fields.

It’s also about holding an intention, what does life want to show me today? In approaching it this way, we can experience magical encounters that lift our spirits/bring joy/inspire. It’s important to see the time we give it as ‘sacred’; time for nurturing soul and the ensouled world, and ideally we cross a threshold (which might be a garden or park gate, a path to a beach or forest) in order to mark the transition into it. Whilst in this space, we avoid conversations with other humans and open ourselves to the other-than-human world.

We begin by walking, slowing our pace, letting our mental chatter subside in order to open ourselves. We let our bodies soften, our senses receive information such as the breeze on our skin, scents in the air, taste, sounds near and far, and visual aspects such as colours, shapes, patterns. At the same time, we watch what is at the edge of our consciousness, breathing it in and out, honouring any uncomfortable feelings, breathing them in and out. We avoid getting attached to any of those thoughts, or letting ourselves build them into narratives, and instead keep returning our attention to the present moment.

We also practise the Five Ways of Knowing, which Bill Plotkin advocates. These are sensing (with all five senses), feeling, intuiting, imagining and thinking. Practising and valuing these additional ways of knowing helps to balance out the dominant rational mind and allows us to become more receptive to the multiple wild voices and natural sign languages that are usually so ignored in our culture – in fact, the American ecopsychologist, Theodore Roszak, talks about us having become deaf and mute towards the other-than-human world.

We also connect with the elements, the weather, darkness/light, rhythms of growth, abundance and decay, and notice what these may mirror within us. Observing dead wood riddled with insect holes and fungus, we may see what needs to fall from our own lives, what needs to be composted, as we embrace a deeper understanding of impermanence.

Through these acts of paying deep attention, and then finding language, imagery and form to reflect our experiences, we are engaging in wild writing. However, often that process of finding language is tentative, provisional. Our experiences may be difficult to communicate, and so we simply ‘splurge’, forgetting grammar, spelling, punctuation. Sometimes the seed of a poem or story is found later in just a few words of that splurge, a phrase that has a certain ‘energy’ that we want to explore further.

Wild writing fundamentally requires us to practise non-judgement – at least in the initial phase, when we allow everything in. Later we can practise the discernment of the editorial eye, but for now we are open to including all of our experience. Which connects with the co-creative aspect of this methodology.

What is co-creation?

In our culture we’re conditioned to think of the act of creation as happening almost in a vacuum. We’ve come to think of the creative ‘genius’ working in isolation. Often it’s a white, male figure, possibly inspired by a female muse. However, everything happens as a co-creation in Nature. A tree does not grow on its own, but responds to light, soil, water, weather, insects. It interacts with other trees through mycorrhizal relationships. Trees are also home to birds, creatures, insects, all of whom may have a symbiotic relationship with the tree. A bird might find its home in the tree’s branches, eat its berries, benefitting from this food source, and then pooping out the seeds, thereby disseminating them.

This shows that co-creation is at the heart of all experience. All beings are infinitely connected through the web of life, the ecosystems and communities we inhabit. Our co-creation as humans is with other writers and teachers who inspire us, and with the other-than-human as an interspecies experience. It may also involve consciously working with the Universe, the Divine, Spirit, Oneness, however we may call it.

This co-creation can come about through inspiration, and of course the word ‘inspire’ was key in the context of the conference. ‘Inspire’ connects us with the breath, the air we share with all beings. It is the insights, ideas, sudden intuitions which we ‘breathe in’. And as educators then ‘breathe into’ others when we inspire them.

At this point I invited people to prepare for the wild writing workshop section of my contribution to the conference, with an attunement to our wilder selves through the body and breath. I’m sharing my notes here in case they may be useful for others to adapt for their own purposes:

FOCUS ON BREATH

o Getting comfortable, close eyes, feet on floor, align spine etc

o Noticing breath’s journey in & out of body

o Breath can be shallow, deep, irregular

o What does it mean to be at home with our breathing/to inhabit our breath?

o Air penetrates deep into our lungs through this act of respiration, reaching the minute balloon-shaped air sacs that could be leaves at the end of the respiratory tree’s branches.

o Their function is to exchange oxygen and carbon dioxide molecules to and from the bloodstream.

o Of all the elements we’re able to survive the least amount of time without it

o We share the air, as we do water, with all human and other-than-human beings. Here we are inescapably experiencing this miraculous existence together inside a delicate pocket – Earth’s atmosphere, a phenomenon I explore in this section of my poem:

READ EXTRACT: ‘From the Pocket’s Circumference’ (ECOZOA, Permanent Publications, 2015)

“… here’s the rub – don’t we all live together in the same pocket? From outer space we see the pale cloud, and here and there the holes. If Earth were a fist balled up and thrust in a pocket, the atmosphere would be as thin as that cotton fabric. Our lungs know this. Drawing 20,000 breaths per day, these twin inflatable pockets point up towards the element on which they depend.”

VISUALISATION

Walking into a forest/woodland you know. Air filled with sounds of birds. The Spring sunshine is gently warming the air and your face. Sap is rising. Season when our ancestors would have celebrated the Earth’s awakening. Birth. Regeneration. As you walk, perhaps you’re starting to breathe in the scents of blossom, new leaves, Wild Garlic?

Talk about Japanese Forest Bathing – Shin-rin-yoku. As we walk in woodland, we’re breathing more oxygen-rich air. Also we’re benefitting from the forest’s natural aromatherapy. Inhaling the aromatic compounds released by trees and plants, called phytoncides. These have natural antibacterial and antifungal properties, and studies show that they support the white blood cells in our immune systems. Take time to be in this space etc.

Finally, I invited people to plunge into some splurging, and gave them five minutes. After that, I asked them to look at their writing and circle any parts that had interest/energy, which might serve for further development.

In the final minutes of the session, people typed into the chat some wonderfully rich snippets, read out some sections of their writings and asked questions. I’m hugely grateful for everyone’s engagement, and I’m open to ongoing dialogue with anyone who may want to know more.

BIO

Helen Moore is a British ecopoet, socially engaged artist, writer and Nature educator. She has published three ecopoetry collections, Hedge Fund, And Other Living Margins (Shearsman Books, 2012), ECOZOA (Permanent Publications, 2015), acclaimed by John Kinsella as ‘a milestone in the journey of ecopoetics’, and The Mother Country (Awen Publications, 2019) exploring aspects of British colonial history. Helen offers an online mentoring programme, Wild Ways to Writing, and works with students internationally. In 2020 her work was nominated for the Forward and Pushcart Prizes and received grants from the Royal Literary Fund and Arts Council England. She’s currently collaborating with Cape Farewell in Dorset on RiverRun, a project working with scientists and farmers in Dorset to examine pollution in Poole Bay and its river-systems. www.helenmoorepoet.com

Blog by Helen Moore

Figure 1: A multilingual community film-making project celebrating Deptford’s rich history and diverse community

Deptford Storytelling Project was launched in 2020 and brought together people of different ages, languages, and backgrounds to make films about people’s lives in Deptford. Film workshops were run from January-March 2020 resulting in 10 films and two screenings in March 2020 at Deptford Cinema in Deptford, South London. Details of the project can be accessed on the Language Acts and Worldmaking site. The films can be seen on the Critical Connections website with film details in the Film Booklet 2020.

This community-based filmmaking project celebrated Deptford’s rich history and vibrant and diverse community through stories of those living here. Set up in collaboration with Deptford Cinema and Goldsmiths, University of London it offered a creative space for exploring lifeworlds, asserting cultural alternatives, and developing a shared community. Making participant agency and collaboration central concerns, it expanded on our successful work in the Critical Connections project (2012-ongoing) and took filmmaking into the community for all ages. The public and private screenings at Deptford Cinema were wonderful celebratory events and Lucy Rogers, one of the directors of the project and a Deptford Cinema volunteer reflected: ‘the films make a great argument for the value of true grassroots cinema as a platform for creativity and self-expression’. The project was reported in Goldsmiths news.

Deptford Cinema had to close its doors a week after the screening due to the pandemic and the start of the first lockdown. The project directors wanted time to reflect on the filmmaking process with participants and talk to the filmmakers about their experiences of the project. As community events were put on hold, we set up online recorded conversations with participants to talk about their own films and other films in the project; the languages included; understandings of community; and their experiences of Deptford Cinema. Michael and Vanessa made the film Walk with Me and Michael reflected upon the experience.

‘The more I do this, the more I will learn about multiculturalism … Well, I believe that’s the way the world really is, people with different languages … that shows the true nature of the world … everyone’s got a different culture’.

Figure 2: Walk With Me (Michael Williams and Vanessa Crouch)

Walk With Me shows a snapshot of a week in Michael’s life. Michael sadly died in August 2020 and this film stands as a timely testament to his ideas about friendship and community.

As project directors we decided to reach out to the filmmakers in 2021 and see if they wanted to get together for the project’s one-year anniversary. We met with the project participants online and planned a virtual screening of the films on the Deptford Cinema online platform, DC @ Home. We held a celebratory launch of the online screening on Friday 26 March with 9 of the 10 original films and an extended version of My Bad Sister which has been shown at film festivals.

The 2^nd edition of the Film Booklet 2021 can be accessed here.

The online screening of the films included pre-recorded introductions by the filmmakers reflecting on their films a year later in March 2021.

Deptford Storytelling Virtual Screening from Critical Connections on Vimeo.

The filmmakers also reflected on the project, ‘Deptford Storytelling Project: Celebrating One Year’ through creating short written pieces, photographs, artwork, poetry and recordings for the online Journal for Deptford Cinema.

The Deptford Storytelling project was funded by Language Acts and Worldmaking (a flagship AHRC Open World Research Initiative project aiming to transform language learning by foregrounding language’s power to shape how we live and make our worlds) and two of the project directors, Lucy Rogers and Vicky Macleroy, presented the project at the final online conference, ‘Languages Acts and Worldmaking Conference: Languages Future’ in April 2021. The online screening of the films hosted by Deptford Cinema @ Home became part of the international conference and shared with all conference participants. The conference presentation can be seen here.

The Deptford Storytelling Project has become a vital part of our multilingual digital storytelling work and research and became part of the larger international digital storytelling community when one of the project directors, Vicky Macleroy, presented the project at the online International Digital Storytelling Conference (June 2021), ‘Story Work For A Just Future Exploring Diverse Experiences And Methods Within An International Community Of Practice’. In the presentation ‘Cultural Webs of Deptford: Multilingual Digital Stories of Friendship and Belonging’ research was discussed that showed how the storytellers’ language repertoires were drawn upon and extended in their films. In the Deptford Storytelling Project (2020-21), we moved beyond school settings and worked across generations to see whether filmmaking could bring people together and play a vital part in multilingual activism and understanding our local communities.

As the Critical Connections project moves into its tenth year, we hope to build on the collaboration with Deptford Cinema. Deptford Cinema volunteers, Lucy Rogers and Louis Holder supported the online screening of ‘Our Planet Festival 2021’ with 20 films including 20 languages. Read about the ‘Our Planet Festival’.

We are in the process of planning next year’s festival and waiting to hear about further funding for our work in the field of multilingual learning, environmental activism and the arts. Margaret Jennings (in collaboration with Jun Koya) created a film for the Deptford Storytelling Project’, Urban Wildway Rooutes. Margaret set up the Eco Haven at Goldsmiths and the film explored the shift from human centredness to wildlife centredness. Margaret and other participants in the Deptford Storytelling Project are keen to be part of future filmmaking projects.

Figure 3: Urban Wildway Rooutes (Margaret Jennings and Jun Koya)

Please get in contact if you are interested in participating in future projects.

Project Directors: Lucy Rogers, Jim Anderson and Vicky Macleroy

Blog by Vicky Macleroy