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Intro -- Acknowledgments -- Contents -- About the Author -- List of Figures -- 1: A-Way of Writing, the Way it is Written -- References -- 2: Ending Writing, at the Beginning -- References -- 3: Writing with Cixous, in Love -- References -- 4: Writing with Virginia Woolf, not Afraid -- References -- 5: But First, a Love Affair with Words -- References -- 6: Writing, in and to Arrivance -- References -- 7: Writing, A-Way to Un-Forgetting -- References -- 8: Writing Decoloniality, with Cixous and Woolf -- References -- 9: Critical Autoethnography, to Trouble with Words -- References -- 10: Writing, an Ethical Conversation -- References -- 11: Beginning Writing at the Ending -- a Second Take, a Second to Take -- References -- Index.

This collection examines theological and ethical issues of ageing, disability and spirituality, with an emphasis on how ageing affects people who have mental health and developmental disabilities. The book presents ways of moving towards more effective relationships between carers and older people with disabilities; ways in which to connect compassionately and beneficially with the person's spiritual dimension. The contributors highlight the importance of recognizing the personhood of all people regardless of age and of disability, whatever form it takes. They identify factors inherent in pers

Located within practical theology and theological anthropology, the diversity of perspectives on dementia presented in this book offer deep insights into what it means to be a human being, to live humanly in the midst of difficult situations, and helps us understand and navigate the complexities of the dementia journey

PurposeThe purpose of this paper is to explore the individual music research projects the authors were working on in Borroloola, Northern Territory of Australia, and the ways in which the lived and inter‐subjective concepts of sisterhood and friendship strengthened the authors' shared experiences in the field and became the foundations of their method.Design/methodology/approachThrough an auto‐ethnographic and inter‐subjective narrative approach, the authors consider how the intertwined notions of relationship as research and "friendship as method", underpinned what was being researched, how the research was enacted, and finally how the authors came to further appreciate and understand the role that music‐making plays in facilitating this process.FindingsThe authors' independent and shared experiences during this research were stark reminders that it is indeed the quality of field relationships and friendships, rather than clever theoretical ideas or fancy methodological frameworks, which ultimately determine the quality and depth of their musicological and ethnographic research.Originality/valueThis paper presents original, feminist‐based research which places concepts of sisterhood, friendship and relationships at the centre of music research practice in Australia. More specifically, this research highlights the complexities of such research practice across the boundaries of race, with and in collaboration with, Indigenous Australian women.

The ways in which research and scholarship is co-produced, co-performed and proclaimed as particular kinds of knowledges and truths in and beyond the academy is radically changing. The capacity to write rebelliously, in varying registers and voices, tempos and volumes, as featured across this book, is boundaryless. In this edited volume, we ask new questions which simultaneously trouble and open up what the 'product' and 'performance' of academic work, words and worlds might come to be. At the heart of this book, we move between departing radically from academic writing to arriving at a new academic endeavor and transaction between reader and text driven by the invitation to open rebellion in academic research and writing. This unique volume brings together an extraordinary range of international scholars, researchers and artists, that include contemporary social scientists, critical theorists, visual artists, poets, musicians, hip-hoppers, choreographers, activists, film-makers, theatre-makers, magicians, and circus artists from both within and outside the academy in Europe, UK, India, Africa, USA, Canada, Australia and New Zealand. They articulate new concepts for thinking differently, generate new theories differently, and present new methods of writing differently. This book provides 'permission' to depart radically in academic writing and creative practice - particularly for doctoral and higher degree research students, and those who work alongside them as supervisors and advisors and higher research degree educators. The claim here is that rebellious departures and performances in academic research and writing are the future of academia. This book provides a series of steps toward preparing for that future

Purpose– The purpose of this paper is to explore the possibility of doing more with writing and autoethnography as ethical, response-able and decolonizing practice.Design/methodology/approach– This paper is written in a playful, performative and poetic way and engages with the writings and ideas of Helene Cixous and Virginia Woolf as a conversation between them and the author.Findings– This paper suggests that an autoethnographic writing practice which is at once affective, critical and performative, holds the possibilities to engage in decoloniality.Originality/value– Engagement with the past and present legacy of colonial practice in education and ethnography is crucial if the author want to move beyond social justice and decoloniality as metaphor. The writing practice put forward is new and challenging in its push to do this.