Matthew Reason is Professor of Theatre and Performance at York St John University, UK. Publications include Documentation, Disappearance and the Representation of Live Performance (2006), The Young Audience: Exploring and Enhancing Children’s Experiences of Theatre (2010) and, co-edited with Dee Reynolds, Kinesthetic Empathy in Creative and Cultural Contexts (2012).Nick Rowe is associate professor in Arts and Health at York St John University, UK. Publications include Playing the Other: Dramatising Personal Narratives in Playback Theatre (2007).

• AcknowledgementsIntroduction: Evidence, A Rope Comprising of Several Cords Matthew Reason and Nick RowePART 1 – FRAMING REFLECTION ON EVIDENCE AND IMPACT IN PARTICIPATORY ARTS - Matthew Reason and Nick RoweChapter 1: Purpose, Outcomes and Obliquity: To Plan or Not to Plan - Matthew Reason and Nick RoweChapter 2: Evidence, Knowledge and Persuasion in Arts Impact Research – Matthew ReasonChapter 3: Intrinsic and Instrumental Impacts in Participatory Art – Matthew ReasonChapter 4: Participatory Research in the Participatory Arts - Matthew Reason and Nick RowePART 2 – RESEARCHING PARTICIPATORY ARTS: ANALYTICAL PERSPECTIVESIntroduction - Matthew Reason and Nick RoweChapter 5: On the Need for Diversity of Methods in Researching Arts and Health Practice - Stephen Clift, Sidney De Haan Research Centre for Arts and Health, UK Chapter 6: Do you see what I see? Art, Science and Evidence in Autism Research - Nicola Shaughnessy, University of Kent, UKChapter 7: Wrestling with Beauty: Putting the Aesthetic into Arts Evaluation - Katya Johanson and Hilary Glow, Deakin University, AustraliaChapter 8: Capturing the Intangible: Exploring Creative Risk-taking through Collaborative and Creative Methods - Elanor Stannage, York St John University, UKChapter 9: Besieged by Inappropriate Criteria: Arts Organisations Developing Grounded Evaluation Approaches - Anni Raw and Mary Robson, Durham University, UKChapter 10: The Performance of Prison Theatre Practices: Questions of Evidence - Caoimhe McAvinchey, Queen Mary University of London, UKChapter 11: Researching applied arts through ethnographic performance: Perspectives from African contexts - Kennedy C. Chinyowa, Tshwane University of Technology, South AfricaChapter 12: Thou Art, I am: Discovery and Recovery in the Art Making Process - Olivia Sagan, Bishop Grosseteste University, UKPART 3 – RESEARCHING PARTICIPATORY ARTS: PRACTICE-ORIENTATED CASE STUDIESIntroduction - Matthew Reason and Nick RoweChapter 13: Dear Younger Me: Writing, Songwriting and Choral Singing While Incarcerated as a Means to Bridge Communities and Build Identities - Mary L. Cohen and Perry Miller, University of Iowa, USAChapter 14: Exploring the Perceived Benefits of Shared Musical Experience - Chris Bates and Liz Mellor, Leeds College of Music and York St John University, UKChapter 15: The Wisdom of Crowds: Applied Theatre, Social Media and Data Visualisation – Paul Sutton, applied theatre company C&T, UKChapter 16: A Community Based Theatre Arts Program for Adults with Disabilities: Evidence through Research, Observation and Individual Transformation - Natalie Russo, Melissa Luke, Luis Columna and Elizabethe Ingram, Syracuse University, USA. Chapter 17: Bespoke Practices: A Practitioner’s Perspective on Documenting And Evaluating the Experiences of Artists with Disabilities - Jennifer Gilbert, UKChapter 18: ‘There’s no pill for that’: A Practitioner’s Perspective on the Evidence Imperative in the Arts and Mental Health - Linda Boyles, Arts and Mind, UK Chapter 19: Embracing Indeterminacy in Participatory Storytelling in a Mental Health Context – Catherine Heinemeyer, International Centre for Arts and Narrative (ICAN), UKChapter 20: Art Know No Boundaries: Cross Cultural Bridge Building through Transnational Arts Project - Matthew Hahn with Lungile Dlamini & Marius Botha, UK and South AfricaChapter 21: Foot in Mouth, Mouth in Trough: Doing Good, Evaluation and other Megalomania - Scott Rankin, Big hART, AustraliaAfterword: Confidence in Art as EvidenceEndnotes – Ross W. Prior, University of Wolverhampton, UKBibliographyNotes on ContributorsIndex

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Matthew Reason is Professor of Theatre and Performance at York St John University, UK. Publications include Documentation, Disappearance and the Representation of Live Performance (2006), The Young Audience: Exploring and Enhancing Children’s Experiences of Theatre (2010) and, co-edited with Dee Reynolds, Kinesthetic Empathy in Creative and Cultural Contexts (2012).Nick Rowe is associate professor in Arts and Health at York St John University, UK. Publications include Playing the Other: Dramatising Personal Narratives in Playback Theatre (2007).

• AcknowledgementsIntroduction: Evidence, A Rope Comprising of Several Cords Matthew Reason and Nick RowePART 1 – FRAMING REFLECTION ON EVIDENCE AND IMPACT IN PARTICIPATORY ARTS - Matthew Reason and Nick RoweChapter 1: Purpose, Outcomes and Obliquity: To Plan or Not to Plan - Matthew Reason and Nick RoweChapter 2: Evidence, Knowledge and Persuasion in Arts Impact Research – Matthew ReasonChapter 3: Intrinsic and Instrumental Impacts in Participatory Art – Matthew ReasonChapter 4: Participatory Research in the Participatory Arts - Matthew Reason and Nick RowePART 2 – RESEARCHING PARTICIPATORY ARTS: ANALYTICAL PERSPECTIVESIntroduction - Matthew Reason and Nick RoweChapter 5: On the Need for Diversity of Methods in Researching Arts and Health Practice - Stephen Clift, Sidney De Haan Research Centre for Arts and Health, UK Chapter 6: Do you see what I see? Art, Science and Evidence in Autism Research - Nicola Shaughnessy, University of Kent, UKChapter 7: Wrestling with Beauty: Putting the Aesthetic into Arts Evaluation - Katya Johanson and Hilary Glow, Deakin University, AustraliaChapter 8: Capturing the Intangible: Exploring Creative Risk-taking through Collaborative and Creative Methods - Elanor Stannage, York St John University, UKChapter 9: Besieged by Inappropriate Criteria: Arts Organisations Developing Grounded Evaluation Approaches - Anni Raw and Mary Robson, Durham University, UKChapter 10: The Performance of Prison Theatre Practices: Questions of Evidence - Caoimhe McAvinchey, Queen Mary University of London, UKChapter 11: Researching applied arts through ethnographic performance: Perspectives from African contexts - Kennedy C. Chinyowa, Tshwane University of Technology, South AfricaChapter 12: Thou Art, I am: Discovery and Recovery in the Art Making Process - Olivia Sagan, Bishop Grosseteste University, UKPART 3 – RESEARCHING PARTICIPATORY ARTS: PRACTICE-ORIENTATED CASE STUDIESIntroduction - Matthew Reason and Nick RoweChapter 13: Dear Younger Me: Writing, Songwriting and Choral Singing While Incarcerated as a Means to Bridge Communities and Build Identities - Mary L. Cohen and Perry Miller, University of Iowa, USAChapter 14: Exploring the Perceived Benefits of Shared Musical Experience - Chris Bates and Liz Mellor, Leeds College of Music and York St John University, UKChapter 15: The Wisdom of Crowds: Applied Theatre, Social Media and Data Visualisation – Paul Sutton, applied theatre company C&T, UKChapter 16: A Community Based Theatre Arts Program for Adults with Disabilities: Evidence through Research, Observation and Individual Transformation - Natalie Russo, Melissa Luke, Luis Columna and Elizabethe Ingram, Syracuse University, USA. Chapter 17: Bespoke Practices: A Practitioner’s Perspective on Documenting And Evaluating the Experiences of Artists with Disabilities - Jennifer Gilbert, UKChapter 18: ‘There’s no pill for that’: A Practitioner’s Perspective on the Evidence Imperative in the Arts and Mental Health - Linda Boyles, Arts and Mind, UK Chapter 19: Embracing Indeterminacy in Participatory Storytelling in a Mental Health Context – Catherine Heinemeyer, International Centre for Arts and Narrative (ICAN), UKChapter 20: Art Know No Boundaries: Cross Cultural Bridge Building through Transnational Arts Project - Matthew Hahn with Lungile Dlamini & Marius Botha, UK and South AfricaChapter 21: Foot in Mouth, Mouth in Trough: Doing Good, Evaluation and other Megalomania - Scott Rankin, Big hART, AustraliaAfterword: Confidence in Art as EvidenceEndnotes – Ross W. Prior, University of Wolverhampton, UKBibliographyNotes on ContributorsIndex

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Matthew Reason is Professor of Theatre and Performance at York St John University, UK. Publications include Documentation, Disappearance and the Representation of Live Performance (2006), The Young Audience: Exploring and Enhancing Children’s Experiences of Theatre (2010) and, co-edited with Dee Reynolds, Kinesthetic Empathy in Creative and Cultural Contexts (2012).Nick Rowe is associate professor in Arts and Health at York St John University, UK. Publications include Playing the Other: Dramatising Personal Narratives in Playback Theatre (2007).

• AcknowledgementsIntroduction: Evidence, A Rope Comprising of Several Cords Matthew Reason and Nick RowePART 1 – FRAMING REFLECTION ON EVIDENCE AND IMPACT IN PARTICIPATORY ARTS - Matthew Reason and Nick RoweChapter 1: Purpose, Outcomes and Obliquity: To Plan or Not to Plan - Matthew Reason and Nick RoweChapter 2: Evidence, Knowledge and Persuasion in Arts Impact Research – Matthew ReasonChapter 3: Intrinsic and Instrumental Impacts in Participatory Art – Matthew ReasonChapter 4: Participatory Research in the Participatory Arts - Matthew Reason and Nick RowePART 2 – RESEARCHING PARTICIPATORY ARTS: ANALYTICAL PERSPECTIVESIntroduction - Matthew Reason and Nick RoweChapter 5: On the Need for Diversity of Methods in Researching Arts and Health Practice - Stephen Clift, Sidney De Haan Research Centre for Arts and Health, UK Chapter 6: Do you see what I see? Art, Science and Evidence in Autism Research - Nicola Shaughnessy, University of Kent, UKChapter 7: Wrestling with Beauty: Putting the Aesthetic into Arts Evaluation - Katya Johanson and Hilary Glow, Deakin University, AustraliaChapter 8: Capturing the Intangible: Exploring Creative Risk-taking through Collaborative and Creative Methods - Elanor Stannage, York St John University, UKChapter 9: Besieged by Inappropriate Criteria: Arts Organisations Developing Grounded Evaluation Approaches - Anni Raw and Mary Robson, Durham University, UKChapter 10: The Performance of Prison Theatre Practices: Questions of Evidence - Caoimhe McAvinchey, Queen Mary University of London, UKChapter 11: Researching applied arts through ethnographic performance: Perspectives from African contexts - Kennedy C. Chinyowa, Tshwane University of Technology, South AfricaChapter 12: Thou Art, I am: Discovery and Recovery in the Art Making Process - Olivia Sagan, Bishop Grosseteste University, UKPART 3 – RESEARCHING PARTICIPATORY ARTS: PRACTICE-ORIENTATED CASE STUDIESIntroduction - Matthew Reason and Nick RoweChapter 13: Dear Younger Me: Writing, Songwriting and Choral Singing While Incarcerated as a Means to Bridge Communities and Build Identities - Mary L. Cohen and Perry Miller, University of Iowa, USAChapter 14: Exploring the Perceived Benefits of Shared Musical Experience - Chris Bates and Liz Mellor, Leeds College of Music and York St John University, UKChapter 15: The Wisdom of Crowds: Applied Theatre, Social Media and Data Visualisation – Paul Sutton, applied theatre company C&T, UKChapter 16: A Community Based Theatre Arts Program for Adults with Disabilities: Evidence through Research, Observation and Individual Transformation - Natalie Russo, Melissa Luke, Luis Columna and Elizabethe Ingram, Syracuse University, USA. Chapter 17: Bespoke Practices: A Practitioner’s Perspective on Documenting And Evaluating the Experiences of Artists with Disabilities - Jennifer Gilbert, UKChapter 18: ‘There’s no pill for that’: A Practitioner’s Perspective on the Evidence Imperative in the Arts and Mental Health - Linda Boyles, Arts and Mind, UK Chapter 19: Embracing Indeterminacy in Participatory Storytelling in a Mental Health Context – Catherine Heinemeyer, International Centre for Arts and Narrative (ICAN), UKChapter 20: Art Know No Boundaries: Cross Cultural Bridge Building through Transnational Arts Project - Matthew Hahn with Lungile Dlamini & Marius Botha, UK and South AfricaChapter 21: Foot in Mouth, Mouth in Trough: Doing Good, Evaluation and other Megalomania - Scott Rankin, Big hART, AustraliaAfterword: Confidence in Art as EvidenceEndnotes – Ross W. Prior, University of Wolverhampton, UKBibliographyNotes on ContributorsIndex

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