Feminism, Adult Education and Creative Possibility

Darlene E. Clover is Professor of Adult Education and Leadership Studies at University of Victoria, Canada. Kathy Sanford is Professor of Curriculum and Instruction at the University of Victoria, Canada.Kerry Harman is Senior Lecturer at Birkbeck, University of London, UK.

• Notes on ContributorsList of Illustrations1. Introduction: Opposites, Intersections, Turns, and Other Imaginative Possibilites, Darlene E. Clover (University of Victoria, Canada), Kathy Sanford (University of Victoria, Canada), Kerry Harman (Birkbeck University, UK) and Sarah Williamson (University of Huddersfield, UK)Part I: Visualising and the Feminist Imaginary2. Curating Visibility: The Disobedient Women Exhibition as a Representational Feminist Imaginary of Possibility, Darlene E. Clover (University of Victoria, Canada) and Kathy Sanford (University of Victoria, Canada)3. Migrant Women Drawing Themselves into their Homes and Communities, Sondra Cuban (Western Washington University, USA)4. Conservations from Creative Toolboxes: Journeys as Artists, Educators and Curators, Beverly Hayward (Birkbeck College, University of London, UK)5. The Feminist Aesthetics and Climate Action: The Roscommon Women’s Network, Eve Cobain (Irish National Adult Learning Organisation, AONTAS, Ireland) and Leah Dowdall (Irish National Adult Learning Organisation, AONTAS, Ireland)6. WASTELAND: A Feminist Public Pedagogical Response to Climate Anxiety, Kathy Sanford (University of Victoria, Canada) and Darlene E. Clover (University of Victoria, Canada)Part II: Storying and the Feminist Imaginary7. Feminist Fiction-based Research in the Context of War and Military Museums: Fostering Imagination, Engagement and Empathy, Nancy Taber (Brock University, Canada)8. Dark Realisms: An Auto/biographical Enquiry into Creative Strategies of Queer Resilience, Ivan Kirckgaesser (Germany and Mexico)9. Bringing Research into Life: An Experience of Feminist Practice with Artists, Laura Formenti (University of Milan, Italy), Silvia Luraschi (University of Milan, Italy) and Gaia Del Negro (University of Milan, Italy)10. #MeToo and the Feminist Digital Imaginary: Public Pedagogy on Sexual Consent and Violence, Salsabel Almanssori (University of Windsor, Canada)11. We are Invisible, but we are not a Minority: Co-creating an Alternative Feminist Space and Narrative for Women of Colour through Photography, Suriani Dzulkifli (University of Victoria, Canada)Part III: Decolonising and the Feminist Imaginary12. Indigenous Feminist Aesthetic Work as a Cultural Revitalisation: Facilitating Uy’skwuluwun, Dorothea Harris (University of Victoria, Canada)13. Decolonising Feminist Aesthetics of the Witness Blanket, Catherine Etmanski (Royal Roads University, Canada) and Ha_yalka_ng_a_me Carey Newman (University of Victoria, Canada)14. Murals as Storied Spaces: An Indigenous Feminist Practice of Hope and Healing, Tracey Murphy (Simon Fraser University, Canada) and Edna Ellsworth (Camosun College, Canada)Caring and the Feminist Imaginary15. Creating Moments of Equality when Researching Sensory Ways of Knowing Homecare: Toward an Aesthetics of Care?, Kerry Harman (Birkbeck University, UK)16. Estrangement Pedagogy in Research-based Theatre about Madness, Lauren Spring (University of Toronto, Canada)17. Feminist Aesthetics and Mutual Learning in Turbulent Times: The Politics of Listening, Claudia Firth (Ravensbourne University and Birkbeck College, University of London, UK)18. On Fostering Feminist Friendships for Resistance and Respite: Love Letter Making, Amber Moore (University of British Columbia, Canada) and Kaye Hare (University of British Columbia, Canada)ReferencesIndex

This book is a brilliant tapestry of courage, hope, and radical feminist imagination, visualizing change while dispelling invisibility and silence. Whilst deeply urgent and brimming over with important insights of decolonisation, it is also diverse in mediums and genre, reflecting an attempt of the feminist imaginary to be inclusive and bold.