Background Knowledge of the challenges unpaid caregivers faced providing care to older people during the COVID-19 pandemic is limited. Challenges may be especially pronounced for those experiencing inequitable access to health and social care. This participatory action research study, located in New Zealand, has four main objectives, (i) to understand the challenges and rewards associated with caregiving to older care recipients during the COVID-19 pandemic restrictions; (ii) to map and collate resources developed (or mobilised) by organisations during the pandemic; (iii) to co-produce policy recommendations, identify useful caregiver resources and practices, prioritise unmet needs (challenges); and, (iv) to use project results in knowledge translation, in order to improve caregivers access to resources, and raise the profile and recognition of caregivers contribution to society. Methods and analysis Māori, Pacific and rural-dwelling caregivers to 30 older care-recipients, and 30 representatives from organisations supporting caregivers in New Zealand will be interviewed. Combining data from the interviews and caregivers letters (from an archive of older people’s pandemic experiences), framework analysis will be used to examine the interrelated systems of the human ecological model and the impact on caregiving experiences during the pandemic. Resources that service providers had created or used for caregivers and older people will be collated and categorised. Through co-production with caregivers and community partners we will produce three short films describing caregivers’ pandemic experiences; identify a suite of resources for caregivers to use in future events requiring self-isolation, and in everyday life; and generate ideas to address unresolved issues.

In this article, I will trace the history of the qualitative applied theatre as research (ATAR) approach to explore how researchers may enrich their analyses and writings about ATAR-generated data with a critical post-structuralist (CPS) approach to reflexive interpretation (RI). RI is a compound methodology that considers four levels of interpretation. First, it asks researchers to consider how they handle empirical material. Second, it encourages researchers to analyse how they make their acts of interpretation conscious to themselves and their reader(s). Third, it calls for reflection on how sociopolitical and ideological contexts shape the research endeavour. Finally, it provokes researchers to investigate how authority is at play in the representation of data and findings, and in the writing of the final research output. I will consider how an RI methodology firmly rooted in a CPS paradigm can enable researchers to create analyses and representations of data that adequately portray the complexities of participants’ lived experiences in our chaotic and often contradictory postnormal world.

Underpinning drama education in New Zealand is the desire to improve the lives of individuals, communities and societies by catalysing embodied learning in and through the art form of theatre. Learning in drama is intended to foster well-being, social cohesion and active citizenship. Put another way, drama education in New Zealand has always been about more than training actors for the theatre stage. It has been about fostering the development of actors who engage in, on and with the world. This determination has led to the particular pedagogical and curricular response that frames how drama is taught in New Zealand. In drama education in New Zealand we have focused for a generation on working practically to explore the nature of drama as a meaning making tool. Students not only study theatre by passively watching, they actively partake in framed fictional worlds and reflect on these embodied experiences. By engaging students in dramatic encounters, we argue drama education bears the potential to engage in critical and creative engagement with pivotal social issues in the real world (Anderson & O’Connor, 2015). The nature of the meaning making has seen a deliberate privileging of non-naturalistic forms of drama presentation and representation. Progression is understood in the curriculum as moving from exploration of narrative through imagined and social play at junior primary to understanding how to use conventions as dramatic structuring devices (Ministry of Education, 2007). This can be understood as a conventions approach (CA) to drama education. In this article we consider the pedagogical and theatre traditions that informed the New Zealand curriculum to contextualise the planned curriculum refresh in 2023.

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