Making memories matter: a project of the European Reminiscence Network

Schweitzer, Pam

doi:10.1177/1471301205055903

Cited by 3 publications

(3 citation statements)

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“…Indeed, creative analytic practices (Richardson, 2000) have been embraced by various scholars researching issues surrounding Alzheimer's disease and dementia as providing opportunities to make research accessible to audiences far beyond the academic community (Kontos & Naglie, 2006. Artistic forms such as music, art, and photographs have often been used in programmes and therapies with people with Alzheimer's disease (Jennings & Vance, 2002;Kahn-Denis, 2002;Schweitzer, 2005; the TimeSlips project www.timeslips.org). However, the endeavours using CAP are particularly exciting because of the possibilities that are extended to dispel social stigma and myths surrounding Alzheimer's disease and enhance understanding of the experiences of living with Alzheimer's disease through the representation of research (Kontos & Naglie, 2007).…”

Section: Creative Analytic Practicesmentioning

confidence: 99%

Using Photovoice with people with early-stage Alzheimer’s disease: A discussion of methodology

Wiersma

2011

Dementia

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Many scholars and activists have challenged researchers to do research ‘with’ not ‘for’ or ‘on’ people with Alzheimer’s disease and related dementias. Photovoice is a relatively new qualitative methodology that involves giving cameras to participants to record and document their experiences in ways that can create change. In this study, the Photovoice method was used with a group of participants in early stages Alzheimer’s disease to explore the use of Photovoice as a methodology with this population. Specifically, I was hoping to understand how Photovoice could be used as a methodology with this group, and to examine the benefits and challenges of using Photovoice with people with Alzheimer’s disease. This paper discusses some of the practical challenges arising out of using this methodology with people with early stage Alzheimer’s disease as well as some of the issues surrounding research ethics, consent, and capacity.

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Section: Creative Analytic Practicesmentioning

confidence: 99%

Using Photovoice with people with early-stage Alzheimer’s disease: A discussion of methodology

Wiersma

2011

Dementia

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“…A growing number of care homes use dolls to comfort residents (Learner 2013), drawing on evidence for the benefits of 'doll therapy' (Higgins, 2010). The use of objects and images is also central to reminiscence therapy and life-history work, including use of the 'memory boxes' to gather objects which are connected to a person's life (Gulwadi, 2013;Schweitzer, 2005). Such work has shown how objects -including clothes -can be powerful triggers for memory, as the feel, smell and touch of these items have a strong affective dimension, evoking memories of the past (Schweitzer, 2007;Schweitzer et al, 2008).…”

Section: Dementia Clothing and Materials Culturementioning

confidence: 99%

Women with dementia and their handbags: Negotiating identity, privacy and ‘home’ through material culture

Buse

Twigg

2014

Journal of Aging Studies

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The article analyses the role of handbags in the everyday lives of women with dementia. Drawing on findings from an ESRC funded UK study 'Dementia and Dress', it shows how handbags are significant to supporting the identities of women with dementia as 'biographical' and 'memory' objects, both in terms of the bags themselves, and the objects they contain. This is particularly so during the transition to care homes, where previous aspects of identity and social roles may be lost. Handbags are also significant to making personal or private space within care settings. However, dementia can heighten women's ambivalent relationship to their handbags, which can become a source of anxiety as 'lost objects', or may be viewed as problematic or 'unruly'. Handbags may also be adapted or discarded due to changing bodies, life-styles and the progression of dementia.

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“…In response to this experience of increasing spatial impunity, Afghanistan’s emerging war victims community has devised a number of bottom-up approaches of resistance, many of them predominantly discursive in nature (reports, press releases, workshops, conferences), and in the case of the AHRDO, with a particular focus on different art-based and embodied methods such as agitprop theater, Playback Theater, and documentary theater, as well as the Memory Box-Initiative (AHRDO, 2014 & 2017). Inspired by Augusto Boal’s Aesthetics of the Oppressed 10 and “Making Memories Matter,” an initiative conducted in Europe to mark the 60th anniversary of the end of World War II (Schweitzer & Trilling, 2005), Memory Boxes tell the stories of Afghanistan’s widows and war victims and their families through individual and collective installations of remembrance.…”

Section: The Memory Box-initiative: Self-memorialization People As Amentioning

confidence: 99%

The Memory Box-Initiative: Nonextractivist Research Methodologies and the Struggle for an Architecture of Remembrance in Kabul, Afghanistan

Joffre-Eichhorn

2019

Cultural Studies ↔ Critical Methodologies

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Over the past 10 years, the Afghanistan Human Rights and Democracy Organization (AHRDO), a Kabul-based civil society organization and arts-activism platform, together with various self-organized, local war victims associations, has fought an uphill battle to challenge Afghanistan’s entrenched culture of impunity and make a contribution to a more just, democratic and peaceful country from the bottom-up. The current article critically describes, theorizes, and poeticizes one particular aspect of this decade-long struggle, the so-called Memory Box-Initiative, inspired by Augusto Boal’s Aesthetics of the Oppressed. Challenging the fact that in many urban centers of Afghanistan, and in particular in the capital Kabul, a great number of public monuments and buildings are dedicated to war criminals, a veritable architecture of impunity, the aim of the initiative is the creation of a counter-hegemonic, victims-centered architecture of remembrance, taking place in a context of a highly contested Transitional Justice process. The main sections of the article address the following three issues: (a) the attempt by Afghanistan’s political, religious, and military elites to undermine the efforts of the country’s war victims to challenge the current culture of impunity by promoting a cityscape in the image of what they consider to be war heroes; (b) the response by the Afghan community of war victims in the form of the Memory Boxes and subsequent advocacy efforts in the public sphere; and (c) the embedding of the Memory Boxes within the larger framework of what is currently being theorized as “nonextractivist methodologies” as part of what is known as the Epistemologies of the South, as proposed by Boaventura de Sousa Santos. The article will conclude with a call for increased epistemological and methodological insubordination and the need for further research and, above all, experimentation in combining the Memory Boxes and the Epistemologies of the South in the global struggle for social and cognitive justice.

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Making memories matter: a project of the European Reminiscence Network

Cited by 3 publications

References 0 publications

Using Photovoice with people with early-stage Alzheimer’s disease: A discussion of methodology

Using Photovoice with people with early-stage Alzheimer’s disease: A discussion of methodology

Women with dementia and their handbags: Negotiating identity, privacy and ‘home’ through material culture

The Memory Box-Initiative: Nonextractivist Research Methodologies and the Struggle for an Architecture of Remembrance in Kabul, Afghanistan

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