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Narrative Spaces: on Identity Work and Placeness Through Artsbased Acta Universitatis Lapponiensis 379 Daria Akimenko Narrative Spaces: On identity work and placeness through arts- based narrative practices Academic dissertation to be publicly defended with the permission of the Faculty of Art and Design at the University of Lapland at Esko and Asko hall on 12 November 2018 at 12 noon. Rovaniemi 2018 Acta Universitatis Lapponiensis 379 Daria Akimenko Narrative Spaces: On identity work and placeness through arts- based narrative practices Rovaniemi 2018 University of Lapland Faculty of Art and Design Layout and cover design: Daria Akimenko Language editing: Mike Watson Sales: Lapland University Press PL 8123 FI-96101 Rovaniemi Finland tel. +358 40 821 4242 [email protected] www.ulapland.fi/LUP Printed by Hansaprint Oy, Turenki 2018 Printed work: Acta Universitatis Lapponiensis 379 ISBN 978-952-337-105-7 ISSN 0788-7604 PDF: Acta electronica Universitatis Lapponiensis 246 ISBN 978-952-337-106-4 ISSN 1796-6310 ACKNOWLEDGEMENTS These pages are the very conclusion of it all. Now that I see what my work has become, now that she does not scare or surprise me anymore, it is time to express gratitude to everyone who made it possible. It all started six years ago when I met Michael B. Hardt who became both a teacher and a friend to me and who first gave me an idea to embark on a research journey. It was a very different idea back then, but Michael’s passion for questioning the world and learning from people proved to be very inspiring and contagious. As Satu Miettinen took a leap of faith in my research proposal, she went on generously including me in interesting and challenging projects, while also giving me a lot of freedom as a supervisor. It is through our collaborations with Satu that I met Melanie Sarantou who taught me everything she knows about working with communities of place and practice and about putting into words the intangible fieldwork processes. I am grateful that Melanie became my second supervisor later, during the final and the messiest part of the writing up of this study. Another person without whom this work would not have been possible is my best friend Nuno. If I am being honest, he was the third, unofficial, “supervisor” of my study, as well as a partner in most of the fieldwork situations and a co-author of some of the research articles. I am thankful to Nuno for being the first reader and critic of my texts and often the only believer in my abilities. I am thankful for all the lands and people we discovered together. Everything I know about documentary film and audiovisual documentation I learnt from and with him. I am grateful to Anastasia Piatakhina Giré for introducing me to reflexivity and displacement in research and for her ongoing help in the process of “collaging” myself from bits and pieces, both as a researcher and as a person. A lot of academic gratitude is to be expressed. University of Lapland in Rovaniemi, Finland, has been a welcoming and open academic environment that taught me a lot and allowed for a freedom of expression. I am grateful to Virpi Nurmela for making me and dozens of other foreign students feel welcome and at home in the new unfamiliar institution. I am happy to have taken classes of Richard Foley and Zoe Koivu whose professionalism and tact helped me to navigate the complexities of presenting my work in English. My wonderful colleagues Essi Kuure, Mari Mäkiranta, Tomi Knuutila, Sanna Konola, and Tarja Wallius have always served me as great examples of diligence, creativity and passion in art, design and research. Another colleague who has always been there for me in my academic endeavours is Svetlana Usenyuk who at different stages of our collaboration and friendship happened to represent both this new Finnish research world of mine and my first university back in Russia. Svetlana’s enthusiasm and profound knowledge of the Arctic led me to reflect on the topic and incorporate these reflections into my work. 5 I am honoured that Alastair Fuad-Luke and Nithikul Nimkulrat, whose brilliant work and books have been an inspiration during my research journey, kindly agreed to examine my dissertation. Their sensitive and deep commentary helped me to improve the ways I talk and write about my research. I have always enjoyed presenting my findings at conferences. Perhaps, I was lucky to have been able to find a great forum for an equal and profound conversation with like-minded people almost everywhere I went to present. A big thank you goes to Piotr Radwanski and Dobros!awa Wiktor-Mach who were the first to accept my paper to their conference !he idea of creative city: !he urban policy debate in Krakow, Poland, in 2013. Other noteworthy forums of academic exchange that opened my eyes and shaped my thinking were OnSustainability conferences under the guidance of Amareswar Galla in 2014 and 2015, Cumulus Aveiro in 2014 organised by Teresa Franqueira and Ana Afonso, Mediations conference in 2016 hosted by the TRADERS research project. These conferences allowed me to make friends with fellow doctoral students from all over the world: Nir Barak, Sean Cullen, Chris Thornton, Keri Chiveralls, and Fatima Cassim. I am thankful to my family back in Russia who always thought of my work as big and meaningful, even if they were not always quite sure what it is that I do. And to Larisa Matveeva and Dmitry Matveev (who are also a kind of family to me), with whom I formed my first ever community of creative practice, at the age of five. My gratitude goes to my friend Jenni-Liisa for cheering me to keep up the good work during all these years, and to her husband Frank for challenging my work to the core. Every creative process needs both the encouragement and the critique. As a migrant and a nomad I have been privileged to choose and assemble from scratch not one, but many communities of place. No, not like this. I was honoured and humbled to have been included into multiple beautiful communities of place. I thank my friends Tito and Sara from the bottom of my heart for keeping their doors always open to our diverse group of strangers from different parts of planet Earth who happened to have met in Finnish Lapland. It is in their home that I heard some of the most incredible and poignant narrations of travel, search, (un)belonging and geopolitics. I thank Max and Erald who were my roommates during different periods of time in Bolzano, Italy, yet another timespace I inhabited. Practicing the art of togetherness with them, through shared meals and conversations, growing basil on the windowsill and dancing in the kitchen, was essential to both my sanity and the finalisation of this dissertation. I am thankful to the many funding bodies who recognised the value in my work and supported the art and research projects I was a part of: Finnish Cultural 6 Foundation, Kone Foundation, Arts Promotion Centre Finland (Taike), the Australian Council of the Arts, and Country Arts SA. As the four years of my research encounters, learnings, and becomings have come to a conclusion, I have also concluded, or altered beyond recognition, the most meaningful and transformative personal relationship of my life to date. This relationship kept me going through the occasional placelessness and many migratory events, within and without, including this research journey, which, in its turn, fuelled the relationship itself in meaningful ways. One would not have been the same without the other. To both, I am forever grateful. The writing up of this dissertation was a hard and emotional process. The empathy and sense of duty towards my research participants and our shared timespaces kept me going through the final several months of this process. From the bottom of my heart I thank the six global communities who shared their art and stories with me. In Edinburgh, UK: Manu, Demelza, Renata and Tadas, Hasan and Abdul, Shanzay and Khaleeda, Patricia and Michael, Wojciech, Anna and Gabriela. I also thank my friends Malla Alatalo and Janne Airaksinen for bravely joining Nuno and me in Edinburgh in our first fieldwork ever. In Cork, Ireland: Patrick Leader, Rose Scully, Rosarii Comber, Shamsul Israel, Jeremy Twohig, Eoghan Ryan, Shóna Slemon, Kate O’Shea, Niamh O’Leary, Alan Hurley, David McCall, and the McCarthy family. I also thank Eszter Némethi, Makeshift Ensemble and Quarter Block Party festival for introducing me to North and South Main Street. In Fowlers Bay, South Australia: Amanda Radomi, Jayne Holland, Pam Diment, Cindy Watson, Glenda Hanson, Noelene Bridley, Hilary Williams, Janet Quema, Marjorie Kugena, Adrienne Kennedy, Madeline Grant, Shareena May, Felicity Stewart, Sylvia Boogar, Tricia Boogar, Josie McArthur, Debbie Hanson, Marlene Hogan, Kandria Hogan, Nikischa Singer Hogan, Alisha Singer Hogan, Gina Felton, Joan Bowden, Rita Bryant, Margaret May, Joy West, Rosalyn Peters, Janet May, Mima Smart, Irene Peters, Carolyn Peters, Lorraine Ginger, Melissa Winlass, Sherrie Jones, Denise Scott, Lauren Karp, Liz McTaggart, and Katrina Vivian. In Port Augusta, South Australia: Pam Stringer, Jenny Bourne, Reta Coffey, Melva Waterman, Jean Hucks, Pat Carter, Emily Alexander, Brigit McQueen, Tammy Colman, Ruth Tulloch, Georgie Sharp, Cheryl Fischer, Ken Fischer, Cheryl Hawkins-Clarke, Jon Hawkins-Clarke, Judith Welgraven, and Zena Cox. 7 In Rovaniemi, Finland: Bilge Merve Aktas, Alexander Raevschi, Anna Ridler, Elena Kiryakou, Frank Nieuwenhuizen, Heidi Pietarinen, Priska Falin, Ulvi Haagensen, Marika Kavakka, Anu Corin, Mirjam Yeboah, Vic Sarantou, and Kirsten Wechslberger. In Murmansk, Russia: Alexandra Krylova, Alexandra Leshukova, Alexandra Sobyanina, Andrey Gaiduk, Antonina Gorbacheva, Daria Potapova, Elena Galeeva, Kseniya Kuleshenko, Kseniya Skumina, Maria Olenina, Oxana Loginova, Victoria Didenko, Victoria Kuznetsova, Yaroslav Savchenko, Eleonora Agarkova, Elena Fedenyova, and Tatyana Ashutova.
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