2022 TAPRA PG Symposium

Panel on ECR Precarity – a virtual bubble bath with Dr Simon Dodi, Dr Tia-Monique Uzor and Dr Adelina Ong. 24 June 2022, 4.15 – 5.15pm, on Zoom

Borrowing from Isabell Lorey, ‘The common is nothing we can come back to’ (Lorey in Puar et al. 2012: 172). Precarity is not a common state of being that we can call upon for solidarity. 

As soon as we finish the PhD it begins to tear us apart as we begin to view each other as competitors. 

I am also your TAPRA ECR rep…so one ECR told me they had begun to resent people who got jobs for positions they never even applied for. 

In the end, the neoliberal university and academic publishing industry extracts value from us at ever lower rates of remuneration, with ever-increasing expectations. Most of the time we are expected to do a lot of the work for free (as academic contributions to the community). University tuition fees increase but VLs (Visiting Lecturers on zero hour contracts) don’t get paid more. Academic publishers sell the books at hundreds of pounds for a copy. Did you know that during the pandemic, the 2nd edition of the Applied Theatre Reader was sold at

Single user – £480.00 this means only one person can access at any one time

Three user – £600.00 this means only three people can access at any one time

No more. Let’s build a new world together

Before the pandemic, I was focused on applying for postdocs. In the 4 years since graduating in 2018, I’ve applied for 6 postdocs and I have been rejected for all of them. My school’s grant advisor had said I’ve applied for everything that I’m eligible for as an international ECR and there is nothing else that I can apply for. But I’ve never ever been successful with scholarship applications and I self-funded my MA (using my savings after working full-time for 8 years) and then my PhD. At one point, I ate chips left behind by a stranger for my conference dinner…But being rejected for funding towards education/career opportunities is nothing new. 

I’ve always been sceptical about full time academia but I decided to apply for this full-time fixed term position in the early days of the pandemic because I felt it would be the best way to support young people here given my skills. A colleague was going on research leave and I was familiar with the work, so I applied and got the job in July 2020. 

The so-called New Normal of ECR precarity is really the Old Normal on steroids:

  • I came to the UK as an international student. When I graduated with my PhD in 2018 into Theresa May’s hostile environment international students like me only had one year under the old Doctoral Extension Scheme. I couldn’t get past the second click on forms that asked for you to indicate leave to remain. HR departments ignored email queries and phone calls. I was told that entry level lecturers don’t get paid enough to receive a Tier 2 visa. I hear now that there’s a Graduate Visa and PhDs get up to 3 years. That is certainly a step in the right direction and I’m hopeful.
  • More recently I’ve seen fractional fixed term contracts. The worst was 0.3 for a term. Are permanent full-time entry level lecturer positions a thing of the past now?
  • I was in the middle of my 7th application for the AHRC ECR fellowship (now known as the Research, Development and Engagement Fellowship, ECR route) but was told 1.5 years into the process that the terms of eligibility have changed. The contract I’m on must extend beyond the duration of the research proposed, so if you’re proposing something that will take 3 years of research, your contract at the University must endure beyond the three years proposed. Apparently, AHRC is trying to encourage long term contracts for ECRs. I am sceptical…who will actually apply for this grant? Permanent, full-time lecturers who have published 2 books within 8 years but still get to call themselves ECRs? (AHRC grants ECRs up to 8 years, post-PhD) 

I understand that many people want a return to normal. Many have applied for jobs and postdocs and are still getting rejections. If full-time academia is the path that will connect what you love with what you’re good at, what the world needs and what you can get paid for: then don’t stop, keep applying. But if we accept that this precarity is the old normal for full time academia (and is becoming increasingly more so) then why should I be afraid of the precarity of being an independent researcher, trying to set-up my own social enterprise? 

  • Through these rejections I’ve made connections with partners who believe in the work and projects that give me the opportunity to co-facilitate with young people from low income families.
  • I’ve also had amazing conversations with established women researchers that I really admire about what path they took in developing their careers as researchers, and what might work today.
  • Through these conversations I’ve come to realise that creating a social enterprise based in Singapore that enables me to return to what I love – (direct work) co-facilitating applied performance workshops with the young people from low-income families that I once taught in Singapore. They’ve grown up now and are now trying to make a living in the arts. I’ve come to realise that running a social enterprise is the best path for development for me now as an independent early career researcher

There is no going back to normal for me

There are exciting developments in online learning within web 3.0 n the metaverse that I’m excited about because it opens up possibilities for independent researchers like me. Here are some articles if you’re interested:

Hamburg, S. (2022) A Guide to DeSci, the Latest Web3 Movement, Future, https://future.com/what-is-decentralized-science-aka-desci/ (Accessed: 22 June 2022).

Schecter, B. (2021) The Future of Work is Not Corporate — It’s DAOs and Crypto Networks, Future, https://future.com/the-future-of-work-daos-crypto-networks/ (Accessed: 22 June 2022).

I’m going to end with this quote from Arundhati Roy:

Nothing could be worse than a return to normality. Historically, pandemics have forced humans to break with the past and imagine their world anew. This one is no different. It is a portal, a gateway between one world and the next. We can choose to walk through it, dragging the carcasses of our prejudice and hatred, our avarice, our data banks and dead ideas, our dead rivers and smoky skies behind us. Or we can walk through lightly, with little luggage, ready to imagine another world. And ready to fight for it. (Roy 2020)

References:

Hamburg, S. (2022) A Guide to DeSci, the Latest Web3 Movement, Future, https://future.com/what-is-decentralized-science-aka-desci/ (Accessed: 22 June 2022).

Puar, J. et al. (2012) ‘Precarity Talk: A Virtual Roundtable with Lauren Berlant, Judith Butler, Bojana Cvejić, Isabell Lorey, Jasbir Puar, and Ana Vujanović’, TDR/The Drama Review, 56(4), pp. 163–177.

Roy, A. (2020) ‘The pandemic is a portal’, The Financial Times, https://www.ft.com/content/10d8f5e8-74eb-11ea-95fe-fcd274e920ca (Accessed 22.06.22)

Schecter, B. (2021) The Future of Work is Not Corporate — It’s DAOs and Crypto Networks, Future, https://future.com/the-future-of-work-daos-crypto-networks/ (Accessed: 22 June 2022).

Chalk/Dust

05.07.20

Chalk graffiti inspired by conversations with students about their hopes for place and words of comfort for those who have lost loved ones.

#reimagineplaces

05.02.20 Thinking about the climate crisis and all that we have already lost.

15.10.19 Thinking about space, place and placemaking body-weather hope poems for the year ahead. with the new MA Applied Theatre students @CSSD

Tattered Tenderness

04.02.20 The collage features sculptures made by my students in response to an exercise about place and our hopes for place. We ‘adopted’ each others sculptures for the session and made art du deplacement-inspired movement scenes with them in stairways and corridors around the school. Then we left a little note of encouragement under the sculpture we had adopted.

Underneath my tattered newspaper octopus trapped in wires, was a letter from one of my students which read:

‘This artwork can be interpreted in many ways…loads of stories can be made from it. One thing that stood out to me was that the arms could represent hardship in your life and that’s a brave thing to share’

06.02.19 The note below the lotus I had made said:

To the Artist:

I have never been able to fold lotus flowers. So well done. I mean, it’s a bit messy but perhaps that is really rather fitting. Beauty comes in infinite and arguably wildly subjective forms. I am sure you, yourself, know this. Keep making, keep creating, don’t concern yourself with other people’s subjective perceptions of your work. 

With compassion

Turning 40

20191012_173940-COLLAGEThe start of term has been so busy…it’s taken me more than two weeks to properly reflect on turning 40.

each decade feels like an appropriate time to take a step back from all that I am comfortable with,

all that I am too invested in,

all that has become part of how I define myself

and begin, again.

turning 40 began with

three hours of being surrounded by towering trees

that have quietly endured many more seasons than I have,

the knowledge of self that I hold on to from a mere four decades

must seem quite laughable to them.

these photos (and Facebook’s algorithms)

tend to privilege the spectacular,

so I want to begin by attending to that which I did not see.

a stream I hear but cannot find, flows close by.

all I see are two saplings standing on the ruins of an ancient aqueduct,

nonchalantly defying accepted wisdoms for growth.

chestnuts are lavishly strewn all over the path

but not a squirrel in sight.

birds call to one another but remain hidden

along the Camino de Santiago.

the waves crash fiercely onto the beach,

cradled by the gentle, lush green cliffs

tiny, white flowers play in the shade.

gnarled roots embedded in the dirt path.

footsteps muffled by brown, grass-thin leaves

that blanket the path.

two black slugs sleep curled up, side by side under a log,

cooled by tiny, lime green, propeller-shaped leaves.

all these encounters with the more-than human,

seen and unseen.

how much of this beauty will survive the turn of the next decade?

‘朝菌不知晦朔,

‘The mushroom of a morning cannot comprehend

the beginning and end of a month;

蟪蛄不知春秋’

the cicada will not live to experience

spring and autumn’

(‘Wandering at Ease’, The Zhuangzi).

A Proposed Non-Manifesto

IMG_20180611_154114

11 June 2018

Last day of ‘class’. We were asked to write a feminist manifesto but there is something about a manifesto that just doesn’t sit well with many of us. I remember asking the young people I work with, in February 2017, about what they thought about the Manifesto for the Arts (2013) and whether this still resonated with them. Although there were many broad points of agreement, several youths felt that the Manifesto could be framed in a way that sounded less absolute. One said:

Young artists need spaces to create, experiment, fail, succeed. I’d make the manifesto not so clichéd. Art isn’t a bed of roses and it isn’t going to solve world issues. But it can connect, let people have an experience like no other…Art in Singapore is already very rigid…Instead of framing [The Manifesto] into rules…unframing it…would make it more open and free. (VN 2017)

I agree. So this is a non-manifesto for practice research that Cathy Sloan and I put together:

We commit to:

Challenging what counts

as ‘We the People’ and Who.

Agonistic cohabitation.

Recognising the messiness of bodies

Sticky with Affect

(not just logical rhetoric).

Polyphonic conversations…

(so this is not a manifesto but the beginning of conversations).

[Borrowing from Judith Butler]

For ‘it is true that there are no demands that you can submit to arbitration here…If hope is an impossible demand then we demand the impossible’ (Butler 2011).

~~~

I will miss the Monday Research sessions at Royal Central School of Speech and Drama (Central). To all the PhD candidates who’ve generously taken the time to listen to my research anxieties, share their research insights with me and throw thorny and challenging counterarguments my way: thank you for these conversations and for being a crucial part of my learning at Central. You have taught me so much about what it means to create a supportive learning environment, one where I’m constantly challenged to be the best version of myself and exceed the limits of self-doubt to do what I thought was impossible.

 

 

14 April 2018. Conversations at the Intersection of Time.

What is it about an idea that withstands the noise of time? Julian Barnes posits that it is ‘only that music which is inside ourselves – the music of our being – which…over the decades, if it is strong and … Continue reading

08.03.18 #TheRebelDaughters

20180308_163551-COLLAGE

08 March 2018

#TheRebelDaughters
Disavow paternalistic expectations
Writing ourselves through place
Rewriting narratives of place as women
Unraveling constructs of self
Until we understand these differences
as ways of living together.

8 paper cranes
Torn away from the gender expectations of glossy magazines.

8 wishes for hope and healing
Left on the tube, at tube stations and around Parsons Green*, London.

*Note: Parsons Green tube station was the site of a terrorist attack and a stabbing last year.

#reimagineplaces

12 Jan 2018 In The Company of Clouds

31 Dec 2017 in the company of clouds

Dragonbreath sunsets

Craggy rocks submerged in the shipwrecked water

‘The people we were aren’t always the people we become’ (VanDerWerff 2017)

That may be disappointing,

but it also means we’re not bound by our past.

Living on with that knowledge is both powerful

and humbling.

 

The hermit crab rolls another grey ball of sand out from its hole

onto the shore. And I know that when I return, next year,

it will still be there,

rolling, still.

That which was built yesterday will be washed away

with forgetting.

Another journey is about to begin.

 

I must learn to begin, again.

I don’t know where it will lead, but

not knowing is a part of attending to

possible

            beginnings.

                                 A small bird skips across the muddy sand as

jazz lullabies play from the radio of a car.