Lee is booked for a residency at Spazju Kreativ, Malta's National Centre for Creativity, in April 2019. During this residency, Lee will be re-exploring art and vision impairment with local blind organisations.
Excited to be doing a residency at Spazju Kreativ, Malta's National Centre for Creativity in April exploring art and vision impairment with local blind organisations pic.twitter.com/IMjkXd7aI4
— Dr Lee Campbell (@leejjcampbell) January 18, 2019
For further details of Lee's performance pedagogy of this piece, please see: https://journals.beds.ac.uk/ojs/index.php/jpd/article/view/397/594
The following is from Lee's paper of the same name, which describes the piece he is to develop further during his residency:
"This paper links experiential learning and Performance Art with public pedagogy on sight/visual negation and contributes to knowledge by drawing together performance as pedagogy to demonstrate how teaching styles can accommodate those with vision impairment and adapt (performance) art to make it more accessible. In so doing it seeks to develop inclusion for students with a vision impairment. Intermeshing practice, teaching and research around issues of access, participation and education, it builds upon previous work exploring teaching strategies for the visually impaired within contemporary art practice (Axel and Levent, 2003; Hayhoe, 2008; Allan, 2014) and shares useful adaptations to help make learning about art more accessible for students with vision impairment. It also sheds light upon aspects of the question, ‘What are the basics that an educator needs to know when designing art programs for persons with visual impairment?’ (Axel and Levent, 2003: 51). This paper can be read as a benchmark for critical engagement in its attempt to combine performative pedagogy with an emphasis on technological means, access and visual impairment. While vision is favoured over other senses (Jonas, 1954) and with the increasing importance of digital and virtual realities as a major component of students’ lives, never has there been a time in which the meanings of access are so broadened via technological mediation—that draw on all senses—to which artworks, as suggested, respond. Relying on all senses becomes an aspect of public pedagogy that is more inclusive."