Events by this organizer

Title and details coming soon.

A fugitive to the manicured the disciplinarity of the academe, public intellectual, lecturer, author, father of Alethea and Kyah, grateful husband/life-partner to Ijeoma, speaker, and proud diaper-changer, Bayo Akomolafe (PhD) leads an earth-wide organization-movement (The Emergence Network) as its Chief Curator and Director. The organization is set up around what Bayo calls “postactivism”, which concerns itself with an exploration of the materiality of responsibility and responsivity in critical times. Postactivism, as well as The Emergence Network, is a project framed within a posthumanist ethos and inspired by indigenous cosmologies. Bayo asks: what if the ways we respond to the problem is part of the problem? He considers this vocation to slow down, to touch the textures of urgency, to see through the eyes of the fugitive, as a shared art – an exploring of the edges of the intelligible, a dancing with posthumanist ideas, a dabbling in the mysteries of quantum mechanics and the liberating sermon of an ecofeminism text. 

Bayo hosts a course (We Will Dance with Mountains) among other offerings, teaches and speaks around the world. He is passionate about nurturing a posthumanist emancipatory movement and fugitive network that opens up other sites of power. 

Bayo is visiting professor at Middlebury College, Vermont, and has taught in universities around the world (including Sonoma State University California, Simon Frasier University Vancouver, Schumacher College Devon, Harvard University, and Covenant University Nigeria – among others). He is a consultant with UNESCO.  

Bayo has authored two books, ‘We Will Tell Our Own Story!’ and ‘These Wilds Beyond our Fences: Letters to My Daughter on Humanity’s Search for Home’, and has penned forewords for many others. 

www.bayoakomolafe.net

www.emergencenetwork.org

No booking is required. You must be registered as a Borrowed Time delegate to attend this event.

Moving with the Trouble (22mins)

Beatrice Allegranti

How long does mourning last? How long are the dead allowed to haunt us?

Developed from the legacy of the dance theatre work I’ve Lost You Only To Discover That I Have Gone Missing, this newly commissioned dance film supported by Surrey Arts and Dance21 confronts our dispossessions. It explores how we touch the alterity within, the dark matter, and invites audiences to move with us as we move with the trouble. The film, and the transdisciplinary research that informs it, grasps the social, political, and environmental inequalities of loss, trauma, voice, intimacy, vulnerability and care. In doing so, Moving with the Trouble tunes our attention to micro-activisms present in movement exchange as we show up to collective understandings of the reterritorialization of power and privilege in more-than-human ways.

Beatrice Allegranti Company produces international and politically progressive work across several mediums: performance, film, participation and publications. The company work tackles burgeoning and interrelated social and environmental issues of loss, mental health, migration and ‘othering’ — through outstanding and ethical dance practice. The company is regularly funded by Arts Council England and prioritises collaborations and partnerships across the arts, health and science sectors. 

www.beatriceallegranti.com

Paul Michael Henry is a Scottish performance artist, dancer and musician. His work is informed by Butoh dance, punk rock and ritual, and is performed all over the world. Recent projects include SHRIMP DANCE (a multimedia dance work exploring the links between anti-depressants, ecological crisis and late capitalism), a tour of the United States with Laughter at Being Crushed, touring as a Butoh dancer in France and Japan, the premiere of new performance Mammy at CCA Glasgow, and a new film exploring high rates of male suicide in Scotland and globally called SMITE ME NOW. He is currently working towards a PhD at Royal Conservatoire of Scotland, researching techniques for shifting our sense of self from Individual-Consumer to Interdependent- Ecological.

Michael’s themes are political, social & spiritual, dealing with love, neglect of the body, destruction of the environment and atrophy of the soul in consumerist society. www.paulmichaelhenry.com

He is also Artistic Director and creator of UNFIX, an evolving and experimental festival platforming ecologically committed performance, dance, music, film and discussion. UNFIX is intended as a contribution to the waking up of the human species to our predicament in an age of climate change, massive inequality and crazy consumerism. It is based in Glasgow and is ongoing there and in New York City and Tokyo. www.unfixfestival.com

Others say:

Utterly compelling… the astonishingly talented Henry has much to say. 
– Glasgow Theatre Blog

A singular talent of grace and power 
– Lorna Irvine (reviewer for the List and Exuent)

A disciplined, creative and unique performer to Scotland and I have not seen his like in Europe in fact. His movement has a beauty and intensity which has its roots in Japanese Butoh.
– Morag Deyes (Artistic Director, Dance Base Edinburgh)

Gwen Stevenson: The Heart of Living & Dying

The use of art has an important role in transforming capacity to cope with bereavement and open up a healthier public conversation about death. Since 2017, I have been Artist Witness to a series of events called ‘The Heart of Living & Dying’, run by Southern Health & Social Care Trust, North. Ireland. These events offer the general public an opportunity to engage in Advance Care Planning conversation. I listen to the heart of what is being said and reflect what I hear in a piece of visual art sent to participants as a keepsake of the experience and a prompt to revisit the conversation with others.

Heba Aboul-Enien: Life beyond the barrier

This paper addresses the death of the researcher’s son in an Islamic context. It discusses Islamic death concepts in relation to modern science; since some of these beliefs parallel specific scientific studies, i.e. the fact that the dead still hear. Moreover, in Islamic tradition, the dead live a life beyond a barrier, and know about their relatives’ lives, a fact that is unfolded in dreams. Thus, the paper refers to selected dreams; personal and ones from traditional books of dreams, to reveal that relations with the dead continue in the form of dreams which at times turn to be realistic.

The chillout and meeting spaces are open.

Beatrice Allegranti: Moving with the More-than-Human

This presentation accompanies the screening of Moving with the Trouble (on the 31^st October), a dance film that draws directly from the Arts Council England, Surrey Arts and Public Health funded Moving Kinship project, and the internationally touring dance theatre production I’ve Lost You Only to Discover That I Have Gone Missing. The transdisciplinary work evolves from my feminist new materialist choreography, psychotherapy, scholarship and activism with people living with rare young onset dementia, their families and the artistic team Beatrice Allegranti Company. Since its inception in 2016, the project has spanned the deaths of three parents in the artistic team, and a pandemic. Through our dispossessions, this film explores how we have touched the alterity within, inviting audiences to move with us as we move with the trouble. I will discuss the choreographic assemblage and how the film, and the work that informs it, invites a transcorporeal tangling of movement with/in dementia and wider social, political and environmental inequalities of loss, voice, intimacy, vulnerability, destruction and care. In doing so, I propose that Moving with the Trouble tunes our attention to micro-activisms present in movement exchange as we show up to collective understandings of the reterritorialization of power and privilege in more-than-human ways. 

Biography

Dr. Beatrice Allegrantiis an independent choreographer, filmmaker, UKCP registered dance movement psychotherapist, and Reader in Dance Movement Psychotherapy and Choreography at the University of Roehampton, School of Arts. Beatrice’s choreography and film work has toured internationally (France, U.S.A, Norway, Finland, Ireland, Hong Kong, Japan, Poland, The Netherlands), and her clinical experience includes private practice and the UK National Health System (adult mental health and dementia services), and consultancy (Arts for Peace, Irish Defense Forces, Wellcome Trust). Across her artistic, clinical, and scholarly work, Beatrice’s transdisciplinary feminist new materialist focus involves an ethical re-visioning of the way we relate with/in the world through the lens of our intersectional body politics (gender, race, sexuality, age, class) in human and more-than-human ways. Beatrice is currently working on her second book (with Routledge) about the Moving Kinship project. www.beatriceallegranti.com

Heide Hatry and Prof Caroline Bynum: In conversation: on reliquaries, embodiment and the grieving process

The portrayal of the human image arose many millennia ago, precisely for the purpose of keeping the dead among us. Not just in memory, but in charged ceremonial objects that were intended to embody and preserve their spirits for their survivors. It was a way of integrating the inexplicable fact of death into life, of insuring that the dead and what they meant stayed present and abided with us.

That is exactly the purpose of Icons in Ash memorial portraits, which are made using a proprietary technique by means of which the cremated ashes of our beloved become a poignant, dignified, and enduring portrait. The art-work is our beloved.

Caroline Walker Bynum is professor emerita at the Institute for Advanced Study in Princeton and Columbia University in NYC. Her primary focus is the religious history of medieval Europe. Her most recent book Christian Materiality: An Essay on Late Medieval Religion (2011) examines the iconography and cultural history of relics.

Bethan Michael-Fox: Writing, Death and the Self

WORKSHOP

Writing is a profoundly social activity; it connects my thoughts to yours.

Les Back

Writers believe in the patterns their words make, which they hope and trust add up to ideas, to stories, to truths.

Julian Barnes

We should have the luxury of telling our stories, all our stories.

Ta-Nehisi Coates

I do think constantly of death, my death, the only one I’ll have.

Jenny Diski

This 90-minute session offers participants the opportunity to reflect on the themes of the conference, taking time to think, discuss and write in a collaborative space. Those attending will undertake a range of facilitated writing activities and produce a short piece of creative writing of their own.

The workshop is grounded in the concept of autothanatography, or what might be more simply termed self-death- writing. Though the term autothanatography is contested it has come to be associated with writing about death and the self that deviates from more traditional autobiographical endeavours. It explicitly engages with and reflects on impossibility – after all, how can you write about your own death? Yet those attending this conference likely engage with writing about death – our own, the deaths of loved ones, the death of the ‘other’, the death of the planet, social death, the death of the ‘self’ and much more – on a regular basis. In his novel Flaubert’s Parrot (1984) Julian Barnes writes: ‘Books make sense of life. The only problem is that the lives they make sense of are other people’s lives, never your own.’

When we write about our own lives and stories we perhaps utilise the writing process as a way to ‘make sense’ of life and death both for ourselves and others. This session will offer a range of stimuli and examples of arguably autothanatographical writing by authors including Julian Barnes, Jenny Diski and Ta-Nehisi Coates and encourage participants to reflect on the ways in which their own writing processes (academic, creative, day-to-day) function to ‘make sense’, or fail to ‘make sense’, of death. The session gives you an opportunity to leave with a piece of writing you have generated.

WORKSHOP

The Scene Reveals: a film scene linked to the deceased 

workshop format: I’ll show a clip from “Oklahoma!” (1955, dir. Zinnemann, with Shirley Jones, Rod Steiger, Gordon MacRae), the film my brother chose to watch on his last night on Earth. I’ll share what in that scene is connected to my brother’s life-while-dying from Amyotropic Lateral Sclerosis. In turn, each participant will be invited to show a film clip of their choice (up to 5 minutes), then share the connection between the scene and the deceased—A film the deceased loved? A scene that reveals tensions or decisions for a vulnerable person? A moment of hilarity or absurdity, during a fraught time? We’ll take time for closing observations, as well. Note: Each participant should be prepared to share screen with their film clip.

background: My brother would watch a film every day of the final year of his life at 5 ‘o clock sharp. Unwilling to die without having re-read favorite novels and without having viewed again favorite or classic films, i.e. The Maltese Falcon (noir), West Side Story (musical), or It’s a Mad, Mad, Mad, Mad World (comedy), he wanted others to watch with him. His rules: No talking, no breaks. Complete immersion in the film.

As I continue to feel, grieve, think, write, publish, teach, and to live during our Earth’s climate change and the pandemic linked to it, I understand Carroll’s dying and death increasingly through the film genre, especially the scene unit. Scenes from his death months often flash into mind, unbidden visitations —scenes from films we viewed together as well as scenes from his actual life as compromised by the disease.

Deborah Kelley & Clare Whistler: Asclepian Dreaming for a Dying Earth

WORKSHOP + special session

Drawing on principles of Asclepian healing temples, we would like to offer two experiential workshops, incorporating bodywork, embodied imagination, ritual and nature: one in the evening, followed by an invitation to attend to dreams overnight, and one the following morning, to respond to this dreaming. Having run Asclepian inspired groupwork for people facing death over last 20 years, we will invite participants to imagine themselves as the dying earth, visiting the ‘Asclepian temples’ and preparing for a healing dream.

This slot is the main workshop slot. Please note that there is a follow-up slot the next morning (Tues Nov 2) at 09.15 to 10.15 GMT

Michelle Atherton: A Celebratory Gathering – Live from the Rowan Tree and the International Space Station

On October 15 Michelle Atherton held a Celebratory Gathering on Zoom. This is a report-back and an exploration in response.

How do we publicly acknowledge the lives of those no longer living, beyond the funeral and the obituary? In secular cultures how do we bestow significance on a life and mark the lives of the dead? If what is important about life is how it is lived, how do we collectively judge what is consequential, what counts, what really matters? Equally, how do we move away from anthropocentric views on the worth or value of the life of other species and other organisms?

In an attempt to address these questions I wish to invite you to a gathering that will bring together anyone who would like to celebrate, in their own way, friends, loved ones or anyone, any organism or anything no longer in existence and in so doing pay tribute to the full spectrum of life and matter. From the recently or long-since deceased to those that are now extinct, extinguished and forgotten, whether human or not. During the gathering participants can share their tribute through whatever form they wish, whether that be testimony, stories, song, tears, toasts, chanting, recipes, contestation, poetry, imagery or silence…

More information and booking (prior to October 15)

Kathryn Poole: Grave Visitations

I am interested in metempsychosis, the transmigration of the soul and how I can preserve life and memories through intimate observations of death. The grave site holds significance in my work whether it is on the side of the road, jars on my desk, or the family grave that I tend throughout the year. “Memory is, achingly, the only relationship we can have with the dead” (Sandra M. Gilbert). In creating memorials I hope to perform the obligatory tasks that the living occupy themselves with in the hope that someone will perform the same jobs, and so remember us when we are gone. https://www.kathrynpoole.co.uk/revenant

The Revd Prof. June Boyce-Tillman MBE: Music, Death & Dying

This paper will look at the range of music associated with death and dying. It will start with an examining of spiritual views of dying and death and how these may generate certain ways of musicking related to research into the process of dying. End of life care planning will be interrogated and examine the development of threshold choirs singing around the beds of the dying as well as the music thanatology harp and voice programmes designed for end of life care. It will look at a case study of a music therapist working with hospice patients. Other areas to be considered will be music in grief and mourning rituals , including keening, as well as a composer working on a piece about his own relationship to death and dying. This will include a short look at the origin of the Requiem Mass and the use recorded Requiems today as a way of handling grief. This contribution will constitute a brief survey of the range of musicking broadly associated with this field. June Boyce-Tillman MBE PhD, MA, LRAM, FRSA FHEA, FISM. Professor Emerita of Applied Music University of Winchester; Extraordinary Professor at North-West University, South Africa; Associate of the Institute for Theology, Imagination and the Arts, St Andrews University, Scotland.

Joanna Lilley: Hearing Voices: words of extinction

WORKSHOP

Hearing voices: words of extinction A workshop with Joanna Lilley Is there a way to hear the voices of extinct species and put them on the page? Do you wonder what our fellow creatures would say if we were all able to communicate in the same language? Come to this workshop and bring with you a nonhuman guest of your choice from any eon who no longer exists. Sit, crouch, lie or hover beside them and listen to what they have to say, whether whisper or bellow. Test each of your senses to connect with beings with whom we once shared the planet or who preceded our existence – and perhaps even tune into elements of your own existence you’ve never had a chance to fully explore. Beginners and experienced writers and word artists are all welcome. As part of this workshop, Joanna will share a selection of poems to illustrate some of the approaches she took to connecting with extinct animals for her 2020 poetry collection, Endlings from imagining what the dusty bones of a dodo in a museum might say and perceiving a great auk subculture to reporting on the story of how the very last Labrador duck was shot and travelling back to a planet on which Homo sapiens had yet to exist.

While I am personally a page writer I encourage word artists of all kinds to take part.

Elisabeth Laasonen Belgrano & Mark D. Price: Ornamentation in the Shadows of Death

Even with a healthy suspicion of ‘cultural universals’, there is a notable ubiquity to the relation between song and death. Peoples seemingly unconnected as the Plains Nations of North America, the Urubu Indians of Brazil, Japanese Zen Buddhists, and the Irish Celts have deep traditions relating voice and Death. The most obvious basis of this association may be the shared physiological phenomena of ‘the breath leaving the body’ – a process necessary to life when accompanied by breathing in again – but which also marks ‘the end of a life’. Taking the popular Greco-Roman myths of the nightingale as a starting point or our performance, we are to engage an audience in an exploration of the aesthetics of the Death- Song.

As those familiar with end-of life situations know, encounters between life and death are not always occasions of silence: there may be tears, cries, raving, even laughter. Such expressions may be part of ‘a good death’. What is certain is that even with the utmost fore- knowledge and preparation the reactions to death are unpredictable. The medieval ars moriendi pamphlets were helpful but necessarily incomplete for the same reasons that the contemporary ‘professionalisation’ of end-of-life care can never be adequately codified. Living and dying are arts requiring ornamentation and improvisation.

Our ideas for a performance at the ‘Borrowed Time’ summit emerged via a series of dialogues and improvisations during the winter of 2019/2020. An ‘ornament’ in the musical sense, the research is shaped by personal closeness to Death; by an exploration of Nothingness; by the uncertain landscapes between living and dying; by an exploration of the borders of the real and unreal. It is a conversation between two performance philosophers: a singer, and a poet; between music and word. The only axiom we accept in the research is that living and dying are not antithetical but rather mutually implicative.

Given the complexity of the material and the historical trajectory we wish to pursue from the early Renaissance to the present day, the performance will necessarily be a demanding one. If the audience is willing we would present the material as a far-from-silent vigil structured around a song or poem at each hour, beginning at sunset. There would follow a reflection and discussion period, then a short break before the next piece, and so on until sunrise. Needless to say the dialogic and improvisational content of the material will bend this framework as the ideas and performances find their own lives and deaths.

Helen Ottaway: A New Kind of Requiem

Across the world, ceremony and ritual are central to the way in which we engage with death. The Requiem, though originating in the Catholic Church, continues to develop in the hands of composers, becoming increasingly abstracted, secularized, and universally accessible. Over the last few years, following the death of her mother, Helen has been working on sketches towards a new kind of requiem: A participatory work that will combine elements of the choral tradition with sound installation and outdoor art. She started working on this project while on an artists’ residency in South West Sri Lanka, an area devastated by the Asian Tsunami in 2004. She took inspiration from both her personal grief and the catastrophic loss experienced by the community around her, writing personal miniatures for hand cranked musical box and collecting memories and found sounds for a site-specific sound installation. She will describe her first-hand research, her creative process and how new musical forms and methods of presentation can contribute to death rituals in the 21st century. The presentation will include demonstrations of the musical box and sound installation.

Visit www.artmusic.org.uk and helenottaway.blog for more information. 
Follow @artmusic.uk on Instagram, @artmusicuk on twitter and @artmusicuk Facebook.

Ellie Harrison: Journey with Absent Friends

Where do our memories of the dead live? Is it in sacred spaces like gravestones, or aisle 22 of Tescos? Or even on someone’s Facebook page or Twitter feed? Ellie went on a month-long journey to find out. Travelling between sites of personal remembrance with an installation in a caravan, we stopped at arts centres, museums, beer gardens and even the occasional service station. The caravan is available for exhibition and the pilgrimage generated a number of short films as we journeyed from Dorset to the Island of Arran, retracing steps and unearthing hidden histories. There are two possible ways of presenting the project: 1. Screening a series of short films housed on a beautifully illustrated digital map. These could be screened for a remote audience with a Q&A discussion chaired by an academic collaborator from arts (Dr. Alex Kelly Leeds Beckett) or history (Dr. Laura King University of Leeds) depending on your preference. Presenting the Caravan Installation in a covid safe environment. The outdoor nature of the work as well as the fact that it’s generally for one person at a time makes it relatively easy to mount the work within covid guidelines. Journey with Absent Friends is an installation inside a vintage caravan, with artworks hidden in every cupboard, drawer, nook and cranny. It collects stories from the public on its travels, about people we have loved and lost.

Borrowed Time Co-convenor Mat Osmond in conversation with Jennifer Abbott, Director of The Magnitude of All Things.

We have made available to all delegates a private screening of Jennifer Abbott’s acclaimed film The Magnitude of All Things. Here Ms Abbott is in conversation with Mat Osmond. You are invited to view the film at any time (but preferably before this session) from the beginning of the symposium until the end of Day 2 (Monday November 1). After that the film will no longer be available for viewing but can be seen at numerous festivals and special venues around the world.

When Jennifer Abbott lost her sister to cancer, her sorrow opened her up to the profound gravity of climate breakdown. Abbott’s new documentary The Magnitude of All Things draws intimate parallels between the experiences of grief—both personal and planetary. Stories from the frontlines of climate change merge with recollections from the filmmaker’s childhood on Ontario’s Georgian Bay. What do these stories have in common? The answer, surprisingly, is everything.

This cinematic journey by the Sundance award-winning director (The Corporation) takes us around the world to witness a planet in crisis: from Australia’s catastrophic fires and dying Great Barrier Reef, to the island nation of Kiribati, drowned by rising sea levels. In Nunatsiavut, melting ice permanently alters the landscape, while in the Amazon rainforest, Indigenous people fight a desperate battle against oil and mining extraction.

For the people featured, climate change is not happening in the distant future; it is kicking down the front door, flooding homes, poisoning water and destroying communities. The connection between humanity and the environment is stated plainly by Australia’s Wonnarua Traditional Custodians: “If this land hurts, we hurt.”

Like ash from a distant fire, grief on this scale touches everything. But coming to terms with the brutal reality of climate breakdown requires more than empty words and gestures. When hope is lost, the real work begins. Members of Extinction Rebellion protest in the streets, risking arrest. Greta Thunberg’s school strike grows from a solitary vigil to a mass movement. The Sápara, Wonnarua and Nunatsiavut land defenders hold the line in a life and death struggle. Facing her own mortality, Jennifer’s sister offers another kind of answer: “Just a simple, quiet openness to all that is.” Battles waged, lamentations of loss, and raw testimony coalesce into an extraordinary tapestry, woven together with raw emotion and staggering beauty that transform darkness into light, grief into action.

The URL for viewing the film will be released to all delegates at 15.00GMT on Sunday, October 31.

Elisabeth Laasonen Belgrano & Mark D. Price: Ornamentation in the Shadows of Death

The form of the ‘vigil’ may seem strange outside of religious ritual or shows of socio-political solidarity. But to our way of thinking there is a paradoxically ‘urgent need for patience’ in any serious exploration of Death. A different approach is needed. Unlike the didactics of a lecture or conference paper, a research vigil involves remaining awake to other possibilities – awaiting whatever ‘other’ makes itself visible and audible in a dialogue irreducible to ‘active performers’ and a ‘passive audience’. We hope to negotiate with whatever necessary silences, free improvisations, and contrary responses the vigil might generate. Vital encounters can not be planned in advance. In this sense a vigil is the opposite of a ritual. With ritual there a profound over-determination of methods and what is expected as ‘the outcome’. This research is a night- journey and our hope is that the discipline of remaining patient and alert to nuances will allow an exploration of the liminal zones between knowledge and non-knowledge, voyage and destination, with songs and words and silences honoring both life and death.

On-line EXPO “VOICES of NOTHINGNESS” (from the Book of Lamentations, set to music by Michel Lambert 1610-1689): https://www.researchcatalogue.net/view/364135/738840

This will run approximately 22:00-06:00 and will include 9 intra-active lessons – one starting every hour. Duration for each lesson will depend on participants, but should not be longer than 40 min each one. You can come and go during the night but booking is required.

Deborah Kelley & Clare Whistler: Asclepian Dreaming for a Dying Earth

Special session for Asclepian Dreaming workshop only.

Drawing on principles of Asclepian healing temples, we would like to offer two experiential workshops, incorporating bodywork, embodied imagination, ritual and nature: one in the evening, followed by an invitation to attend to dreams overnight, and one the following morning, to respond to this dreaming. Having run Asclepian inspired groupwork for people facing death over last 20 years, we will invite participants to imagine themselves as the dying earth, visiting the ‘Asclepian temples’ and preparing for a healing dream.

This slot is the follow-on from the main workshop and is for workshop participants only.

Supper is available to all registered delegates

Richard Povall (host): Borrowing Time: chronic, flaring and progressive disease, experiencing death anew.

An open forum discussion facilitated by Richard Povall: Borrowing Time: chronic, flaring and progressive disease.

This is an open forum exploring the ‘mini-deaths’ experienced by those with chronic, flaring and progressive disease. Richard Povall brings his perspective as someone who has lived with Crohn’s Disease for more than forty years during which time he has faced several life-extending major surgical interventions and numerous ‘mini-deaths’. Different from a near-death experience these are times when disease takes over the body and becomes a process to be worked through: patiently, silently, calmly. A process that has an end, but when we must borrow time from living to attend to our failing bodies. Progressive disease takes a different path with the final outcome perhaps more recognised and inevitable but with the same times of flaring and remission when the sufferer is allowed to live or must also borrow from the limited time remaining to work through a particular flare.

This open forum seeks the perspectives of those who have lived with this process, those who have supported those living with this process, or those who treat and take care.