Helen Phelan is Professor of Arts Practice at the Irish World Academy of Music and Dance, University of Limerick, Ireland. She is an Irish Research Council recipient for her work on singing and migration. Her book, Singing the Rite to Belong: Music, Ritual and the New Irish, was published by Oxford University Press in 2017. She is co-founder of the female vocal ensemble Cantoral, specializing in Irish medieval chant; founder of the Singing and Social Inclusion research group; and IMBAS, a support network for artistic research in Ireland. Her most recent Health Research Institute funded project explores the use of arts-based methods in migrant health research.Graham F. Welch has held the Established Chair of Music Education at UCL Institute of Education (formerly University of London) since 2001. He is a Past President of the International Society for Music Education (ISME) (2008-2014) and elected Chair of the Society for Education, Music and Psychology Research (SEMPRE). He holds Visiting Professorships at universities in the United Kingdom and overseas, and is a former member of the UK Arts and Humanities Research Council (AHRC) Review College for Music (2007-2015).

• IntroductionEssay 1: The Artist Turned Inside Out Helen Phelan Interlude 1: Outside In Óscar MascareñasPart I: The Artist as Educator and Mediator in AcademiaEssay Two: ‘… to know the place for the first time …’: Exploring and Researching through the ArtsChristopher FraylingEssay Three: A Gallery of Hanging Thoughts: Framed Questions, Open Answers. Dance-artists in Conversation about the Process of Creating and Performing their Own Work. Mary NunanInterlude 2: StoriesJoseph O’ConnorEssay Four: Landscapes of the In-Between: Artists Mediating CulturesAnya Peterson RoyceInterlude 3: An Island in the Middle of the OceanAlan DoyleInterlude 4: The Land of SilenceLaura MurphyEssay Five: The Artist-Teacher as Cultural MediatorMarie McCarthyInterlude 5: ‘Crossing the Threshold: a Music Teacher’s Journey into the Academy’Jean DowneyEssay Six: Collaborative Knowledge Sharing for Mind and Body: Celebrating the Role of Arts in Health Orfhlaith Ní Bhriain, Tríona McCaffrey, Amanda M. Clifford, Joanne Shanahan, Olive Beecher, Hilary Moss. Part II: The Artist as Educator and Subversive in AcademiaEssay Seven: The Subversive Potential of Praxis and Political Emotions in Arts AcademiesDavid Elliott and Marissa SilvermanInterlude 6: The Well-Spring Deep InsideDana DelanyEssay Eight: Protest, Subversion and Critical Citizenship: Reflections on an Irish Singer-SongwriterAileen DillaneInterlude 7: A Cello Can Be Stronger than a Machine GunNigel OsborneEssay Nine: Contesting and Negotiating Hegemonic Discourses: Constructing and Developing a Masters Programme in Irish Traditional Dance Performance Within a University Context Catherine Foley Part III: Case study examples of the lived experienced of the Artist in Academia from the Irish World AcademyEssay Ten: Cultural Redress and the Growth of Love: A Guided Autoethnography Mícheál Ó SúilleabháinInterlude 8: Singing Out, Singing UpKathleen TurnerInterlude 9: The Academy as a Space of Musical FosterageTommy HayesInterlude 10: Dancing as a Citizen of the WorldRAS Michael CourtneyInterlude 11: The Academy as TransformationColin DunneConclusionEssay Eleven: Why the arts and artists are important

Helen Phelan is Professor of Arts Practice at the Irish World Academy of Music and Dance, University of Limerick, Ireland. She is an Irish Research Council recipient for her work on singing and migration. Her book, Singing the Rite to Belong: Music, Ritual and the New Irish, was published by Oxford University Press in 2017. She is co-founder of the female vocal ensemble Cantoral, specializing in Irish medieval chant; founder of the Singing and Social Inclusion research group; and IMBAS, a support network for artistic research in Ireland. Her most recent Health Research Institute funded project explores the use of arts-based methods in migrant health research.Graham F. Welch has held the Established Chair of Music Education at UCL Institute of Education (formerly University of London) since 2001. He is a Past President of the International Society for Music Education (ISME) (2008-2014) and elected Chair of the Society for Education, Music and Psychology Research (SEMPRE). He holds Visiting Professorships at universities in the United Kingdom and overseas, and is a former member of the UK Arts and Humanities Research Council (AHRC) Review College for Music (2007-2015).

• IntroductionEssay 1: The Artist Turned Inside Out Helen Phelan Interlude 1: Outside In Óscar MascareñasPart I: The Artist as Educator and Mediator in AcademiaEssay Two: ‘… to know the place for the first time …’: Exploring and Researching through the ArtsChristopher FraylingEssay Three: A Gallery of Hanging Thoughts: Framed Questions, Open Answers. Dance-artists in Conversation about the Process of Creating and Performing their Own Work. Mary NunanInterlude 2: StoriesJoseph O’ConnorEssay Four: Landscapes of the In-Between: Artists Mediating CulturesAnya Peterson RoyceInterlude 3: An Island in the Middle of the OceanAlan DoyleInterlude 4: The Land of SilenceLaura MurphyEssay Five: The Artist-Teacher as Cultural MediatorMarie McCarthyInterlude 5: ‘Crossing the Threshold: a Music Teacher’s Journey into the Academy’Jean DowneyEssay Six: Collaborative Knowledge Sharing for Mind and Body: Celebrating the Role of Arts in Health Orfhlaith Ní Bhriain, Tríona McCaffrey, Amanda M. Clifford, Joanne Shanahan, Olive Beecher, Hilary Moss. Part II: The Artist as Educator and Subversive in AcademiaEssay Seven: The Subversive Potential of Praxis and Political Emotions in Arts AcademiesDavid Elliott and Marissa SilvermanInterlude 6: The Well-Spring Deep InsideDana DelanyEssay Eight: Protest, Subversion and Critical Citizenship: Reflections on an Irish Singer-SongwriterAileen DillaneInterlude 7: A Cello Can Be Stronger than a Machine GunNigel OsborneEssay Nine: Contesting and Negotiating Hegemonic Discourses: Constructing and Developing a Masters Programme in Irish Traditional Dance Performance Within a University Context Catherine Foley Part III: Case study examples of the lived experienced of the Artist in Academia from the Irish World AcademyEssay Ten: Cultural Redress and the Growth of Love: A Guided Autoethnography Mícheál Ó SúilleabháinInterlude 8: Singing Out, Singing UpKathleen TurnerInterlude 9: The Academy as a Space of Musical FosterageTommy HayesInterlude 10: Dancing as a Citizen of the WorldRAS Michael CourtneyInterlude 11: The Academy as TransformationColin DunneConclusionEssay Eleven: Why the arts and artists are important

Helen Phelan is Professor of Arts Practice at the Irish World Academy of Music and Dance, University of Limerick, Ireland. She is an Irish Research Council recipient for her work on singing and migration. Her book, Singing the Rite to Belong: Music, Ritual and the New Irish, was published by Oxford University Press in 2017. She is co-founder of the female vocal ensemble Cantoral, specializing in Irish medieval chant; founder of the Singing and Social Inclusion research group; and IMBAS, a support network for artistic research in Ireland. Her most recent Health Research Institute funded project explores the use of arts-based methods in migrant health research.Graham F. Welch has held the Established Chair of Music Education at UCL Institute of Education (formerly University of London) since 2001. He is a Past President of the International Society for Music Education (ISME) (2008-2014) and elected Chair of the Society for Education, Music and Psychology Research (SEMPRE). He holds Visiting Professorships at universities in the United Kingdom and overseas, and is a former member of the UK Arts and Humanities Research Council (AHRC) Review College for Music (2007-2015).

• IntroductionEssay 1: The Artist Turned Inside Out Helen Phelan Interlude 1: Outside In Óscar MascareñasPart I: The Artist as Educator and Mediator in AcademiaEssay Two: ‘… to know the place for the first time …’: Exploring and Researching through the ArtsChristopher FraylingEssay Three: A Gallery of Hanging Thoughts: Framed Questions, Open Answers. Dance-artists in Conversation about the Process of Creating and Performing their Own Work. Mary NunanInterlude 2: StoriesJoseph O’ConnorEssay Four: Landscapes of the In-Between: Artists Mediating CulturesAnya Peterson RoyceInterlude 3: An Island in the Middle of the OceanAlan DoyleInterlude 4: The Land of SilenceLaura MurphyEssay Five: The Artist-Teacher as Cultural MediatorMarie McCarthyInterlude 5: ‘Crossing the Threshold: a Music Teacher’s Journey into the Academy’Jean DowneyEssay Six: Collaborative Knowledge Sharing for Mind and Body: Celebrating the Role of Arts in Health Orfhlaith Ní Bhriain, Tríona McCaffrey, Amanda M. Clifford, Joanne Shanahan, Olive Beecher, Hilary Moss. Part II: The Artist as Educator and Subversive in AcademiaEssay Seven: The Subversive Potential of Praxis and Political Emotions in Arts AcademiesDavid Elliott and Marissa SilvermanInterlude 6: The Well-Spring Deep InsideDana DelanyEssay Eight: Protest, Subversion and Critical Citizenship: Reflections on an Irish Singer-SongwriterAileen DillaneInterlude 7: A Cello Can Be Stronger than a Machine GunNigel OsborneEssay Nine: Contesting and Negotiating Hegemonic Discourses: Constructing and Developing a Masters Programme in Irish Traditional Dance Performance Within a University Context Catherine Foley Part III: Case study examples of the lived experienced of the Artist in Academia from the Irish World AcademyEssay Ten: Cultural Redress and the Growth of Love: A Guided Autoethnography Mícheál Ó SúilleabháinInterlude 8: Singing Out, Singing UpKathleen TurnerInterlude 9: The Academy as a Space of Musical FosterageTommy HayesInterlude 10: Dancing as a Citizen of the WorldRAS Michael CourtneyInterlude 11: The Academy as TransformationColin DunneConclusionEssay Eleven: Why the arts and artists are important