This approach attends to the idea that the ‘field’ is made up of fragmented, multiple sites that are both on and offline and socially as well as physically configured.1 The research reflects upon the influence of cultural geography on ethnographic research, and on what Sarah Pink defines as the ‘spatial turn’ in visual ethnography.2 Pink uses theories of place to conceptualise ethnographic practice, highlighting the interplay of digital and material localities, or bounded and unbounded space, as well as the researcher’s own emplacement in the field. Doreen Massey’s understanding of space as a ‘product of interrelations’ also forms one of the principle ideas of the ethnographic fieldwork.3 The research takes into account the diverse sites of partnership within Circuit - from contractual documentation and formal meetings, to social media space and creative programming. Issues around partnership are also located in situations of difficulty or complexity that are beyond the control of the programme. These are sometimes defined as ‘critical incidents’ (to use David Tripp’s analytical framework) that help to produce learning and deepen understanding of the wider contributing factors shaping partnership work.4
The research also draws upon performance ethnography – and seeks to ask how partnership is performed, both in everyday spaces of interaction, and in theatrical spaces of performance such as festivals, dance workshops and cross-art form live events.5 By participating in these dialogic scenarios the researcher is positioned both as observer and as critical co-performer. This form of critical positionality represents a political and ethical commitment to self-consciously reflect on manifestations of power and inequality in the field.6 It is hoped the fieldwork can unpack how these social power relations are embodied and performed in and through space.7