'We value our heritage most when it seems at risk; threats of loss spur owners to stewardship.' (David Lowenthal, 1996) Climate change is the greatest challenge of our times, according to the Intergovernmental Panel on Climate Change, and combating its impacts is one of the key UN Sustainable Development Goals. One symptom of our rapidly warming world is accelerated sea level rise. With 150 million people across the world living within 3 feet of today's water levels, the consequences will affect each of us directly or indirectly. Former president of Kiribati, Anote Tong, describes the relationship between sustainable development and climate change as 'inseparable'. For Small Island Developing States, addressing development challenges while planning for climate change is a constant struggle. Kiribati is a low-lying island nation in the Pacific Ocean, and is often defined by the grim prognosis for its future. Yet there are pressing development challenges which affect people's lives in Kiribati today, such as access to clean water, and dealing with increasing amounts of waste. As Claire Anterea from the environmental organisation Kirican has said 'we will drown in rubbish before we drown in water'. This project team will work with Kirican, in Kiribati, to co-design a community-level programme towards sustainable development. This grassroots approach will inform the broader development field about the specific challenges facing Kiribati, and Small Islands Developing States more generally. If heritage in its most fundamental sense is about what we value collectively, and want to preserve for the future, then it is entirely logical that academics and practitioners in the heritage field should care about the environment and sustainable development. According to a recent UNESCO report, climate change poses the greatest risk to world heritage, yet heritage concerns are not as prominent as they should be in this field. One of Kiribati's adaptation strategies is to plan for 'migration with dignity' for its population of over 110,000. We will consult with heritage organisations in Kiribati to find out how and whether they are planning for climate change and even potential displacement. This responds to more general concerns amongst global preservation professionals, such as archivists, about their own role within climate adaptation. Should the relocation of cultural resources and archives of climate-vulnerable nations be planned? How could such an enterprise could be managed practically and ethically, and by whom? The research team will also collaborate with the artist and cultural expert Natan Itonga to make a film evoking the rich cultures of Kiribati. This is part of a creative process that aims to understand the local meaning of heritage in Kiribati, and promote awareness of what is at stake. Overall, this project explores both the scope and limitations of attempts to 'preserve' heritage in face of rapid environmental change or when the natural environment itself is heritage at risk. What can be 'saved' at all when the impacts of climate change are so catastrophic for nations like Kiribati, and is it still meaningful to talk about sustainable development? This project works through ideas of loss but focuses on connections; specifically, finding enduring connections to potentially lost objects to carry us into the future, caring for our current connections to land, water and non-human life, and accepting moral connections between the most polluting- and vulnerable- countries. As Anote Tong said to participants at the Delhi Sustainable Development Summit in 2013: 'Are we here to secure the future of each other's children or just our own?' Within this project, heritage is positioned as a pivotally important field of expertise for understanding that global challenges of magnitude will nonetheless be felt locally, everywhere.

Abstracts are not currently available in GtR for all funded research. This is normally because the abstract was not required at the time of proposal submission, but may be because it included sensitive information such as personal details.

Disability and Community: Dis/engagement, Dis/enfranchisement, Dis/parity and Dissent (aka the D4D project) will investigate the evolving ways in which disabled people express, perform, experience and practise 'community'. The work will be informed by critical disability theory, and it will foreground the knowledge and lived experiences of disabled people. The project team brings together academics from a range of disciplines, community investigators with expertise in performance and arts practice, and community partners (including Shape, Accentuate and DRUK). Our goals are to learn from participating communities, to build understanding, to generate opportunities for connections, solidarity, resilience and activism, and to create meaningful legacies for the communities and partners involved. D4D will explore aspects of the historical, clinical, institutional, political and technological construction of disabled communities, and trace the ways in which community members have contested, rejected and embraced these varied possibilities over time. The project will facilitate agency and empowerment among participants, facilitate knowledge exchange and professional development, and create new spaces for dialogue and intervention. D4D's research question is: In what ways are disabled people connected/disconnected to/from surrounding communities, and how might they trouble existing affiliations, re-situate themselves, and re-shape communities around them? The team will explore this question while drawing on disability studies and community research literature, and engaging in continual collaboration and reflection (on issues of power, ethics and research practice, for example). There will be 8 work streams: WS1 - will explore issues of integration and marginalization, focusing on two settings: mainstream schools and the work-place. It will explore lived experience of 'inclusion'. This work will combine ethnographic studies, with a series of cultural animation workshops through which disabled participants will articulate and explore aspects of inclusion and marginalization. WS2 - will explore the ways in which technology might impact on or facilitate experiences of social belonging, by focusing on play. The steam will support methodological development, as it will involve exploring the ways in which new technologies can support the agentic participation of non-traditional research participants. WS3 - will examine the origins, development and future of the Disability Arts community. In particular, this will involve exploring the tensions within 'identity arts' movements regarding issues of affiliation and community. WS4 - this strand will explore how participants form, experience and express alternative community, as well as how they manage their (dis)placement and disqualification by mainstream society. This research will also support disabled communities critically responds to clinical practice. WS5- In this strand, arts based research will drive an investigation of past, present and future disabled communities. In particular, through the creation and exhibition of an interactive art-piece, 'Evolution', mainstream audiences will be asked to consider disability perspectives on such matters as eugenics and genetic screening. WS6 - Playful Bodies, Technology and Community will address technologies, social change and the body, and identify the implications for disability and community, while drawing on player studies, social media research, collaborative game design, and public play. WS7 - Ethics, reflection and learning for participation will inform all the above activities and support the practices and professional development of all those taking part. WS8 - Will provide a forum for skill sharing and knowledge exchange across all streams, and work to maximize impact across and beyond the academic.

The body as the musical archive: tracing the embodiedknowledge of the Lucknow-Shahjahanpur Gharana throughtranslations between sarod, sitar, and cello.

The British painter and writer, Wyndham Lewis (1882-1957), has always been well-known as the leader of the Vorticist movement, which pioneered abstract painting in England just before the First World War. But, especially since the publication of Paul Edwards's academic study, 'Wyndham Lewis: Painter and Writer', in 2000, other aspects and phases of his activity as a painter have been proposed as at least equally complex and rewarding. Tate Britain and the National Portrait Gallery are therefore holding co-ordinated exhibitions of two of these aspects during the summer of 2008: works of imagination on the theme of 'creation' at Tate Britain, and portraits (particularly of Lewis's friends and fellow-modernists, such as T. S. Eliot and James Joyce) at the National Portrait Gallery. The Knowledge Transfer Fellowship enables Professor Edwards to give much fuller help to the galleries by co-curating the exhibitions and writing essays that will help visitors understand the works exhibited in the light of the research he has carried out on them and the argument he developed in his study. The balance of Lewis's achievement and the nature of his contribution to modern British painting will become clearer and better understood as a result. The project should form a model of future collaboration. The fellow will also learn about the practical side of organising, selecting and hanging exhibitions, and will take this knowledge back to the 'Artswork Lab' at Bath Spa University, with a view to incorporating it into the curriculum.