Beyond female and male: the experience of photography and the self-visualisation of transsexual people

Lead Research Organisation: University of the Arts London
Department Name: London College of Communication

Abstract

'Beyond female and male' is a practice-led photographic collaboration with transsexual participants which examines transsexual gender practices and the relationship between gender and photography in the broader context of the dynamic social world of visual communication in everyday life. It explores how transsexual peoples' identifications link into the broader visual environment and aims to produce a reflexive body of creative practice which establishes the extent to which photography influences not only self-visualisation, but also social visibility, social legibility and social legitimacy for transsexual people. These issues are brought into sharp analytical focus through the personal experiences of transsexual people who categorise themselves as neither female nor male.

Whilst transsexuality has been subject to medical and scientific research, the social/visual aspects of transsexual peoples' experiences have not been studied extensively, neither have they been given a 'voice' in this particular way.

Despite the increasing public face of transsexuality generated by the media, the lived experiences of individuals' self-identifying beyond the female/male categories are almost invisible in the social domain, the general view being that transsexual people continually shift from one socially-sanctioned gender to the other. Further, transsexual people are often confused in the popular imagination with either queer/gay issues or cosmetic surgery, compounding the sense of invisibility.

'Social visibility' is central for transsexual peoples' social comprehensibility. In order to function as part of society it is necessary to be 'seen' as belonging. Failure to fit expected categories of appearance impedes social functioning. Everyday life re-enforces the binary sex/gender model recognised in Western society, thus few images explore beyond these polarised categories. Consequently the visual articulation of these categories defines and perpetuates this binary model, controlling and reproducing gender 'norms' to the exclusion of non-binary definitions.

Research undertaken on gender identities has focused largely on binary female/male categories and has tended to 'de-visualise' the issues. 'Beyond female and male' employs a new approach through using visual research methods that reflect the centrality of the visual in the construction of gender identities. Transsexual self-visualisations are modelled on, and reproduce, images from the visual social environment, in particular from the mass media, and specifically, photography. Thus the use of photography in this inquiry, as both a research method and key form of evidence, is highly appropriate, responding to and 'speaking the vernacular language' of transsexual identity formation.

Through a series of linked outputs: publications, exhibitions, conference papers and a public forum, the research will stimulate a broader debate of the key questions. It will provide insights into the experiences of transsexual people and specifically non-binary identified people and provide a much-needed visibility, which is acceptable on its own terms, for a community that is currently hidden.
 
Title In/visible Genders 
Description 'In/Visible Genders' was a solo exhibition held at the Paris LGBT Centre, 22 May - 24 June 2009. 29 photographs were shown. This output arises from, and is located in, practice-based research that combines photographic practice with recorded interviews. The research was developed in collaboration with four transgender and gender-variant people who self-identify through a range of gender indicators that extend the boundaries of the female/male categories. This research investigated transgender and gender-variant visibility/invisibility, analyzed the differences between private and public gender expressions, explored how participants see themselves in contrast to how they are seen by others, and examined the ways in which people who identify beyond the gender dichotomy negotiate binary gendered social spaces. The exhibition was by invitation from Prof. Chantal Zabus, Sorbonne Nouvelle, Paris. The exhibition specifically engaged the LGBT community, addressing the issue that transgender and gender-variant people are frequently under-represented in LGBT communities. It was timed to coincide with the first (thus historically significant) transgender conference in France, 'Transgender: New Identities and Visibilities' international conference, Sorbonne Nouvelle, Paris-3, 22 - 23 May 2009. I presented an accompanying conference paper on the research at this conference. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2009 
Impact The exhibition was held in the Paris LGBT Centre in order to specifically engage the LGBT community. This is because transgender and gender-variant people are frequently under-represented in LGBT communities. LGB audience responses demonstrated tremendous interest in the research and the issues that the exhibition raised. It was noted that the exhibition transformed the way that some LGB audience members understood transgender and gender-variant people. The exhibition was timed to coincide with the first (thus historically significant) transgender conference in France, 'Transgender: New Identities and Visibilities' international conference, Sorbonne Nouvelle, Paris-3, 22 - 23 May 2009. I presented an accompanying conference paper on the research at this conference. Holding the exhibition in conjunction with the conference meant that the exhibition was made available to a large number of people who attended the conference. Responses from conference delegates highlighted the significance of the research and the importance of making the research widely accessible. Following on from this exhibition Prof. Chantal Zabus invited me to contribute a chapter, based on the exhibition and my conference paper, to the book 'Transgender Experience: Found in Transition', Chantal Zabus & David Coad (eds.), New York: Routledge, 2014. We are now discussing an international collaboration for research to be carried out in India, Africa and Australia. 
 
Title ReImag(in)ing Somasex 
Description 30 photographs were exhibited. The research upon which this exhibition was based provided evidence that the negotiation of everyday life for transgender and gender-variant people who identify beyond the female/male categories is highly problematic. While some are unable to hide their gender history, yet others are perceived to be a gender that is not in accord with how the person identifies. In other words, the person is read as female or male since these are the only genders that are recognized. This can leave the person feeling that they are not seen - that the person has been rendered invisible. The ways in which the participants negotiate interacting in public spaces brings to the surface the dysfunctional dialogue that exists between people whose gender lies beyond the polarized female/male boundaries and widely-held beliefs about gender. The policing of gender that takes place in public spaces featured significantly in the participants' accounts. These incidences demonstrate that transgressions of the sex and gender borders constitute a threat to some people. This results in enforcement of the female/male gender categories and contributes towards maintaining the status quo. These issues had not been examined in this particular way before. Providing evidence pertaining to the impact of transgender and gender-variant people's interactions in public spaces, the visual methods that underpinned this research also reflected the centrality of the visual realm in the discursive formation of gender identities and the negotiation of everyday life. Further, the collaborative base upon which the photography was developed was significant. Through the research, participants were able to present their accounts on their own terms and a strong personal 'voice' became a part of the work. One set of the photographs taken with two of the participants, Jenny-Anne and Elen, presented a particular challenge. In discussions with members of transgender and gender-variant communities these photographs were highlighted as being relevant to the experiences of many and particularly important to be seen by non-transgender/non gender-variant people. I took this issue on board and felt that it was important to try to reveal to non-transgender/non gender-variant audiences how it felt to be persistently stared at when moving through public spaces. In the first dissemination of the output (Paris 2009) I constructed a grid of 18 photographs which were printed together at the same size as the studio portraits. Following the exhibition, I felt that this did not portray the experience powerfully enough and for this exhibition I selected a sequence of three photographs which were presented larger side-by-side. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2009 
Impact Audiences reported that my research in this exhibition changed their understanding of transgender and gender-variant people's lives and experiences. In particular the issue of how other people respond to the transgender or gender-variant person was highlighted. The photographs taken in public spaces were noted as being particularly effective - especially when viewed in the context of one of the other photographs on show which contrasted greatly in that it showed how the participants viewed themselves and would want to be seen by others. Following on from this exhibition the organizer, Queer Theorist and Assoc. Prof. Nikki Sullivan, invited me to collaborate with her on developing a research output from a further series of photographs/oral history recordings carried out during the AHRC Fellowship. 
 
Title SHOUT 
Description Three photographs from the 'In/Visible Genders' project were projected in public spaces as part of the 'Censored', SHOUT: Festival of LGBT Culture, Birmingham. Projections 1: Wynner House, Bromsgrove Street Birmingham B5 6RG. Projected over three floors in height. Projections 2: The Big Peg stairwell, 120 Vyse Street Birmingham B18 6NF. Projected over six floors in height. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2009 
Impact The photographs were projected in public spaces which meant that they were seen by a large number of people who might not usually attend galleries or museums and who might not normally come into contact with the ideas underpinning the work. 
 
Title Trans Lives: Presenting the (Extra) Ordinary 
Description 'Trans Lives: Presenting the (Extra) Ordinary' is an exhibition which consists of 42 photographs. The photographs were taken by six assigned female at birth transgender and gender-variant research participants. This research employed photo-elicitation methods (Harper, 1998) to explore participants' experiences of gender as they went about their everyday lives. Participants were given negative film cameras and notebooks. They were asked to take photographs for one week and to record their reasons for taking the pictures. Using 35 mm analog photography meant that participants were unable to digitally review or delete pictures. At the end of the week participants gave me the cameras and notebooks. Findings revealed the ways in which participants viewed themselves and wanted to be seen by others, and provided innovative insights into self-portraiture and transgender responses to urban/suburban spaces. This constituted a new approach to working with transgender and gender-variant participants. The outcomes allowed privileged access to transgender and gender-variant people's lives, generating new knowledge about visible experiences of gender, social environments and changing bodies. Empirical transgender and gender-variant research has tended to rely largely on oral interviews. In contrast, in this research experiences of, and interactions with, the visual realm formed an important part of the data-gathering process. I was invited to exhibit this research by the organizers of the 'Transfabulous International Arts Festival' in an exhibition at Oh! Art, Oxford House, London E2 6HG from 14.06.08 to 26.06.08. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2008 
Impact Audiences reported very positively about the exhibition. Oxford House is a community centre in East London which is used by diverse local groups. Visitors to the community centre expressed considerable interest in learning more about transgender and gender-variant people and their lives. Amongst members of transgender and gender-variant communities the exhibition generated interest with respect to using photography as a method for self-exploration and self-expression. It was specifically noted by these visitors that the research methods facilitated self-empowerment. This is important because transgender and gender-variant people have very few positive images of themselves and their experiences. They are a marginalized vulnerable social group who are stigmatized and stereotyped in society. Attendees asked to collaborate with me on future projects whilst other attendees have since taken the ideas forward into projects of their own. 
 
Title Trans* Lives installation 
Description An installation/looped projection was developed from the research exhibited in the 'Trans* Lives' exhibition. This was shown at the Gendered Intelligence 'Trans Community Conference: Our Bodies, Our Minds, Our Environments,' Metropolitan Police Headquarters, New Scotland Yard, London SW1H 0BG, 04.07.08. 
Type Of Art Artefact (including digital) 
Year Produced 2008 
Impact Showing the research to an all-transgender/gender-variant audience resulted in strong responses and positive feedback. Audience members expressed an interest in the way in which the photographs were used in conjunction with texts and articulated identifying with specific images and texts. Interest was sparked in the way in which photography had been used as a research method/tool in the project. This output resulted in increased requests about participation in my research. 
 
Title Trans* Portraits 
Description Trans* Portraits. A series of 8 photographs shown as part of the 'April Ashley: Portrait of a Lady' exhibition, Museum of Liverpool. September 2013 - November 2014. The exhibition is historically significant because it is the first exhibition about a transgender person's life to be held in a major UK museum. I was invited to take part in the exhibition by the organizers, Homotopia. The invitation was extended specifically because they were seeking positive images of transgender and gender-variant people in the UK that would represent a diversity of identities. Participants in the photographs range from 18 years to 68 years of age and include people from different cultural and economic backgrounds. Prof. Stephen Whittle OBE, UK's leading transgender legal expert, is one of the participants. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2013 
Impact This exhibition has been seen by a vast number of people - the latest figure I was given was in July 2014 of over 200,000 visitors to the exhibition. Responses to the exhibition show a change in views and opinions about transgender and gender-variant people. The exhibition has resulted in understanding being generated about the reality of transgender and gender-variant lives and increased acceptance. This is much needed and positive in contrast to mass media projections of transgender and gender-variant people. As a result of my contribution to the exhibition and its success Homotopia invited me to contribute a new exhibition to be shown at the Museum of Liverpool as part of the Un-Straight Museum conference 2014. 
 
Title Trans*_Homo: of Lesbian Trans* Gays and other Normalities 
Description Series of three photographs exhibited in 'Trans*_Homo: Of Lesbian Trans* Gays and Other Normalities,' at the Schwules Museum, Berlin 16.08.12 - 19.11.12. This series of photographs were taken in collaboration with transgender performer/filmmaker Jason Barker from 2009-2011 as he tried to conceive, during his pregnancy and in the first year of parenting - whilst he was living as a man. Building upon the gender/sex/genitals equation that arises out of widely-held beliefs about sex and gender a narrative has emerged that a transgender person is "born in the wrong body." In contrast to this narrative, Jason's experiences demonstrate that transgender experiences of the body are not always polarized or fixed. I propose that procreation beyond the established "man impregnates and woman conceives" equation, and the ideas that this brings into question, have the potential for disrupting the supposed natural order and primacy of the two-sexes/two-genders systems. The acts of conceiving and giving birth beyond the socially sanctioned polarized gender roles constitutes a powerful challenge to assumptions of essentialism, biology and gender. During the course of carrying out the research with Jason in 2008, while Jason was trying to conceive, Thomas Beatie, the infamous "pregnant man," took his story to the media. In looking at the media cover of Beatie's pregnancy I observed that there were obvious similarities between Jason's story and Beatie's. However, there were remarkable differences between the media portrayal of Beatie's pregnancy and Jason's account. I felt that it was important for Jason's story, from his perspective, to be shown and acknowledged in order to offer a counter position to the media cover of Beatie's pregnancy. Because of the sensitive nature of this work, control over selecting and disseminating the photographs rests with Jason. Jason selected the photographs to be exhibited in the Schwules Museum. The photographs had been taken within minutes of each other in the same studio session. Jason also wrote a text to accompany the photographs when exhibited which gave his perspective on the photographs and how he sees himself in them. This allowed a greater sense of Jason's 'voice' to become a part of the work. Because Jason appears quite different in each of the photographs, presenting them as a series enabled the sense of the fluidity that Jason articulated about his experiences of gender at this time, as well as the difference between public and private gender expressions, to become visible in the work. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2012 
Impact This exhibition influenced people's views about transgender people, their identities and their lives. Responses to the work showed that the photographs required viewers to question their assumptions about what it meant to be transgender. Additionally, audiences reported that they gained a new understanding about transgender parenting. Plans are now being made for a future exhibition of my research at the Schwules Museum. We are in discussion with regard to a solo exhibition of my research to be held at the Schwules Museum in 2016. 
 
Description Over the past twenty-five years considerable theoretical advancements have been made in the academy with regard to the recognition of atypical gender identities. Specifically, building upon the work of Judith Butler and Michel Foucault, Queer Theory has developed as a collection of foci on the relations between sex, gender and desire in relation to stereotypical heterosexual norms. In some academic arenas, Queer Theory's popularity appears to have led to an assumption that these advancements have influenced mainstream beliefs to such an extent that atypical genders, including transgender and gender-variant identities, are now widely accepted.

However, my research provides substantial evidence that contravenes this supposition. My research demonstrates that the negotiation of everyday life for transgender and gender-variant people continues to be highly problematic.

Results from a survey carried out at the start of the project revealed the considerable impact that the visual environment has on transgender and gender-variant identities and highlighted some of the issues that affect the social visibility/invisibility of transgender and gender-variant people. The survey extended the geographical range of my research and UK networks. The responses also identified the international scope of this issue. While this could not be a part of my Fellowship program it is an area that I am now developing.

Preliminary photography/interview sessions with ten participants selected from survey respondents were carried out and the research was presented in an international conference paper in which I compared collaborative/self authored photographs with transgender and gender-variant media images and analyzed non-binary gender representations in personal and public photographs. I organized and curated an exhibition of my participants' self-authored photographs. These were further presented as an installation/looped projection at a transgender conference. At these events I gave talks about the research to transgender and gender-variant communities.

The research following these outputs highlighted the significant impact that interacting in the public domain can have on transgender and gender-variant gender expressions, the role that a superficial 'invisibility' can play in allowing ease of interaction for atypically gendered people, and the significance of 'queer' spaces in allowing access to, and visibility of, non-binary gender expressions. In the light of these factors, I began to carry out research in different social spaces. This strengthened understandings of the discursive formation of transgender and gender-variant identities and the self-visualisation of non-binary gender identities. It allowed participants' private gender experiences to play a part in the research in a way that would otherwise not have been possible.

To the best of my knowledge, these issues have not been examined in this particular way before. While providing evidence pertaining to the impact of transgender and gender-variant peoples' interactions in the public domain, the visual methods that underpin this inquiry also reflect the centrality of the visual realm in the discursive formation of gender identities and the negotiation of everyday life.

This research was presented in four outputs: a solo exhibition (Paris 2009), a group exhibition (Sydney 2009) and two accompanying international conference papers (published 2014). In the exhibitions photographs taken in the studio, public, personal and 'queer' spaces were placed alongside each other, emphasizing differences. The conference papers discussed the photographs in the context of the role of gender performativity and transgender visibility/invisibility in the different social spaces.

Building on this, I began to explore, in participant-led photographs, the influence of different forms of photography, e.g. mainstream/'queer' on transgender self-visualisation. Analysing these pictures and the significance of the photographs and images self-consciously being referenced, allowed a greater understanding of the role of photography in participants' self-visualisation.

The participant-led constructed portraits constitute an important development. This research demonstrates some of the differences between lived experiences of transgender and gender-variant people and media representations/widely-held conceptions. It also highlights the considerable lack of adequate representation of atypically gendered/non-binary identified people in photography, visual arts and culture.
Exploitation Route Through research outputs my research has come to the attention of peers and leaders in the fields of gender studies, cultural studies, transgender studies, history and the broader social sciences. It is perhaps a measure of the significance of this research that, not only have the outputs generated considerable interest, but I have been invited to collaborate with international leaders in the field including Prof. (Judith) Jack Halberstam, Assoc. Prof. Nikki Sullivan, Prof. Elspeth Brown and Prof. Chantal Zabus.

These collaborations will take forward my research findings and applications of my research methods in new contexts and to new international audiences.

The collaborative photography and interview methods that I developed during the course of the Fellowship, which extend photo-elicitation methods, allows participants to present their accounts on their own terms and a strong personal 'voice' to become a part of the work. This approach has since been taken up by UK transgender and gender-variant community members and is now being taken forward in community-based projects. In this way, the research is continuing to enhance quality of life and creative output.
Sectors Communities and Social Services/Policy,Culture, Heritage, Museums and Collections,Other
 
Description My research findings have had a very positive impact on the communities within which the research was carried out - UK transgender and gender-variant communities. This is important because although media interest in transgender and gender-variant lives has increased over the past ten years and as a consequence of this there has been an increase in the knowledge that transgender and gender variant people exist. However, the media tends to portray a very narrow view of what it means to be transgender or gender-variant. This results in widely held misconceptions about transgender and gender-variant lives and experiences. These communities continue to be under-represented, marginalised communities and large numbers of transgender and gender-variant people continue to find the negotiation of everyday life highly problematic. The response to research outputs from transgender and gender-variant communities was extremely positive. The most common response to the research was that it allowed for self-representation and identification in a way that was rarely encountered. The collaborative photography and interview method that I developed during the course of my research, which extends photo-elicitation methods, allows participants to present their accounts on their own terms and a strong personal 'voice' becomes a part of the work. This approach has since been taken up by UK transgender and gender-variant community members and is now being taken forward in community-based projects. In this way, the research is continuing to enhance quality of life and creative output.
First Year Of Impact 2009
Sector Communities and Social Services/Policy,Culture, Heritage, Museums and Collections,Other
Impact Types Cultural,Societal
 
Description Wellcome Trust Small Grant
Amount £5,000 (GBP)
Organisation Wellcome Trust 
Sector Charity/Non Profit
Country United Kingdom
Start 01/2011 
End 08/2011
 
Description Re-imag(in)ing life-making 
Organisation Macquarie University
Country Australia 
Sector Academic/University 
PI Contribution Queer Theorist Assoc. Prof. Nikki Sullivan and myself co-authored a Keynote Speech, 'Re-imag(in)ing life-making, or queering the somatechnics of reproductive futurity' given at 'Somatechnical Figurations: Kinship, Bodies, Affects' international conference, Södertörn University, Stockholm 2012. This Keynote was based on a series of 30 of my photographs which were taken during the AHRC Fellowship. We have since developed the Keynote into a book chapter. The book chapter is based on the same series of photographs but presents them in a new configuration.
Collaborator Contribution Sullivan brought her expertise as a theorist to offer new interpretations of the photographs.
Impact Keynote Speech, 'Re-imag(in)ing life-making, or queering the somatechnics of reproductive futurity' given at 'Somatechnical Figurations: Kinship, Bodies, Affects' international conference, Södertörn University, Stockholm 2012. Book Chapter, 'Re-imag(in)ing Life-Making , or Queering the Somatechnics of Reproductive Futurity' for Critical Kinship Studies: Kinship (Trans) Formed, 2015. Co-authored peer reviewed book chapter
Start Year 2010
 
Description Trans* Archives 
Organisation University of Toronto
Country Canada 
Sector Academic/University 
PI Contribution The partnership/collaboration is based on 1) my photographic research and oral histories carried out with transgender and gender-variant people, 2) my recent research into a transgender member of my family and my family photograph albums.
Collaborator Contribution Prof. Elspeth Brown is an historian. She has brought a new perspective to my research by placing it in an historical context.
Impact This collaboration has resulted in a co-authored peer reviewed journal article written about 2 sets of my photographs. It is titled 'Queering the Trans* Family Album' and it will be published in 'Radical History Review' 2015. We are collaborating on the 'LGBTQ Oral History Collaboratory' project, funded by an Insights Grant from the Canadian Research Council. This is a multi-disciplinary collaboration. Prof. Brown is the P.I. Other collaborators: Dr Aaron Devor, University of Victoria, Canada; Dr Kelly Rawson, Women's and Gender Studies, College of the Holy Cross, USA; Dr Karen Stanworth, York University, Canada.
Start Year 2012
 
Description International gender-variant identities 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact I organised this three-day multi-disciplinary research event to bring together medical professionals, social scientist, transgender activists and legal experts to share information about international gender-variant identities. Talks resulted in new perspectives being developed from a cross-disciplinary approach that would not otherwise have occurred.

New perspectives arose from cross-disciplinary discussions of the topic. This was the first time that the attendees had considered a more holistic approach to understanding the current situation with regard to indigenous gender-variant cultures. The talks resulted in the recommendation that international research needs to be carried out to ascertain the level of change taking place in indigenous transgender communities world-wide. Furthermore, that there is an urgency that this research should be carried out before Western conceptions of 'transsexualism' and 'sex-change' overtake indigenous understandings of gender variance.
Year(s) Of Engagement Activity 2011
 
Description Photography Symposium: Photographic Portraiture - Transgressive and Transformative Potentials 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach National
Primary Audience Professional Practitioners
Results and Impact Attendees were from different disciplines across University of the Arts London. The talks led to interesting cross-disciplinary discussions.

The development of new cross-disciplinary approaches. Two presenters have gone on to further develop their presentations and have submitted them for publication. The audience expressed considerable interest in ideas presented at the symposium and there has been an increased interest in uses of photography as a research method/tool.
Year(s) Of Engagement Activity 2009
 
Description Photography and Queerness, Moose on the Loose Research Biennale 
Form Of Engagement Activity A formal working group, expert panel or dialogue
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact Event open to the public that brought together speakers with different perspectives on the ways in which photography and queerness intersect each other. Speakers: Del LaGrace Volcano, Sunil Gupta, Grace Lau, Ope Lori, Bruno Ceschel. I organised the event, introduced it and presented concluding remarks.

Following this event, I was invited by one of the attendees to talk about my research to the LGBTIQ community at Bar Wotever 2014.
One of the attendees has begun a PhD at London College of Communication with TECHNE funding, 2014. I am Director of Studies to this PhD student. Other attendees have contacted me to inquire about uses of photography with respect to queer lives.
Year(s) Of Engagement Activity 2013
 
Description Talks given specifically to transgender and gender-variant communities about my research 
Form Of Engagement Activity A talk or presentation
Part Of Official Scheme? No
Geographic Reach International
Primary Audience Public/other audiences
Results and Impact 2 talks given to accompany an exhibition of participant-led photographs and diary extracts. The talks were given to transgender and gender-variant community members with the aim of sharing information and inspiring attendees to develop their own projects. Talk 1) Transfabulous International Arts Festival. Talk 2) 'Our Bodies, Our Minds, Our Lives' Transgender Community Conference.

The talks generated an increased interest in using photography as a means of expressing atypical gender identities and in uses of photography as a process for self-empowerment. Attendees asked to collaborate with me on future projects whilst other attendees have since taken the ideas forward into projects of their own.
Year(s) Of Engagement Activity 2009