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Too much?

Rachel Thomson

The idea of working with a group of drama students came about when re-encountering the original data set and finding and remembering an interview (MAG50) with a young woman studying drama at Manchester University. MAG50 was eager to talk about her own complicated emotional life as well as the ‘false and forced intimacy’ of the drama scene.  She shared stories of non consensual sex as well as intense relationships with powerful older men. She also articulated her understanding of the sexual politics of the theatre industry where women may need to be sexually available in order to get work.

Reading this interview in a new historical moment framed by the #metoo movement and  the exposure of predatory men within the entertainment and creative industries encouraged me to take this material to todays drama students at Manchester University. I wanted to find out if they would be interested in the material and in collaborating in a project of reanimation that would help us think about social change and continuity. We began by making contact with Alison Jeffers in the drama dept at MU who put us in contact with Elena and Lea – two third year students who had recently taken over the stewardship of the Women’s Theatre Society – a student led theatre society for women.

The work began. We shared two further transcripts with the group – both interviews with young women who were drama students at UM in 1989.  After 6 weeks of workshopping the material I was able to join them.

Before leaving for Manchester I gathered some memorabilia to take with me – objects from my life at the time the research was done; an old diary, photographs and a copy of my handwritten Masters dissertation on Women and AIDS, which lead to me being part of the WRAP project. I also read MAG50 again on my way to Manchester as well as reading my dissertation. Through these objects I tried to remember my 23 year old self. When I met the young women that evening they jumped, as if they had seen a ghost. I understood that they had got to know a version of me in the interviews and that meeting the 53 year old me was strange for them. I tried to explain that it was strange for me too.

I shared my memorabilia and to began a Q&A session that lasted over an hour where we did the work of weaving feminist webs between our shared relationship with this interview and our shared co-presence, uncannily in the very building where the original research had taken place. There were a number of moments in this conversation when connections were made between the old me and the new me, between the young women and MAG50, between 1988 and 2019 in that building. I felt like we were doing a collaborative analysis.

Making sense of the boldness of the sexual discourse.

A burning question for the group was how it was possible for the original conversation to have taken place. It was so bold, intimate, open. At first I thought that they were telling me that from their perspective the research was unethical, that the questions too direct, transgressive. But over the discussion I began to understand that they were curious about how such a discourse became possible. They wanted to know about the staging of the interview and the lead up to the conversation (did they know what would be asked?) and about whether I had supervision to prepare me for the ‘heaviness’ of the discussion. It became evident that having a conversation like this now would be very difficult, constrained by concerns about safeguarding, consent and triggering. But rather than chastising me for bad practice I discovered that the young women were eager to re-enact this way of talking.

Rachel: I think that’s really interesting because I think now we would see a study like this through the prism of mental health and it absolutely wasn’t how we looked at it. So, we would now … I don’t know, tell me what you think, I think we would think about triggers things like that, is it triggering? Could you ask that because that might…? Whereas in a way this was the stuff that happened before that whole way of looking at  the  world  came  about,  this  was  much  more  political  I  think  in  a  straightforward way, well nothing is straightforward is it? But it was much more about trying to say, “That’s not fair.” Or, “Put that into words; what words does that…?” Because we didn’t really have any vocabulary to talk about sex, people didn’t know what to call bits of their body, they didn’t know how to name power, and I say ‘they’ I would speak of myself as well, you know, like we didn’t really have a vocabulary to describe any of these things so it was the basic work.

Together we worked out the relationships between now (2019) and a time (1989) where speaking out about sex and about power was a project of making the personal political, naming the unnamed and developing a new vocabulary. As threads connected the two moments in time the young women articulated that this formed a necessary foundation for a future culture that is saturated in the knowledge of sexual violence. Yet we also mused that something had been lost in the reframing of sex from a political to a more psychological register. We realised that there is a complicated new kind of silencing that reigns in the young women’s worlds in which sex is both seen as casual and no big deal, as well as too much trouble, too difficult and too important.

#metoo

At the end of the session I asked them about the #metoo movement and about the sexual politics of the drama world and the entertainment industry. Again the young women told a story of unevenness and contradiction. In many ways things are better for young women – there are pockets of feminist practice and areas of the business dominated by women (documentary film was given as an example). Yet elsewhere in the industry things are worse then they have ever been, with market forces determining what it valued and valuable. An actress still has to rely on her body and her youth. It is not sexism as such that is to blame, but the laws of the industry and the preferences of the audience. We talked about women withdrawing from exposed patriarchal spaces, deciding that it is just ‘too much’ and not worth it. I began to understand what they were trying to tell me about contemporary sexuality and to grasp how what came before is part of what is now in a way that escapes the linear narratives of progress and decline that stand in the way of generational connection.

Urgent mini interviews

The evening culminated in an urgent series of mini interviews, with young women choosing fragments from one of the three interviews to revoice and discuss or simply asking me to ask them questions like I had asked the WRAP young women. The interviews were double documented – I recorded them as ‘data’ for our reanimating project and Elena recorded them as useful material that the group might use for devising a performance.

I learned a lot from these conversations: that it was still hard to be a virgin; that it was hard to find a ‘middle ground’; that the protection of men and families is vital for many people still; that loving oneself can be harder than loving someone else. It was an overwhelming and moving experience that I am in the midst still of understanding.  These re-enactments were the frenzied culmination of a long slow process of engagement which I would like to think of as a single method spread out in time and space and certainly a kind of co-production that we both documented and made our own.

Watching the performance several months later I could see how strands of our conversations in the workshop had been worked with creatively and brought to life through performance. Although the performance did contain extracts from the three interviews, reperformed by the young women, the focus was on the 2019 young women’s stories. In the discussion after the show the young women told us that engaging with the material gave them permission and a desire to tell their own stories and to think that someone out there might be interested in listening.

Watch the live performance of The Reanimating Project.

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Making poems with data and data with poems

Ali Ronan

Setting up and getting going: Film-maker, Sue Reddish and I had met earlier to discuss the filming and go over the plan for the evening. We arrived at the venue in Manchester at 6.  There were 10 young women there plus 2 youth workers. Hebe the artist and youth worker came at the same time. And then another young women then joined us. Hebe is well known to the group and I had met some of them before, I also know the youth workers well.

We did a quick name round + our chosen pronoun + whether people been on TV or radio/ round which raised some laughs and generated some curiosity about why people had been on TV etc.  I introduced Sue and she talked through the consent form and the way that she would do the filming. 2 young women did not want their faces to be filmed but were happy to be recorded, otherwise everyone was happy with the filming.

Time travel: We then introduced the project and talked very briefly about the 1980s at that point.  We did another game introducing ourselves plus our date of birth to a 1988 Top of the Pops soundtrack. We also had to say one thing that happened in the eyar that we were born. The dates of birth in the group ranged from 1951-2003 so this got us talking about the decriminalisation of section 28, the new labour landslide victory, the 2002 commonwealth games, the introduction of the right for gay people to adopt, the release of the film Body guard, John Major and Spitting Image, rationing and the end of World War two, the 1999 solar eclipse and the release of the first Toy story film. A lot of discussion was then generated about the 1980s and 1990s. We mentioned the miners’ strike, Greenham and Section 28.  Section 28 generated more discussion about sex education now and the difficult discussions that are being had in Birmingham and in Manchester around the rights of parents and faith groups to have a say over the Relationships and Sex Education curriculum.

Who am I? Each person was given a Who am I? sheet to complete and used the answers to create a soundscape. Hebe encouraged the group to draw something on the sheet that describes or represents you in some way, something that is important to you or a symbol or shape that you associate with yourself. This generated more discussion about identity.

  • I am an activist
  • I am Israeli,
  • I am a student,
  • I am resilient,
  • I am happy, I am a lesbian
  • I am autistic,
  • I am a non-binary woman,
  • I am brown,
  • I am wonderful,
  • I am a daughter,
  • I am a sister,
  • I am patient,
  • I am a walker,
  • I am a community member,
  • I am 16 years old,
  • I am a good friend,
  • I am indecisive,
  • I am a woman,
  • I am organised,
  • I am a friend,
  • I am frowning,
  • I am kind,
  • I am an aspiring gardener,
  • I am a youth worker.

Warming up: We then broke for coffee and started again with a warmup moving game – creating a rainstorm with  tapping, clicking, stamping, jumping. There was lots of laughing.

Working with data: We introduced some interview extracts that I had chosen from the selection that Niamh Moore had used during a workshop at Sapphormation – a festival in Manchester for ‘women who love women’. The extracts were taken from the one interview in the archive with a young women, Hannah, who explicitly identifies as ‘gay’ plus one extract from the interview with Sarah whose first sexual experience was with a woman.

The young women split into groups of three and each had a look at a couple of extracts. They read the extracts out loud and talked about the data. The brief was to see what stood out for them, to highlight it and talk about it.

The young women were really engaged with the material, sitting on the ground and pouring over the interviews. I went around, clarifying anything and trying to provoke more discussion. After about 10 minutes of lively discussion in the small groups, we asked them to tell us what they thought. They were interested in the short extracts and they were happy to read them out, to talk about the questions and how the interviews were conducted. They felt many of the questions were intrusive.

We then sat down at the table and used the interviews + magazines to cut up and create collages or poems or whatever- this created much more discussion.

We read the poems out, we talked about words and phrases that had meant something to the young women. We talked about the magazines – they were intrigued by the notices of meetings etc.

Hebe talked to the group about how we could take the project forwards. She suggested making some kind of banner that the group could put up when they are in session as part of the ritual of coming into the space and setting up the session. She suggested a table cloth but left this open for further discussion. The poems could be a starting point Hebe suggested, we could edit them down further to identify key words or to create an image- like a young women’s group coat of arms of the things that are important to us. Hebe opens things up to the group and we agree to think some more.

We said good bye – a quick post–it note of one word feedback on the session: Insightful, open, exciting, powerful, intriguing, brilliant, fantastic.

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Teaching qualitative research methods using the reanimation data project archive

Charlotte Bagnall

Research methods are a core component of most degree-level programmes, but nonetheless renowned for being students’ least favourite component of their course. Tasked with the role of developing new content to teach qualitative research methods, within the Faculty of Education at Manchester Metropolitan University, I was keen to demonstrate the usefulness and real-world implications of key qualitative methods and analysis to inspire my students. In doing so, I came across the ‘reanimating data project’ funded by the Economic and Social Research Council (for more information see: http://reanimatingdata.co.uk/about/), which gave my colleague Dr Claire Fox and I what we needed and ‘reanimated’ our students.

We had three weeks to work with the students on this project. Week One, students firstly learnt about the importance of archival data-digitising, sharing and re-using data, in addition to ethical considerations to take into account when conducting such work. This led on to Weeks Two and Three, where, following lectures on qualitative data analysis and more specifically Thematic Analysis, the students had the opportunity to conduct their own Thematic Analysis on real-world extracts taken from two interviews collected as part of the Women, Risk & AIDS Project (WRAP) social research study conducted in Manchester in 1989-90. Each student worked with three pages of data. Their research question was:

‘What are young women’s perceptions and experiences of sex education in the 1980s?’.

Prior to delivering the sessions, Claire and I had analysed the data ourselves. We were working with two interviews from the WRAP archive:  The interview with Simone, 18, White British, working class, Roman Catholic (Ref: NMC12) and the interview with Stacey, 20 – 21, White British, working class (Ref: MAG12). Two main themes emerged from our analysis: Basic or limited sex education and Gendered Double standards.

Basic or limited sex education was a semantic theme, in other words it described explicit, surface-level meaning within the data. This theme included talk about the basic and limited sex education the young women received within the 1980s. For example, sex education lessons were selective, passive and detached, with teachers only focussing on the biological aspects of sex and discussions about emotions and the relational aspects avoided. These gaps were in part shaped by teacher embarrassment and their assumptions of hopelessness, which meant that, as a result, sex education lessons had little impact, students instead having to take their education into their own hands and seek out magazines as a source of better information.

In contrast, Gendered double standards is a latent theme and looks beyond what is said to identify deeper-level implicit meaning within the data. Gendered double standards were evident in that boys and girls faced different pressures in relation to sex in the 1980s, girls particularly fearful about being labelled as ‘loose’, a ‘slag’ and acquiring a negative reputation if they engaged in sexual behaviour or discussed sex. This ultimately underpinned young women’s perceptions, experiences and relationships during this time.

In the session with students we presented our analysis findings by sharing one table for each theme with the codes and supporting quotes. We also shared a short write-up of the theme Gendered double standards as an example (You can read this here). Students were then asked to write up the other theme. 

It was clear through the students’ write up of the Basic or limited sex education theme that they had engaged well and become immersed within the data. Here is an example from one of our students.

The young women detailed the amount and depth of the sex education they received within Catholic schools in the 1980s. The idea of basic or limited sex education was shown by mentions of few lessons given, e.g. ‘we got a lesson once’ (Simone) and ‘there was no sex education at all’ (Stacey). Teachers would rush over lessons, or miss out crucial information. ‘She didn’t really go into detail; she just went very fast. So we didn’t have much time to think’ (Simone) and ‘she just said – you can’t get AIDS from this, you can get it from this’ (Simone).


Sex education largely had a biological focus, as opposed to informing students about safe sex. ‘Yeah, just like how babies are made, and that’s it’ (Simone), ‘Q: Did they talk about contraception? A: No’ (Simone). Students were not informed about the ways to prevent pregnancy or transfer of STIs: ‘Q: So did she say that if you use a condom you’ll be protected? A: No way’ (Simone) and ‘Q: Did they talk to you about contraception and STDs at school? A: No, nothing like that’ (Stacey). Furthermore, teachers did not explain relationship dynamics, or what emotions may arise when a student became sexually active, e.g. ‘nobody ever talked to you about the problems and the entanglements, and what it means to be in a relationship when you start having sex’ (Stacey). The girls also noted that any sex education they did receive only involved the teacher giving a short session of ‘just the basics’ (Simone), with no time allotted for further discussion or an opportunity to ask questions. ‘All we did was read from a book. We didn’t really discuss it or anything’ (Simone).


Sex education for the general student population was described to be a bare minimum. Some further education would be given if students opted to study biology; ‘only if you took biology in the fourth or fifth year, we did quite a bit’ (Simone). The feelings towards sex education within biology in later school years seemed to be more positive, with more extensive education on how the body works: ‘I learnt a lot from biology, you know, about sort of …and the insides and things’ (Stacey).  However, this more detailed teaching was reserved only for those who chose to study biology, and was not offered to other students.


The basic or limited sex education led to students having to take their education into their own hands. Girls would seek out magazines as a source for better information, namely ‘man and woman’. Stacey explained that ‘we read them all! I think I learned a lot off that’. School sex education sessions left large gaps that the girls filled independently outside of school.
Overall, the girls explained that they received quite poor sex education. Between teachers rushing lessons, and only providing factual information, to more information being kept back from the wider student body, and only being taught to fulfil the exam curriculum, students’ sex education was basic and limited.

Angel Mellor-Davis, Year 1 Educational Psychology, MMU

There was such a depth to the data, that we were able to give students just three pages of data and a simple but constructive task to get them enthused and engaged in qualitative data analysis. They can take this learning with them and apply it to a different dataset for their assignment. Students discussed similarities and differences between the sex education they received and that of the young girls within the transcripts. However, with hindsight we could have done more of this and perhaps used it to teach students about ‘reflexivity’.

It has been great to be part of this project and use the WRAP data to the benefit of our students, and I am looking forward to involvement in further projects stemming from the reanimating data project archive.