No / Palliative care for minority ethnic groups remains a poorly accessed and limited area in district nursing. This article outlines a hospice apprentice programme that aims to promote and expand the use of specialist palliative and end of life care services for a South Asian community through increasing access and referrals, improving services by making them more culturally appropriate for black and minority ethnic (BME) people, involving BME people in the delivery of services, and creating better relationships between BME communities and providers

This thesis examines the desire for inclusion in association football amongst minority ethnic communities in England. The thesis is based on two case studies informed by semi-structured qualitative interviews. These case studies focus on two minority ethnic groups, the Asian community in Bury and the black community in the City of Liverpool, and the relationship of these respective communities with local professional football clubs (specifically Bury FC and Everton FC). The thesis notes that despite, by most objective measures, football grounds being less dangerous places to visit nowadays, members of minority ethnic groups continue to reject live spectatorship. Such rejection exists despite evidence of engagement in football amongst the male members of these minority ethnic groups. Asian respondents expressed little civic pride in Bury or interest in Bury FC, and thus their rejection of spectatorship opportunities was unconscious. Data from black respondents identified widespread sense of belonging and identification with the City of Liverpool, but conscious rejection of spectatorship at Everton FC. Despite recognition of the clubs anti-racist work black respondents argued that the idea persists that Everton are institutionally racist with racist fans. While such a perception had also previously been ascribed to Liverpool FC (Everton s near neighbours), such perceptions had changed quicker at Liverpool FC, who appear more effective at attracting minority ethnic spectators. A number of factors emerged that contribute to the continued rejection of spectatorship amongst British minority ethnic groups at professional football clubs. One of these is the perception that football clubs are unwelcoming places and white spaces . Fear of racism and fear of violence were also often cited although these were found not to be absolute in nature for either minority ethnic group. Indeed, evidence from both groups found that they are developing their own we image rather than internalising their own group disgrace , though it is also argued that Elias and Scotson s notion of two groups, the established (white s) and the outsiders (blacks), is too simplistic and a more fluid conceptualisation is called for. Overall, the data illustrated that the identities of members of minority ethnic groups are complex, multifunctional, context specific and fragmented and thus so are their relationships with football.

This thesis seeks to make visible the presence and voices of minority ethnic households in rural communities by addressing the ‘place blindness’ in research on ethnicity / ‘race’, and the ethnicity / ‘race’ blindness in rural literature. The overall aim of this thesis is to develop an understanding of the lived experiences and perspectives of minority ethnic households and individuals in parts of rural Scotland, and the Highlands and Islands in particular. The emphasis is on exploring the contingent, flexible and changing interaction between ethnicity / ‘race’ and rurality. This is achieved by drawing on four separately commissioned studies which were undertaken between 1998 and 2004, and were re-analysed for the purposes of this thesis. Within the context of these studies, the thesis examines the ways in which the social and spatial demography of rural minority ethnic households, and particular conceptualisations of rural have been mobilised to shape ideas and practices about belonging in parts of rural Scotland. In particular, the studies explore the ways in which minority ethnic households, parents/carers and young people across the four studies have felt they have been ‘invisible’ in relation to policy and service delivery issues, and developed strategies to overcome their marginalisation. The thesis concludes that the relationships, experiences and practices based on ethnicity / ‘race’ have to be understood as being grounded in specific spatial, national, local, historical and material contexts which are dynamic. It stresses the need to move away from binary accounts portraying minority ethnic groups as always ‘passive victims’, and the ‘host’ communities as invariably ‘perpetrators’ of racism, by recognising the importance of taking into account the cross-cutting nature of individual identities and experiences, deconstructing ‘white’ and recognising the countervailing forces of constraints and agency within this context.

Cette thèse est consacrée à l’évolution de la place des femmes artistes d’origine miao, mongole et ouïgoure dans le champ artistique chinois 1950-2010. Son axe central consiste à montrer comment les mutations sociales ont modifié la place des femmes, et, plus précisément, comment leur place a été redéfinie dans un discours identitaire. Si dans les années 1950-1980, les œuvres portant sur l’idéologie collectiviste et la représentation de « la femme d’acier » occupaient une place primordiale, dans les années 1981-2000, les femmes artistes décrivent la situation réelle des femmes et mettent l’accent sur la question de l’identité des femmes modernes et sur des relations entre les femmes et les hommes. Elles cherchent à maîtriser des formes d’expression artistique ethnique plus variées et plus légitimes. Depuis 2001, afin de préserver les cultures ethniques face à la mondialisation, les femmes artistes essaient d’interpréter la profondeur de la culture ethnique dans leurs œuvres. C’est vers les traditions, telles que la mémoire historique, les mythologies, les chansons et les danses, que se tournent les artistes femmes issues des ethnies minoritaires à la recherche de racines culturelles. Cette recherche s’appuie à la fois sur l’analyse de la situation socio-culturelle des femmes artistes issues des ethnies minoritaires, l’analyse de la construction de l’identité féminine et l’analyse des particularités de l’expression des femmes artistes eu égard à leur appartenance ethnique. / This thesis is devoted to studying the evolution of the place of female artists with Miao, Mongolian and Uygur origins in the Chinese artistic field 1950-2010. The central theme is to demonstrate how social changes have changed the place of women, and more specifically, how the place of women has been redefined in an identity discourse. If in the years 1960-1980, the art works dealing with the collectivist ideology and the representation of the ‘iron woman’ occupied a primordial place, in the years 1981-2000, the female artists describe the real situation of the women and put the focus on the question of the identity of modern women and the relations between women and men. They seek to master the different forms of ethnic artistic expression. Since 2001, in order to preserve ethnic cultures facing the globalization, the female artists are trying to interpret the depth of ethnic culture in their art works. It is towards traditions, such as historical memory, mythologies, songs and dances, that the female artists with ethnic minority origins are looking for their cultural roots. This research is based at the same time on the analysis of the socio-cultural situation of female artists with minority origins, the analysis of the construction of the feminine identity and the analysis of the particularities of the expression of female artists because of their ethnicity.