When we began the Brighton hub of Wellcome’s sexology and Song-writing project we imagined that the young women involved would undertake some sort of original research and then write songs about it. It quickly became clear that the young women participants and the youth work and music practitioners had some different priorities. The practitioners wanted to concentrate on building a secure and supportive environment in which to build a collective group identity, and the young women wanted to sing songs that they already knew and liked. The young sexology song-writers didn’t want to write songs. They wanted to cover and recover them. Once we recognised that the priorities of the practitioners and of the young women needed to be our priorities too, we moved towards their goals. We weren’t training them to be researchers. They were training us in their modes of re-enactment: an active and creative intervention in a cultural circuit that brought together the legitimacy of publicly celebrated singer-songwriters, with their own experiences and voices.
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