Narrative CV Example - Arts and Humanities

This is a fictitious narrative CV created to demonstrate the OCAR structure in response to an equally fictitious funding call. It’s designed to help you understand how the framework works, not to provide a template to copy. Use this example for understanding the approach, then make it your own. Any resemblance to real research is coincidental.

Click the arrows for commentary on how the OCAR framework was applied in each section.

👉 Important reminders:

• Your narrative CV should reflect your authentic experience and voice.
• Every funder has different requirements - always check current guidelines.
• There’s no single “correct” way to structure your narratives.

Personal Statement

Applied theatre practitioner-researcher committed to creating inclusive performance spaces where marginalised voices are heard and valued. I lead participatory projects that centre community experiences, advocate for accessible theatre practices, and contribute to building a more equitable arts sector.

Module 1: Generation & flow of new ideas

My practice-based research addresses a critical gap: how to adapt applied theatre methods for communities historically excluded from mainstream arts. Traditional participatory theatre approaches often assume certain levels of literacy, mobility, and cultural familiarity that create barriers for many groups. I have developed and documented methods that genuinely centre accessibility and cultural responsiveness in applied theatre practice through creating new devising approaches, establishing practice documentation, and contributing to methodological discourse in the field.

Many Deaf and hard-of-hearing participants find traditional theatre workshops inaccessible, as they often rely heavily on verbal instructions and audio cues. Working with a local Deaf theatre company, I co-developed a visual devising framework that placed visual and embodied communication at the centre, rather than treating sign language interpretation as an addition. Over six months, we involved eight Deaf and hearing participants in experimenting with image-based prompts, tactile exploration, and visual scoring systems for structuring scenes. I documented the process through video and reflective writing, presenting findings at the Applied Theatre Researchers conference. The framework has since been adopted by two other community theatre organisations, and I was invited to deliver a CPD workshop for 15 theatre practitioners on visual devising methods. Participants reported the approach “transformed” how they thought about accessible practice.

Applied theatre practitioners often struggle to articulate the impact of their work beyond anecdotal evidence, limiting their ability to secure funding and demonstrate value to stakeholders. Standard academic assessment frameworks don’t capture the nuances of community-based performance work. I developed a reflective evaluation toolkit specifically designed for this context, combining participant journals, creative response methods (such as post-performance drawings), and structured group discussions. I piloted the toolkit across three community projects involving 45 participants, refining the approach based on feedback, then published it as an open-access resource on the Applied Theatre Hub website, accompanied by a 2,000-word practice-as-research article explaining the methodology. The toolkit has been downloaded 300+ times, and two practitioners have contacted me to share how they’ve adapted it for their contexts.

These contributions have provided practical tools and documented knowledge that other applied theatre practitioners can use and adapt, helping to build a more accessible and evidence-informed field.

Module 2: Development of others

My experience as a practice-based researcher in a predominantly text-focused department revealed a fundamental gap: emerging applied theatre practitioners lack mentorship that understands the specific challenges of navigating between academic and community contexts, managing precarious employment, and validating practice as research. I addressed this by establishing peer support networks, mentoring student practitioners, and contributing to professional development opportunities that help early career practitioners develop confidence and skills while building community.

Postgraduate students in our department pursuing practice-based research often felt uncertain about how to document their work, balance artistic and academic writing, and prepare for viva examinations that would assess both performance and thesis. I initiated a monthly practice-as-research reading group to create a supportive space where students could share these challenges and learn from each other’s approaches. I invited six MA and PhD students to discuss methodology texts, share work-in-progress, and troubleshoot practical challenges, facilitating discussions and inviting external practitioners to join sessions. Over two years, the group supported 10 students through their research journeys. Three participants specifically mentioned the group in their thesis acknowledgments, noting it “provided essential peer support” during challenging stages. The group continues to meet, now student-led, creating a sustainable support structure.

A local youth theatre organisation wanted to develop their facilitators’ skills in working with neurodivergent young people, but lacked internal expertise and budget for extensive external training. I designed a practical, sustainable solution: a half-day workshop for eight youth theatre facilitators focusing on sensory-aware practice, clear communication strategies, and creating predictable workshop structures. I developed a one-page resource guide with practical tips that facilitators could reference during sessions, and observed two workshops to provide individualised feedback. Post-workshop feedback showed 100% of participants felt “more confident” working with neurodivergent young people, and the organisation reported that parent feedback improved notably, with specific praise for the “thoughtful accommodations” being made.

These initiatives have supported approximately 20 early career practitioners and facilitators in developing skills and confidence, creating ripple effects as they apply inclusive approaches in their own practice.

Module 3: Impact on wider research and innovation community

Throughout my involvement in the applied theatre community, I’ve identified how administrative and organisational practices systematically exclude practitioners with limited time, resources, or specific access needs. Professional conferences often require expensive registration fees, assume ability to travel and stay overnight, and schedule events during school hours — creating barriers for freelance practitioners, those with caring responsibilities, and disabled practitioners. I addressed this by taking on committee roles, advocating for accessible event practices, and contributing to more equitable professional structures.

Our regional applied theatre network held quarterly networking events that consistently attracted the same 15-20 practitioners, missing many who couldn’t attend evening events in the city centre or afford the £15 fee. As a committee member, I proposed and led a consultation process to understand and address these barriers to participation. I created an online survey and conducted phone interviews with 12 practitioners who had never attended events. Based on this feedback, I advocated for changes including: introducing a sliding scale fee (£5-£15), alternating between daytime and evening events, providing virtual attendance options, rotating venues to include more accessible locations, and providing childcare information for each venue. Following these changes, attendance increased to an average of 30 practitioners per event, with notably more diverse participation in terms of career stage, geographic location, and caring responsibilities. Three new attendees have since joined the committee, bringing fresh perspectives.

The Applied Theatre Journal published predominantly text-based articles, making it difficult for practice-based researchers to share their work and limiting the field’s engagement with embodied and visual knowledge. I advocated for more inclusive publication formats that would genuinely welcome practice-based contributions. When invited to peer review for the journal, I consistently provided constructive feedback on articles but also used the “comments to editors” section to suggest how the journal could support practice-based submissions. After reviewing three articles, I was invited to join a working group exploring alternative formats. I contributed ideas drawn from my own documentation practice and examples from other journals. The journal subsequently introduced a “Practice Pages” section allowing video documentation, visual essays, and annotated performance scores. I submitted one of the first Practice Pages contributions, and the section now publishes 4-6 practice-based pieces annually, significantly broadening who can contribute to the journal.

These three contributions have helped make the applied theatre community more accessible and inclusive, enabling a wider range of practitioners to participate in professional networks and scholarly discourse.

Module 4: Impact on broader society

My applied theatre work is grounded in the principle that everyone should have opportunities to participate in creative expression, regardless of background or circumstance. However, many communities face compounded barriers — socioeconomic disadvantage, discrimination, lack of local arts provision — that make theatre participation feel irrelevant or inaccessible. I addressed this by developing partnerships with community organisations, creating performances centring marginalised experiences, and contributing to local cultural infrastructure that provides genuine opportunities for creative expression and community connection.

Older adults in a social housing estate experienced high levels of isolation, with limited local activities and declining community spaces. The residents’ association wanted to address this but lacked resources for traditional arts programming. I partnered with the residents’ association to co-create a sustainable reminiscence theatre group shaped by residents’ own interests. I helped secure a £2,000 grant from the local council, then facilitated weekly sessions with 12 regular participants (aged 65-84) over eight months, using their memories and experiences as source material. We created a 20-minute performance shared at the estate’s community centre, attended by 40+ residents and family members. Participants reported feeling “valued” and “less lonely,” and several formed friendships extending beyond the sessions. The group continued meeting informally after the funded period ended, now facilitated by one of the participants, demonstrating the project’s sustainability.

Young asylum seekers and refugees attending a local support centre experienced trauma, cultural dislocation, and limited opportunities for creative expression in their new environment. Traditional verbal therapies often felt culturally inappropriate or linguistically inaccessible. The support centre wanted to offer alternative forms of expression and connection. I developed a 10-week non-verbal devising project with eight young people (aged 16-21) from six different countries that created a safe creative space without requiring high English proficiency while respecting participants’ autonomy about what they chose to share. We used movement, image-making, and soundscaping to explore themes the participants chose: home, journey, and hope. Rather than performing for an external audience, we created a video document that participants controlled — they decided what was recorded and who could view it. The support centre staff reported that participants showed “increased confidence” and several continued engaging with other centre activities. Two participants requested the video to share with family members, using it to communicate experiences they found difficult to verbalise.

Local schools in our area had very limited drama provision, with one secondary school having cut its drama department entirely due to budget constraints. This particularly impacted students who might benefit most from creative subjects — those struggling academically or experiencing social-emotional challenges. I secured £3,000 from a local charitable trust to deliver a term-long applied theatre project at the school, working with 15 Year 9 students (aged 13-14) identified by teachers as potentially benefiting from creative engagement. We created a forum theatre piece exploring peer pressure and decision-making. Students performed for three other Year 9 classes (90+ students), facilitating discussions about the issues raised. Teachers reported that participating students showed “improved confidence and collaboration skills,” and the school invited me back the following year, finding budget to continue the work. Two students told me the project “made school better” and one asked about studying drama at college — a pathway they hadn’t previously considered.

These three projects have directly engaged over 50 community members in creative expression, built connections within communities, and contributed to greater cultural equity by bringing theatre to people and places typically excluded from arts participation.