AuthorCaoimhe McAvinchey & Daily Life Ltd

Mad Gyms & Kitchens 2012


Mad Gyms & Kitchens 2012


Chapter 1: Introduction


Mad Gyms and Kitchens is a performance piece commissioned as part of Unlimited, a Cultural Olympiad programme celebrating the arts and cultural work of Deaf and disabled artists as part of the London 2012 Olympics. The commission invited artists to be ‘unlimited’ in their ambitions whilst also demanding significant partnership making across the cultural sector to support the realisations of these ideas.

With Mad Gyms and Kitchens, Baker wanted to create a ‘small, exquisitely formed show that reached the parts that other’s don’t reach. In places where people actually meet, so it could be an incredible community centre, or it could be a church hall, or it could be a board room.’  

This case study gives unprecedented access to the making of Mad Gyms and Kitchens  - the show, the tour and programme of talks and events that engaged new audiences across England to publicly, playfully and rigorously consider ideas of expertise and mental health through cultural practices.

Each case study has a series of chapters. Within these chapters, as well as finding contextual information and commentary about different aspects of the project, you’ll find resources that give additional layers of access to it. Some of these materials, particularly photographs, document the process of making and, literally, building the show. Other materials, such as press releases or short films made by organisations other than Daily Life Ltd, evidence the broader social and political context that the piece was created in. There are also a number of transcriptions of interviews with Bobby that narrate and reflect on the process.

Over the course of eighteen months, January 2011-September 2012, Baker and Daily Life created a programme of work that included:

  • 32 performances in a range of health, education, community and cultural venues across England;
  • over 1,600 members of the public including NHS volunteers, nurses, service users, carers, psychologists, psychiatrists, occupational therapists, art therapists, GPs, NHS Health Commissioners and chaplains; 
  • 150 days of exhibition of the Daily Drawings in health care contexts;
  • 19 events including talks and creative training workshops for local mental health community workers, and
  • the creation of a digital archive of arts work created by audiences

These kinds of statistics and figures are relatively easy to compile. But what do they tell us about the arts practices that underpin them?

This is the business of Artful Measures. In order to articulate the statistics to illuminate different kinds of evidence that grapple with different kinds of values, we have to ask different questions of them.

  • What are the aesthetic considerations in making a performance that does this very particular personal, emotional and social work? 
  • What kinds of labour does it take to create a network of opportunity for layered audience engagement? 
  • How is the invitation for the audience to consider and articulate its own everyday expertise in wellbeing realised? 

In order to address these questions, this chapter details a series of key contextual issues: Mad Gyms and Kitchens within Baker’s body of work, the field of arts and mental health in the UK, the London 2012 Cultural Olympiad and the provocation that Baker’s Unlimited commission presents. 



Bobby Baker is a performance artist whose work, over the past four decades, has revealed and interrogated the cultural politics of daily life with a precise, determined and playful subversion. Her work, both in form and content, has continued to surprise and provoke audiences. Originally trained as a painter, Baker found the medium of her body in performance, in direct engagement with live audiences, to be the most appropriate form for her work.

Early pieces, including Meringue Ladies World Tour I & II (1973) and Edible Family in a Mobile Home (1976) reflected Bobby’s ‘passionate concerns’ about connecting with people, presenting work in non-art gallery spaces, inviting a public consideration of family, of the domestic, and of the significance of daily life.

 A commitment to attend to the unrecognised everyday, to the small acts of expertise in each individual’s life, has continued to inform Baker’s work. Drawing on A Mother’s Experience (1988) and the five shows within the Daily Life Series (1991-2001) revealed the complex layers of political, social and cultural ideologies that shape the everyday and how they are valued by society. 

 Mad Gyms and Kitchens (2011) builds upon these ideas – people as experts in their everyday lives, touring to places where people meet naturally and creating performative structures for dialogue. However, Mad Gyms and Kitchens is also part of a body of work that has more explicitly engaged with Baker’s own experiences of mental distress and recovery whilst directly addressing the stigma, isolation and frustration of people who share that experience, critiquing the pharmacology and therapeutic industries that have flourished in response to it. Performance works such as Pull Yourself Together (2000), How to Live (2007) and Give Peas A Chance (2008) continue to use humour as a key strategy for Baker’s engagement with audiences. 

 However it has been the exhibition and publication of Diary Drawings that has given heightened and enduring attention to these issues. Bobby made 711 drawings and water colours between 1997-2008, offering extraordinary insight into her mental and physical illness and recovery throughout this time. Baker and her daughter curated 158 of these drawings to form an exhibition that launched at the Wellcome Collection, London (2009) and it continues to tour both nationally and internationally, at venues including psychiatric units, museums and universities.

The book, Diary Drawings: Mental Illness and Me (2010), curates this collection along with essays by Bobby, the cultural critic, Marina Warner and Dora Whittuck, a clinical psychologist and Bobby’s daughter who collaborated with her on the exhibition and publication. In 2011, the Diary Drawings won Mind Book of the Year. It was the first time that a graphic autobiography won the award that recognises literary work that contributes to increasing understanding about mental health issues. 

Mad Gyms and Kitchens continues Bakers commitment to address the politics of expertise that is at play in the discussion and treatment of mental distress through her performance practices. 

Chapter 2: Arts & Mental Health


In the UK, over the past two decades, there has been a significant investment in the arts as a catalyst or contribution for individual and societal wellbeing. Two recently published reviews of evidence, led by the UK Government’s Department for Culture, Media and Sport, illustrate the substantive documentation of the beneficial social, health and educational impacts of the arts and argue for the justification for government intervention and directed funding to support particular initiatives. The bibliographies for both these reports provide extensive insight into sports and cultural practices, particular questions that are asked of them and specific methodological approaches.

Funding for arts projects that anticipate educative, health and social benefits, administered by both arts and non-arts funding agencies, has increasingly demanded particular kinds of evidence about the impact and value of arts work. This is particularly the case in work that declares its intentions to engage with the complexities of mental health. The following statement from Dr Justin Varney, National Lead for Adult Health and Wellbeing, Consultant in Public Health Medicine, Public Health England recognises the potential of the arts and the demands that are made of it in its evidencing of this:

"The arts and cultural sector has huge potential to positively impact the health and wellbeing of the population and provide innovative and creative pathways to reducing inequalities in England, but the sector, and commissioners, must be more effective at collecting and using data to demonstrate this in real time." (Quoted in Jessica Harris, ‘Demonstrating Impact’, in Arts Professional, 14th January 2015).

Harris highlights the language and systems of arts engaged in commissioning processes:

 The language of winning contracts, evidencing, delivering, commissioners, outcomes and outputs has become adopted into the vocabulary of artists and arts organisations that seek to engage with public service commissioning. Within this, there is a broad spectrum of rich practices: from participant centred projects with people within the mental health system referred to an arts project as part of their treatment (such as Theatre Troupe’s Whatever Makes You Happy), through to work presented by artists in cultural venues that critiques representation and experience of mental distress (such as Mental by the Vacuum Cleaner).

Often arts work that engages with mental health is framed as having an impact on individual or societal understandings of mental distress and the stigma too often experienced or circulated through tropes of ‘madness’. In an economic and political culture of austerity, where ‘payment by results’ is regarded as the proof of good investment, the framework of value in which these arts practices are measured are too often quantitative and demanding of quick return in terms of the cost per head, the economic saving of arts work as preventative of other potential kinds of expenditure.

But what are the key approaches to evaluation of the arts that are considered to be accepted as providing credible evidence to funders in the UK?

Until recently, evaluation of health has been framed by considerations in social services and based on a deficit model that assesses need. More recently, there has been a shift in consideration from illness to wellbeing, an assets approach. This attends to capacity and resources in an individual, group or community.

Many arts practitioners who engage within mental health services may find themselves navigating the Warwick-Edinburgh Mental Wellbeing Scale (WEMWBS). This scale, developed by NHS Health Scotland and the Universities of Warwick and Edinburgh and validated in 2007, ‘was developed to enable the monitoring of mental wellbeing in the general population and the evaluation of projects, programmes and politics which aim to improve mental wellbeing.’

 Other models that support evaluation of mental health include Mental Health Recovery Star or the New Economic Foundations Five Ways to Wellbeing.

 Participatory Arts and Wellbeing Past and Present Practices, an AHRC Connected Communities research network led by Josie Billington, Hamish Fyfe, Jane Milling and Kerrie Schaefer (2011-2012), was an important development in mapping and considering thematic issues and critical concerns in the broader field of arts and well being.

The business of arts evaluation has become core to arts organisations. However, what evaluation is, how it is carried out, what evidence it is expected to deliver and what is done with this evidence – its usefulness in building a credible case for the arts – continue to be widely debated amongst artists, arts organisations and those who fund them.

Just because they are recognised and ‘standardised, widely available approaches to track improvement in wellbeing, and identify where people need extra support’ doesn’t necessarily mean that they are the only valid approaches for evaluation: they allow for particular kinds of questions to be asked and particular kinds of answers. But what does this mean about the interest in and articulation of other kinds of arts practices – particularly something like Daily Life Ltd’s work that plays with the ideas of intervention, of expertise by profession and expertise by experience, of ambition and intimacy of audience engagement in public spaces?

Daily Life Ltd, whilst acknowledging the landscape of evaluation debate and practices, has evolved its own particular response to evaluation, blending a range of approaches including interviews, observation, top-tips, film and training events to reframe and focus on issues that it feels are as important but less recognised by health commissioners.

 Unlimited & the London 2012 Cultural Olympiad 

Mad Gyms and Kitchens was commissioned as part of Unlimited, a Cultural Olympiad programme celebrating the arts and cultural work of Deaf and disabled artists. The Cultural Olympiad was a four year project, with over 177,000 events across the UK, to accompany the preparations and celebrations of the London 2012 Olympic and Paralympic Games.

Tony Hall, the Chair of the Cultural Olympiad Board, evidences the reach and ambition of this:

Over £97million was invested in the Cultural Olympiad. Of this, £3million was dedicated to the Unlimited programme, half for the commissioning of new work and half for artist development and the dissemination of information about this work. Artists could apply for funding of between £25,000-£50,000 and 29 commissions were awarded to support Deaf and disabled artists create ambitious, boundary-pushing work to audiences across the UK and internationally.

This was the first time that cultural programming associated with the Olympics had identified and invested such significant recognition and financial support of Deaf and disabled artists. It was also the most substantial, discreet funding stream made available to artists and companies working in the UK drawn in collaboration with a network of funders and development agencies including the National Lottery, Arts Council England, Creative Scotland, Arts Council of Wales, Arts Council of Northern Ireland and the British Council.

The Unlimited Festival, as part of The London 2012 Festival, presented all 29 commissions at the Southbank Centre (30 August–9 September 2012), showcasing work across artforms including dance, performance, circus and comedy. 

Unlimited’s recognition and practical, professional support of disabled-led work within the context of the Olympic and Paralympic games has been regarded as a pivotal moment both in arts funding and the cultural platforms for this work.

The Unlimited festival at the Southbank Centre (30th August–9th September 2012) ran concurrently with the London 2012 Paralympic Games and featured all 29 of the Unlimited Commissions.

In Unlimited, 3.2% of the artists – 806 out of 25,000 - were Deaf and disabled and most of their work was directly supported through Unlimited. This reveals much about the lack of structural support that has existed for the creating and production of work by Deaf and disabled artists within mainstream cultural commissioning and collaboration. One of the particular legacies of The London 2012 Olympiad has been a commitment by arts funding and development agencies to continue specific support of Deaf and disabled artists’ work. Unlimited is now an on-going commissioning and mentoring programme, delivered by Shape, a disability-led arts charity and Artsadmin, an arts producing organisation funded by Arts Council England, Creative Scotland, Arts Council of Wales and Spirit of 2012. Key partners include British Council, DaDaFest, Southbank Centre, and Tramway.

However, in addition to the ideological and infrastructural shifts in cultural production that were evidenced through Unlimited, the commissioning competition raised a number of important questions about the cultural politics of the work of artists who are Deaf or disabled: what are the politics of access to the application process for artists who are working outside of the support structures of a company? Does the work commissioned have to address issues of disability? How is the work marketed? Who are the audiences?

Jo Verrent, Senior Producer for Unlimited considers these questions in the run up to Unlimited: the Reveal Festival 2012:

But, equally as important, is the question about the impact of Unlimited on artists’ practice – what they now feel is possible because of the investment, support and platform for their work? The final chapter of this case study attends to the particular impact of the opportunities of Unlimited for Daily Life Ltd.




Chapter 3: Making Mad Gyms & Kitchens, 2012

‘So the dream of this show was really hard to explain, but it was worth sticking out for’: Bobby Baker. 

Mad Gyms and Kitchens is many things: a performance; an intervention into daily life in places where people meet; an opportunity to make and meet new audiences who may not regularly attend arts events; a catalyst for conversation, reflection and articulation by individual audience members of their particular expertise in, and strategies for, wellness.

During the performance, an audience member would witness Bobby revealing the wonders inside each of five flight cased, ‘beautiful boxes that unfold full of colour and props into a gym, a kitchen, a bed and my living room - my ‘recovery’ apparatus. The final box, the ArtKart, has tea, biscuits – including bourbons - sugar and high quality art materials,’ (Bobby Baker in Performance and Community, p. 111-112). 



In this chapter Bobby reflects on the process of making Mad Gyms & Kitchens, from the initial idea through to dress rehearsal.

Making the Show


Chapter 4: The Mad Gyms and Kitchens Tour: Partnerships and Audiences

Between January 2011-September 2012, Bobby Baker and Daily Life Ltd created a programme of work that included: 

Performances: 32 in a range of health, education, community and cultural venues across England including:

  • Jarman Building, University of Kent, Canterbury, Kent
  • Bradbury Studios, Hackney, London
  • ICIA, University of Bath, Bath
  • Warwick Arts Centre, University of Warwick, Coventry
  • Blakenhall Community and Healthy Living Centre, Wolverhampton
  • New Art Gallery, Walsall, West Midlands
  • The Public, West Bromwich, West Midlands
  • Star and Shadow, Newcastle Upon Tyne
  • Lamplight Arts Centre, Stanley
  • Sunderland Museum and Winter Garden, Sunderland
  • Stannington Village Hall, MorpethStage@Leeds, Leeds
  • St Bartholomew’s Church Hall, Sheffield
  • The Blue Room, Southbank Centre, London 

Diary Drawings: 150 days of exhibition in health care contexts including:

  • Hallam Street Psychiatric Resource Centre
  • Black Country Partnership NHS Trust
  • The Southbank Centre, Royal Festival Hall
  • Lamplight Arts Centre, Stanley

Audiences: Over 1,600 members of the public engaged with Mad Gyms and Kitchens during this times including NHS volunteers, nurses, service users, carers, psychologists, psychiatrists , occupational therapists, art therapists, GPs, NHS Health Commissioners and chaplains. 

Audience as co-creators: The creation of a digital archive of arts work created by audiences.

Talks and training events: There were 19 additional events including talks and creative training workshops for local mental health community workers run in health and cultural contexts across England.

What kinds of labour does it take for an artist and small arts organisation to create this network of opportunity? To build relationships and partnerships to grow an audience for a very specific kind of layered engagement? 

How can this invitation to the audience to consider and articulate their very particular everyday expertise in wellbeing be realised? 

The development of the tour of Mad Gyms and Kitchens wasn’t as simple as advertising a show to cultural venues across the country, seeing who was interested and calling upon a mailing list of existing audiences. Rather it was the careful curation of a series of relationships with cultural centres, health services and voluntary organisations working to support people with experience of mental ill-health through touring a mini version of the Daily Drawings exhibition with accompanying talks, creative training days, and pre-show meetings with local health organisations. 

 Bobby Baker’s artistic vision of creating a show that ‘reached the parts that others don’t, of going to places where people meet’, could only be realised by her artistic practice being elastic and accommodating enough to include an extensive period of audience development within it. These approaches generated audiences from more isolated communities that didn’t usually attend arts events.
Every motorway journey across the country to discuss the project with a potential collaborating partner, every conversation with a nurse, NHS volunteer, NHS Health Commissioner and every offer of a cup of tea to a member of the public within Mad Gyms and Kitchens was part of this creative practice.

The people who made Mad Gyms & Kitchens

So whilst the idea of Mad Gyms and Kitchens was envisioned and the show was performed by Bobby Baker, there were others whose particular expertise supported the realisation of the project.

There was also a robust, growing and activist network of artists with disabilities who provided ‘friendships and relationships’, ‘ solidarity and camaraderie’ that was both ‘ vibrant and pivotal’ in the development of the project. Two particularly influential events and networks included the Sync leadership programme for disabled people led by Jo Verrent and Sarah Pickthall and funded by the Cultural Leadership Programme and the Live Art Development Agency Access All Areas weekend (4th and 5th March 2011), ‘reflecting the ways in which the practices of artists who work with Live Art have engaged with, represented, and problematised issues of disability in innovative and radical ways’ (LADA). 

The project took 547 days of artists’ labour to make

= Mad Gyms and Kitchens, 2012

Fundamentally, Mad Gyms and Kitchens was realised beyond traditional touring structures and marketing strategies. Bobby Baker was not just making and touring a show, she was facilitating and revealing through her arts practice, alternative networks of people with expertise – by experience or profession – of mental health. The investment in the time to make connections and networks with regional groups to develop methods for engagement and genuine dialogue with audiences has been the most significant aspect of Mad Gyms and Kitchens, leading directly to the development of The Daily Life Project. 

Try articulating this process of abundant negotiation, relationship making and networks of capacity on an application form. Or an evaluation report. 

The Audience
‘They are a group to people thinking about things that matter to me: what is family life? What is domestic work? How do you consider the detail of daily life?  What do you think about how you label people who are unhappy?,’ (Bobby Baker in Performance and Community, p. 113). 


Chapter 5: On Reflection

Mad Gyms and Kitchens was a show, a tour and an approach to developing dialogue about mental health through arts practice with an evolving network of individuals and organisations, experts in this subject either by experience or profession.  

For Daily Life Ltd, the development of Mad Gyms and Kitchens within the context of Unlimited’s high-profile programme of events led by Deaf and disabled artists, offered an opportunity to do something that was extraordinary: to realise Bobby Baker’s commitment to create a small, exquisitely formed show that went to places where people meet. As the scale and spectacle of the Olympics championed extraordinary human endeavour in specific sporting events, Mad Gyms and Kitchens offered a playful but profound counter model to this, recognising and celebrating the unseen, unsung but still extraordinary human endeavour in negotiating daily life. 

The development of the regional tour through conversation, creative training events, the Diary Drawing exhibition and talks  - all led by Bobby Baker with both administrative support and performance assistants – evidenced how accommodating and elastic Bobby’s artistic practice had to be in order to realise the social and political imperatives of this show. The duration, depth and intensity of this labour to develop audiences for small scale, local work in intimate arts and non-arts contexts may seem like anathema to seasoned tour producers and arts marketing experts: but this is the most appropriate framework within which to make a genuine invitation to an audience. Audience members and regional partners have eloquently and forcefully spoken about how this structure of engagement has enabled a sense of connection and recognition of the ways in which people have capacity to live their lives.  

Throughout the regional tour Bobby and the Daily Life Ltd team were highly aware that, despite the networks developed through the pre-tour work of talks and workshops, they were visitors to a particular venue or region: that individuals who made a significant connection to Bobby and the work were unable to continue a dialogue. The show offered a catalyst rather than a sustained organisational presence. The next phase of Daily Life Ltd’s work sought to address this – to be local, to develop sustained relationships and networks over time, to share expertise and grow individual and organisational capacity. 

In November 2013, Daily Life Ltd moved to a new studio in Stratford in the London Borough of Newham to begin a new phase of work, committed to the epic local. This is the terrain of Case Study Two, Mad Gyms and Kitchens (2014) that will be published later in 2015.




Baker, Bobby with Dora Whittuck. Diary Drawings: Mental Illness and Me. London: Profile Books, 2010.

Barrett, Michéle and Bobby Baker, eds. Bobby Baker: Redeeming Features of Daily Life. London: Routledge, 2007.

Baker, Bobby. ‘Mad Gyms and Kitchens Unlimited application, September 2010.’

Baker, Bobby. ‘Interview with Bobby Baker’. Performance and Community: Case Studies and Commentary. Ed. Caoimhe McAvinchey. London: Methuen, 2014. 105-114.

Billington, Josie, Hamish Fyfe, Jane Milling & Kerrie Schaefer, ‘Connected Communities: Participatory Arts and Well-being, Past and Present Practices’ (2011-12) ( (accessed 19th May 2015)

Fujiwara, Daniel et al. Further analysis to value the health and educational benefits of sport and culture. London: DCMS, 2015.

Harris, Jessica. ‘Demonstrating Impact’. Arts Professional, 14th January 2015 ( (Accessed 12th February 2015).

Heathfield, Adrian (ed). Small Acts: Performance, The Millennium and the Marking of Time. London: Black Dog Publishing, 2003.

Hall, Tony. Reflections on the Cultural Olympiad and London 2012 Festival. London: Arts Council England, 2013.

Hornstein, Gail A.  ‘Making the Agony Visible. Diary Drawings: Mental Illness and Me’.  Women’s Review of Books. Vol. 28, Issue 3, May/June 2011 ( (accessed 3rd March 2015).

Pratty, John, ‘Unlimited Cultural Olympiad programme launched’, in Disability Arts Online, 8th October 2009 ( (accessed 19th May 2015)

Taylor, Peter et al. A review of the Social Impacts of Culture and Sport. London, DCMS: 2015.  

Verrent, Jo, ‘Paralympics 2012: pushing the arts, as well as athletes, to new limits’, in The Guardian online, 5th September 2012 ( (accessed 19th May 2015)


Photo Credits

  • CHAPTER 1 BACKGROUND - Hugo Glendinning, 'Pull Yourself Together', Trafalgar Square, London, 2000
  • ‘Meringue Ladies World Tour I & II’  - Andrew Whittuck
  • ‘Edible Family in a Mobile Home’ – Andrew Whittuck
  • ‘Drawing on a Mother’s Experience’ – Andrew Whittuck
  • ‘How to Shop’ – Andrew Whittuck
  • ‘How to Live’ -  Andrew Whittuck
  • ‘Give Peas A Chance’ – Andrew Whittuck
  • CHAPTER 2 BACKGROUND - Wellcome Library, 'Bobby Baker's Diary Drawings: Mental Illness & Me, 1997-2008', exhibition at Wellcome Collection, London, 2009
  • ‘Serpentine pod cast’ - Unlimited, 2012
  • 'The best way...' - Tim Smith
  • CHAPTER 3 BACKGROUND - Andrew Whittuck, 'Mad Gyms & Kitchens', London, 2012
  • ‘Mad Gyms & Kitchens: Bath Residency’ - Owen Bryant, ICIA
  • ‘Mad Gyms & Kitchens: Bath Exhibition’ - Owen Bryant, ICIA
  • ‘Recce in Brussels’ - Bobby Baker
  • ‘MG&K Set – Gym’ - Andrew Whittuck
  • ‘MG&K Set – Kitchen’ - Andrew Whittuck
  • ‘MG&K Set – Bed’ - Andrew Whittuck
  • ‘MG&K Set – Living Room’ - Andrew Whittuck
  • ‘MG&K Set – Artkart’ - Andrew Whittuck
  • ‘MG&K Rehearsal Image’ - Bobby Baker
  • CHAPTER 4 BACKGROUND - Tim Smith, 'Mad Gyms & Kitchens', Sheffield, 2012
  • ‘Making the Mad Gyms & Kitchens set in Brussels’ - Charlie Whittuck
  • ‘Mad Gyms & Kitchens Flyer Image’ – Artwork: Bobby Baker, Photo: THIS IS studio
  • ‘Creative workshop – Bath’ - Owen Bryant, ICIA
  • ‘Touring Mad Gyms & Kitchens’ - Marie Collins
  • ‘Charlie Whittuck’ - Bobby Baker
  • ‘Sian Stevenson’ - Sian Stevenson
  • ‘Bobby Baker’ gif - THIS IS studio
  • ‘Performance Assistants’ - Tim Smith
  • ‘Administration’ - Alice Carey
  • ‘Partners’ - Ruby Mutlow
  • ‘Volunteers’ - Hannah Barton
  • ‘Audiences’ - Hannah Barton
  • ‘Mad Gyms & Kitchens: The Audience’ - Tim Smith
  • CHAPTER 5 BACKGROUND - Cultural Olympiad, 2012
  • RESOURCES BACKGROUND - Tim Smith, 'Mad Gyms & Kitchens', Sheffield, 2012


Additional Resources

‘Artist Bobby Baker wins Mind Book of the Year 2011’, in Wellcome Trust news ( (accessed 19th May 2015) 

‘Bobby Baker’s Diary Drawings – audio slideshow’, in The Guardian online, 10th

Oct 2011 ( (accessed 19th May 2015)

Five Ways To Wellbeing, New Economic Foundations ( (accessed 19th May 2015)

Laverne, Lauren, ‘Lauren Laverne’s Spacepod 2012 podcast: episode 5’, podcast on The Guardian online, 11 September 2012 ( (accessed 19th May 2015)

Mental, ‘the vacuum cleaner’ ( (accessed 19th May 2015)

‘Significant Government review of arts impacts on health’, in London Arts in Health Forum ( (accessed 19th May 2015)

Verrent, Jo, transcript of presentation on ‘Access within Sync’, given at ‘Sync Thinking’, Wellcome Collection, 9th March 2011 ( (accessed 19th May 2015)

Warwick-Edinburgh Mental Well-Being Scale (WEMWBS), NHS Health Scotland, University of Warwick & University of Edinburgh, 2006