Thesaurus UN
Thesaurus on arts, diversity and social inclusion
1. Social functions of art: Educational, clinical, social and cultural settings. Trying a new methodology
a. Authors: Marián López Fernández-Cao, María del Río Diéguez, Ana Eva Iribas Rudín, Guillermo García Lledó, Matilde Mollá Giner, Catalina Rigo Vanrell, Julio Romero Rodríguez, Miguel Domínguez Rigo, Rosaura Navajas Seco.
b. Publisher: International Journal of Education through Art.
c. Year: 2010.
d. Organization: Faculty of Education of the Complutense University of Madrid.
e. Key words: art education, social change and inclusion, gender equity, art therapy, methodology.
f. Abstract: A research on how art can help and empower children and adults at risk of exclusion in different settings. An investigation from an intercultural, gender-equity and social inclusion perspective, introducing art therapy practice and new museological perspective to reconstruct new narratives that support marginalized groups. The methods employed are integrating techniques, situated biographies, topics, functions of art, conflict resolution methods and creative process, embedded in a wider constructionist, feminist, postcolonial methodology.
2. Putting people in the picture? The role of the arts in social inclusion
a. Author: Jo Barraket
b. Publisher: Social Policy Working Paper No. 4
c. Year: February 2005.
d. Organization: University of Melbourne and the Brotherhood of St Laurence.
e. Key words: social inclusion, education, employment, crime, health, personal development, social cohesion, active citizenship.
f. Abstract: Report on the role of the arts in building social inclusion. An investigation in relation to activities within Brotherhood of St Laurence’s programs. The paper defines some key terms as “social inclusion”, “the arts and community of arts”, “participation in arts” and “community cultural development”. Through interviews with relevant staff Jo Barraket analyses the work of the Brotherhood of St Laurence in relation to seven indicators of social
inclusion: 1) improved educational performance and participation, 2) increased employment rates, 3) reduced levels of crime, 4) better (and more equal) standards of health, 5) enhanced personal development, 6) improved social cohesion and reduced social isolation, 7) active citizenship.
3. Social Inclusion and the Arts—Cases of Collaboration with Social Welfare
a. Author: Akemi Tsukada
b. Publisher: NLI Research
c. Year: 2007.
d. Organization: Social Development Research Group.
e. Key words: social inclusion, welfare, Japan, disabled, seniors citizens.
f. Abstract: An investigation on the concept of “social inclusion” and his relation to arts activities in Japan. Social inclusion is defined as “the conditions for everyone to be embraced by (or included as a member of) the society and community and to find the motivation to live.” This paper makes an account of the concept of “social inclusion” in relation to welfare practices in Japan pointing activities and examples of fine arts, performing arts and intermediary groups. Akemi Tsukada makes a case study of two leading programs that provide creative activities for disabled and elderly persons: Able Art Japan and ARDA (Art Delivery) emphasising their common characteristics.
4. Questioning the social aims of public art in urban regeneration initiatives. The case of Newcastle upon Tyne and Gateshead (UK)
a. Author: Chiara Tornaghi
d. Organization: Dept. of Sociology and Social Research, University of Milano-Bicocca, Milan, Italy.
e. Keywords: public art, social inclusion, urban regeneration.
f. Abstract: This paper analyses the social engagement of the arts in urban regeneration through empirical material collected in Newcastle upon Tyne and Gateshead (UK). The main aim of the paper is to examine the implementation of socially committed public art policies, exploring in particular an area neglected in the current literature on this topic: the contribution of public art to achieve social benefits within regeneration activities, through the involvement of citizens in place-making processes. Chiara Tornaghi analyses and defines the conceptual tools and practices of public art, urban regeneration and social inclusion putting special attention on relational aesthetics and community specific art, place attachment and negotiation of place-making, and the notion of “publicness” in public art and public spaces.
5. Social inclusion: Connections art and dementia program.
a. Author: Elle Credlin.
b. Publisher: INSITE MAGAZINE
c. Year:
d. Organization: Bayside City Council / The Gallery @ Bayside
e. Keywords: mental health, art therapy, gallery, intellectual stimulation.
f. Abstract: This article talks about the initiative of The Gallery @ Bayside (Australia) to develop an art program for the growing community of people living with dementia. This program used the works of art to provide opportunities to reconnect with the world in meaningful and enriching ways and is based in appropriate communication techniques. The program aims to increase self-esteem and confidence through intellectual stimulation and the value placed on participant responses.
6. Aplicando metodologías feministas para analizar la creación: propuestas en educación artística desde la experiencia de las mujeres.
a. Author: Marián López Fernández-Cao
b. Publisher: Dossiers Feministes, 19, 31-55.
c. Year: 2014.
d. Organization: Universidad Complutense de Madrid
e. Keywords: metodologías feministas, educación artística, creación, género y museos.
f. Abstract: Este artículo habla de los resultados de una serie de proyectos que indagaban sobre la construcción de identidades desde el punto de vista de
género a través de la actividad artística. Para ello se desarrolló una metodología educativa basada en la investigación-acción que se desenvolvía en torno a las “biografías situadas” de mujeres artistas que permitieran comprender su alteridad y a las “historia de vida” para comprender la relación con su entorno social. Esta investigación-acción ha adoptado peculiaridades distintas según se desarrolle en el marco de museos (proyecto “Género y museos”, a través de guías museográficas en distintas plataformas) o en el aula con niños (proyecto “Posibilidades de ser a través del arte” guías educativas y experiencias prácticas en el aula).
7. Diversités et Citoyennetés
a. Author: Laurence Dufaÿ et alt.
b. Publisher: Institut de Recherche, Action et Formation sur les Migrations.
c. Year: 2013.
d. Organization: Institut de Recherche, Action et Formation sur les Migrations
e. Keywords: Social Inclusion, migration, art, diversity, creativity.
f. Abstract: A compilation of articles with the aim of improving inclusion among migrants from early childhood to adults. Art is seen through different technics as painting, music, photography… as a mean for inclusion and as a way to strengh capabilities to copy daily challenges.
8. Emerging issues in Arts and Social Inclusion A report on the outcomes of round table meetings with practitioners in the English regions
a. Author: Helen Gould
b. Publisher: Creative Exchange: the network for culture and development.
c. Year: 2003.
d. Organization: Creative Exchange.
e. Keywords: Social Inclusion, Communities, Sustainability, Research and Evidence, Continuing Professional Development
f. Abstract: A compilation of results of a series of participatory discussion events planned by Creative Exchange and the Arts Council England regional office on five main areas: 1) Working with communities (incorporating excluded v included groups, developing participation, listening/ownership and language). 2) Funding, Resources and Sustainability. 3) Evaluation, Research and
Evidence. 4) Continuing Professional Development and Networking. 5) Partnerships, Perceptions and Advocacy. The paper defines all this key concepts and makes an extended summary showing issues, barriers and opportunities of each one.
9. Gender Socialization and Identity Theory
a. Author: Michael J. Carter
b. Publisher: Social Sciences.
c. Year: 2014
d. Organization: Department of Sociology, California State University, Northridge.
e. Keywords: gender, socialization, identity, identity theory, identity control theory.
f. Abstract: Gender socialization is examined through a social psychological lens by applying identity theory and identity control theory. Current research from the fields of family and sociological social psychology are surveyed to provide a better conception of how the family operates as agents of socialization, and how identities that are cultivated and fostered in youth provide meaning throughout the life course and maintain the social order. The first part of the paper makes a review of the literature on gender socialization and families. The second part uses identity theories to understand gender and the third part uses identity control to analyse gender.
10. Gender and the City: The Different Formations of Belonging
a. Author: Tovi Fenster
b. Publisher: In “A Companion to Feminist Geography” edited by Lise Nelson and Joni Seager
c. Year: 2005.
d. Organization: Blackwell Publishing.
e. Keywords: citizenship, exclusion, formal structures of belonging, gendered belonging, private / public space, immigrants and indigenous
f. Abstract: This chapter highlights the different formations of gendered belonging as they are expressed in women’s and men’s daily practices in the city and exposes the multilayered nature of gendered belonging in the city. It emphasizes not only the formal expressions of belonging built in to the different definitions of citizenship or the sacred dimensions of belonging expressed in individuals’ and communities’ religious but also the “everyday”
nature of this sentiment that men and women develop in their daily practices in cities today. This analysis is based on research carried out between 1999 and 2002 in which residents of London and Jerusalem were interviewed regarding their everyday experiences as related to three notions – comfort, belonging, and commitment – with regard to the various categories of their environment, home, building, street, neighbourhood, city centre, city, urban parks. The research is based on a qualitative–content analysis methodology of peoples’ narratives and these narratives represent both the “majority” hegemonic and also the “minority,” the “other”. The research concludes that the sense of belonging can be a personal, intimate, and private sentiment as well as a formal, official, public-oriented recognition of belonging, conceptualizating the different “formations of belonging,” both the collective and the personal.
11. Museums and Social Inclusion. The GLLAM Report
a. Author: Research Centre for Museums and Galleries (RCMG), Department of Museum Studies, University of Leicester.
b. Publisher: Group for Large Local Authority Museums (GLLAM).
c. Year: 2000.
d. Organization: Large Local Authority Museums.
e. Keywords: Museum, gallery, social inclusion, best practice.
f. Abstract: An institutional report on museums, galleries and social inclusion. The first section maps the level of activity and identifies the reasons why museums’ contribution to social inclusion has often gone unnoticed. The second section looks in more detail at the outcomes of museum initiatives aimed at tackling the four widely recognised key indicators linked to exclusion: health, crime, unemployment and education with many examples of projects. These key indicators are broadening with tackling disadvantage, inequality and discrimination. The third section highlights the principles on which best practice in social inclusion work is based as establishing a policy framework for inclusion, training leaders who think in terms of social inclusion and taking risks for demonstrating the benefits of inclusive approaches to museum projects. This section also talks about networking and partnership, responsive and flexible approaches, community consultation, involvement and
empowerment and finally analyse the concepts of evaluation, advocacy and accountability in relation to the research. The section four summarise the contributions for museums and galleries and the section five illustrates the preliminary conclusions. The appendix A is for methodology and the appendix B for evaluation.
12. Literature Review on Arts and Mental Health, Health, Wellbeing, Social Inclusion and Recovery 2012
a. Author: Helen Shearn
b. Publisher:
c. Year: 2012.
d. Organization:
e. Keywords: Literature review, mental health, arts.
f. Abstract: Literature review on Arts & mental health.
13. Measuring the economic and social impact of the arts: a review.
a. Author: Michelle Reeves.
b. Publisher: Arts Council of England.
c. Year: 2002.
d. Organization: Arts Council of England.
e. Keywords: review, economic impact, arts, social impact.
f. Abstract: The aim of the review is to provide an overview of arts impact research to complement a recent Arts Council-commissioned review on arts and social exclusion. The objectives are to review existing research on the economic and social impact of the arts, share understanding of methodologies in that field, assess the comprehensiveness and quality of the existing evidence base, inform the future agenda, identify key research needs, and provide a practical resource to assist those working in the field. The review examines concepts and definitions of "impact", "economic impact" and "social impact", and how these concepts have been interpreted by different studies. A full bibliography is included at the end of the report.
14. Retos de la museología crítica desde la pedagogía crítica y otras intersecciones
a. Author: Carla Padró
b. Publisher: Museo y territorio, no 4, 2011, pp. 102-114
c. Year: 2011.
d. Organization: Universidad de Bercelona.
e. Keywords: museología, pedagogía, feminismo.
f. Abstract: Propuesta que trata de interrelacionar museología crítica con pedagogía crítica, y de poner en práctica algunos de sus principios en la manera en que está argumentado, poniendo al frente la subjetividad personal. Se utiliza la noción de ruta de lectura de Elizabeth Ellsworth, la noción de ‘profesor como extranjero’ y de lo crítico como ‘liberar la imaginación’ de Maxine Green. Se hace un análisis de la pedagogía y la museología crítica desde el feminismo posestructuralista.
15. The Arts, Cultural Inclusion and Social Cohesion
a. Author:
b. Publisher: NESF Report No. 35
c. Year: 2007
d. Organization: National Economic and Social Forum, Ireland.
e. Keywords: social inclusion, economic and educational level, Ireland.
f. Abstract: A leaflet that summarises the 35th report of the NESF on arts and social inclusion. A very basic introduction on key issues around social inclusion and the arts and a comprehensive selection of their findings based on legal, financial and policy support for greater inclusion in the arts with a summary on percentage of people attending any arts event in 2006. The last section includes a series of recommendations in six key areas as better policy coordination, management and certainty of funding, targeted measures for specific groups, improved data and evaluation, supports for children and implementation mechanisms. Two related recommendations are also proposed on funding – examine other sources of funding for greater participation in the arts, such as trusts, tax relief-; and on space – develop a policy on how local groups can access and pay for the use of publicly-funded
arts centres; coordinate public spaces being built which can be used for the arts and social inclusion.
16. Objects of exchange: the role of the artwork and the artist in the context of social inclusion (Thesis)
a. Author: Judith Stewart.
b. Publisher: Manchester Metropolitan University
c. Year: 2007.
d. Organization: Manchester Metropolitan University
e. Keywords: publicly-funded arts institutions, government interference, instrumentalisation of art, targeted funding, ‘audience-led’ programming.
f. Abstract: This research focuses on how a particular group of arts practitioners – socially engaged artists, and arts professionals (including curators) who work for publicly-funded arts institutions - see the impact of changes in public funding for the arts on the work itself. Giving voice to some concerns of the artists regarding to social inclusion and arts: over artistic freedom, over what they saw as the ‘disappearance’ of the art in favour of participation, government interference in establishing its priorities and funding criteria and what they perceive as the increasing instrumentalisation of their practice to fulfil social and economic objectives. Chapter 1 begins with a working definition of socially-engaged art as it is used in this thesis, and addresses his history and the different critical frameworks that are currently applied. Much of this research is based on interviews with artists, curators, and arts officers, and Chapter 2 places the interviewees within the context of the art world and contemporary practice. The Chapter 3 shows how this process of governmental interference began as a response to the need to argue the economic value of the arts under New Labour. Chapter 4 provides examples of the impact of the social inclusion agenda on the work of artists, curators, and gallery education officers. It shows how this has affected employment opportunities, and demonstrates the ways that gallery education programmes have changed as a result of increased and specifically targeted funding, and the expectation that they will engage new, more ‘diverse’ audiences. It concludes with a discussion of the financial circumstances of socially-engaged artists, with personal accounts that suggest financial insecurity disadvantages artists in their dealings with galleries, and excludes them from conference and event participation, where their voices might otherwise be heard. Chapter 5 raises the issue of the move towards ‘audience-led’ programming within galleries and the implications of locating socially-engaged practice within gallery education departments. Chapter 6 addresses the conflict between maintaining artistic integrity and meeting criteria relating to social inclusion. It discusses issues of how socially-engaged practices are distributed to a wider audience, exploring aesthetic as well as ethical and social considerations.
17. Occupy Museums as Public Pedagogy and Justice Work
a. Author: Tal Beery, Noah Fischer, Alyssa Greenberg, Arthur Polendo (Berry, et. Al).
b. Publisher: Journal of Curriculum Theorizing, Volume 29, Number 2.
c. Year: 2013
d. Organization: Journal of Curriculum Theorizing / Occupy Museums
e. Keywords: Occupy Museums Movement, alternative museum pedagogy, hierarchy and passive learning, elite patrons and corporations, dominant narratives of art.
f. Abstract: An essay with interviews explaining the Occupy Museums Movement. These interviews are adapted to the strategy of Occupy Museums’ practice known as horizontality and organized to contribute to a holistic understanding of how Occupy Museums’ interventions address the museum as an informal learning space, in which both cultural and economic messages are perpetuated. First, by exposing how museums teach visitors, Occupy Museums exposes invisible power imbalances and hierarchies. Second, through interventions at institutions such as MoMA that promote public access to museums and collaboration, Occupy Museums hacks into this problematic museum pedagogy of strict hierarchy and passive learning. In the final section, these Occupy Museums members propose an alternative museum pedagogy based on their own practices that promotes social justice. For Occupy Museums, the mainstream art museum is an informal learning space, in which social, cultural and economic hierarchies are perpetuated by powerful individuals and corporations and absorbed by the public. Museums privilege elite patrons and corporations, whose financing for exhibitions and programs has filled in the significant gaps left by severe cuts in public funding. By resisting unionization efforts and relying on low-wage precarious labor, museums perpetuate labor injustices. By furthering dominant narratives of art history and presenting an overwhelmingly white male artistic canon, museums reinforce social and cultural hierarchy. As exclusive sites and “gatekeepers of culture,” they impose a value system onto the public of capitalism and systemic economic, social, and cultural inequalities. Occupy Museums, originating within Occupy Wall Street, has shed light on how mainstream museums teach this value system by exposing politically problematic pedagogical practices within the museum – and, as in the MoMA intervention, offering an alternative, activist form of pedagogy.
18. Promoting social and education inclusion through the creative arts (report)
a. Author: Pat Thomson, Christine Hall and Lisa Russell
b. Publisher: The University of Nottingham.
c. Year: 2006.
d. Organization: The University of Nottingham.
e. Keywords: social inclusion, self-portrait project, identities, artists assisting children
f. Abstract: The study was designed to take up policy concerns with inclusion, excellence and enjoyment in primary schools and the potential of the creative arts to contribute to them. It also took up concerns about the connections between identity, place and inclusion and how these might be expressed and furthered through inclusive pedagogies. It was situated in Holly Tree Primary and was focussed on a self-portrait project in which all Year 5 children worked with a visual artist. There were six specific objectives: (1) to investigate how children understand and articulate their individual and collective social and material place through creative arts practices. (2) Identify how teachers work with and build children’s academic, aesthetic, social and cultural resources. (3) Develop ways in which the holistic learning outcomes of the arts project might be measured and evaluated. (4) Identify how artists assisted children to explore, construct and represent their identities and local place. (5) Investigate how parents/carers responded to the impact of the arts programme. (6) Critically analyse how the school developed relationships and networks with families and the wider community. The methods were qualitative ethnographic studies, visual studies to interpret children’s art and a multimodal analysis of video and observation data.
19. Not Just a Treat: Arts and Social Inclusion. A report to the Scottish Arts Council (Summary Report)
a. Author: Robina Goodlad, Christine Hamilton and Peter D Taylor.
b. Publisher: Centre for Cultural Policy Research and Department of Urban Studies. http://www.culturalpolicy.arts.gla.ac.uk/
c. Year: 2002
d. Organization: Centre for Cultural Policy Research and Department of Urban Studies.
e. Keywords: The Arts and Social Inclusion funding programme, ‘value for money’, arts as a means of tackling exclusion, social justice.
f. Abstract: The Arts and Social Inclusion funding programme distributes lottery funds to arts projects in Social Inclusion Partnerships (SIPs) in Scotland. This report is based on studies of ten selected projects. The evaluation provides an analysis of the scheme on several fronts: its effectiveness as a national funding scheme in promoting the arts, levering additional funding and providing ‘value for money’; its success in reaching SIPs and encouraging them to use the arts as a means of tackling exclusion, and the impact of SIP arts projects on the participants and the wider community. The Scottish Executive’s social justice targets identify five groups: children, young people, families, older people, and ‘communities’.
20. Sitings of Public Art: Integration versus Intervention (Chapter of book)
a. Author: Miwon Kwon
b. Publisher: MIT Press. In One Place After Another: Site Specificity and Locational Identity
c. Year: 2002
d. Organization: MIT Press
e. Keywords: sculpture, public art, site specificity, locational identity, art-in-public-places, art-as-public-spaces, art in-the-public interest.
f. Abstract: The book offers a critical history of site-specific art since the late 1960s and a theoretical framework for examining the rhetoric of aesthetic vanguardism and political progressivism associated with its many permutations. Informed by urban theory, postmodernist criticism in art and architecture, and debates concerning identity politics and the public sphere, the book addresses the siting of art as more than an artistic problem. It examines site specificity as a complex cipher of the unstable relationship between location and identity in the era of late capitalism. This particular chapter gives extensive examples of the three distinct paradigms of the modern public art movement in the United States: First, there is the art-in-public-places model exemplified by Alexander Calder’s La Grande Vitesse in Grand Rapids, Michigan (1967). The second paradigm is the art-as-public-spaces approach, typified by design-oriented urban sculptures of Scott Burton, Siah Armajani, Mary Miss, Nancy Holt, and others, which function as street furniture, architectural constructions, or landscaped environments. Finally there is the art in-the-public interest model, named as such by critic Arlene Raven and most cogently theorized by artist Suzanne Lacy under the heading of “new genre public art.”
21. The art of inclusion (Research report)
a. Author: Helen Jermyn.
b. Publisher: Art Council of England.
c. Year: 2004.
d. Organization: Arts Council of England and Regional Arts Boards.
e. Keywords: good practice, arts organisations, social inclusion, definitions, case studies, questionnaires.
f. Abstract: An extensive report on the projects of twenty-eight arts organisations selected as exemplars of good practice in the area of social inclusion work. Most of the projects were participatory arts projects with a wide range of arts and crafts represented, including digital arts, textiles, painting, mural-making, photography, writing, music-making and drama. Participating groups ranged from older people living in sheltered accommodation to families with children aged under 5, and projects took place in settings ranging from prisons to theatres, from community centres to hostels for the homeless. The Key findings include definitions and language, good practice principles in delivering ‘social inclusion work’, partnerships, sustainability and success indicators. Appendixes cover case studies and offer template for artist interviews and participant questionnaire.
22. The arts and social inclusion: what’s the evidence?
a. Author: Kay Kinder and John Harland
b. Publisher: Support for Learning, Volume 19, Number 2
c. Year: 2004
d. Organization: National Foundation for Educational Research
e. Keywords: pupil disaffection, arts education, educational opportunity.
f. Abstract: This article reviews some key findings from the National Foundation for Education Research (NFER) in two major research areas: strategies to address pupil disaffection, and arts education, focusing on overlap and commonality in reported effects and also effective practice. Its central question is whether, how and why arts education might make a contribution to those strategies aimed at addressing (or preventing) young people’s disengagement from learning and educational opportunity. The authors discuss the key factors associated with successful re-engagement and those linked to effective arts education, and conclude with evidence-based questions to consider if arts education is to have a higher profile in the social inclusion agenda.
23. What is the Creative Case for diversity?
a. Author: Art Council of England
b. Publisher: Art Council of England
c. Year:
d. Organization: Art Council of England
e. Keywords: Creative Case, new art policy, theoretical definitions, equality, recognition.
f. Abstract: In this publication, the Arts Council sets out and invites the arts sector to engage with a new and different approach to diversity and equality in the arts, which are called the Creative Case. The Creative Case argues that there is a clearer, simpler and more potent position to articulate: that diversity and equality are crucial to the arts because they sustain, refresh, replenish and release the true potential of England’s artistic talent, regardless of people’s background. The Creative Case is based upon the simple observation that diversity, in the widest sense, is an integral part of the artistic process. This new strategy includes new funding, examining the theoretical definitions, holding the funded organisations to account and sharing data. The Creative Case is based on equality, recognition and a new institutional vision to forge a new relationship with the arts sector on issues of diversity and equality
characterised by shared discourses and critical debate (not a top-down approach). http://disabilityarts.creativecase.org.uk/