How do young people develop through youth arts programs and how can these programs reflect and extend young people’s personal interests? How can youth arts support participatory democracy and social change?
Frances Howard puts forward a powerful case for the value of youth arts programs, whilst acknowledging and interrogating the complexities involved, including unequal access to provision and the class-based harm that can be inadvertently practiced within them.
Drawing on the author’s own practice experience, alongside a range of international case studies showing best practice, this grounded and accessible text will be welcome reading to academics, students and practitioners across Education, Youth and Community courses.
In a neoliberal academia dominated by masculine ideals of measurement and performance, it is becoming more important than ever to develop alternative ways of researching and writing.
This powerful new book gives voice to non-conforming narratives, suggesting innovative, messy and nuanced ways of organizing the reading and writing of scholarship in management and organization studies. In doing so it spotlights how different methods and approaches can represent voices of inequality and reveal previously silenced topics.
Informed by feminist and critical perspectives, this will be an invaluable resource for current and future scholars in management and organization studies and other social sciences.
The creative citizen unbound introduces the concept of ‘creative citizenship’ to explore the potential of civic-minded creative individuals in the era of social media and in the context of an expanding creative economy.
Drawing on the findings of a 30-month study of communities supported by the UK research funding councils, multidisciplinary contributors examine the value and nature of creative citizenship, not only in terms of its contribution to civic life and social capital but also to more contested notions of value, both economic and cultural.
This original book will be beneficial to researchers and students across a range of disciplines including media and communication, political science, economics, planning and economic geography, and the creative and performing arts.
between collaborators in society ( Glăveanu, 2010 : 154). Research is limited in the social-psychological analysis of collaborative creativity specifically relating to play. It may be that newer technology such as the internet and online video games allows for world building between creators on a much larger scale than previous types of play such as tabletop role-playing games like ‘Dungeons and Dragons’ or writers’ circles of the early 1900s ( Lesny, 2012 ; Daniau, 2016 ). We can, however, look to Glăveanu ( 2011 : 483) and his use of a common representational space
-design approach was used to blend academic knowledge with stakeholder knowledge, in the development of a complex intervention that addressed a NICE guideline recommendation about information and advice for people with back pain. The vital role of collaborative creativity promoted by this approach will be discussed. The NICE guidelines for low back pain in over-16s: assessment and management, were published in 2016 ( NICE, 2016 , NG59). Engaging patients in self-management is an important theme of these guidelines, and consequently they recommend that ‘people are provided with
, 2015 ) through their social interactions with youth workers and the resulting learning opportunities. Through a community of practice (Wenger-Traynor, 2003) youth workers and young people came together to share a passion for their art forms and creative practice and to learn how to do it better as they interacted regularly. There were many examples of young people working in collaboration with both youth workers and other young people to produce new work, in particular music. This kind of collaborative creativity ( Burnard and Dragovic, 2015 ) represents a
solutions. Education, economics and the broader policy agenda If we shift our perspective from the detail of our own case studies, it is not difficult to imagine policy in most areas drafted in a way that takes account of the value offered by creative citizens. There is, for instance, a well-trodden track of thinking about the implications for approaches to education at all levels arising from the insights of DIY cultures concerning collaborative creativity. Waymarkers in the UK creativity in education debate include the work of Ken Robinson, whose 1999 report for
