Immigrants and particularly refugees are vulnerable in relation to health and social exclusion. This article asks how inclusion in a multicultural gospel choir in a Norwegian town can contribute to the well-being of immigrants. A case study including participatory observation and interviews with choir members forms the empirical basis for the analysis. The multicultural gospel choir gathers singers with very diverse backgrounds, who sing together in several languages in a welcoming social environment, where entry to participation is made easy both practically and socially. The narrative analysis focuses on four choir participants’ renditions of what the choir has meant to them. Within the broad framework of Antonovsky’s salutogenic theory, the relevance of health-promoting factors such as integration, social support, and inclusion is considered. In the analysis, social support and participation are identified as particularly important positive factors. A common theme in all four narratives is the importance of experiencing a sense of cultural participation in the choir. In other words, the choir members value the opportunity to contribute and be acknowledged as valuable participants in cultural interaction. The analysis presented here might serve as a reminder to see immigrants not only as representatives of their backgrounds, but as participants in the culture(s) continually being created here and now. The choir can function as an entry point to Norwegian society, and as a “family” in a vulnerable situation, but it is “not quite Norway.” In times of transition and uncertainty, however, the choir can provide quite an important arena for cultural participation, which in turn can strengthen participants in ways that may transfer to other arenas as well. This has policy and practical implications for preventive interventions, and points to a significant health potential in choirs and other community work where immigrants are included as equal contributors.

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This paper explores the place where dance and religious faith meet. It gives examples of learning experiences and processes of personal and spiritual growth that occur there. The paper is based on a study of dance in Christian contexts in contemporary Norway, that is part of the RESEP (Religion as Aestheticizing Practice) research project based at the University of Agder, Norway. The empirical material is based on participant observation of dance in churches and other Christian settings and on interviews with approximately 50 dancers in these settings. Dance provides the participating dancers with multidimensional meaning and perceived benefits. Through narratives and quotations, the paper sheds light on three ways in which the dancers in question experience processes that lead to growth through dance: 1) as a holistic and attractive way of learning and communicating, 2) as personal growth; by mastering dance through self-expression in a supportive environment, expressing and processing emotions, and moving towards better mental and physical health and wholeness, 3) as spiritual growth; by providing an interface with God that strengthens one’s listening to both God and oneself, and as a way of living their faith in interaction with others.

Keywords:cross-cultural children and young people

This PhD is a psychological study that explores the lives and experiences of young people growing up crossing cultural categories. I met them through the musical project Kaleidoscope, which is an important context that I describe and analyze. However, this is not an evaluation or a study of Kaleidoscope per se, but an exploration of participants' life worlds and the psychological processes unfolding in participatory and creative communities. The research project has been a collaboration between my main employer Ansgar University College (Departments of Psychology and Intercultural Studies) and the Department of Child and Adolescent Mental Health (ABUP) at Sørlandet Hospital in Kristiansand, while I followed the PhD program in psychology at the University of Oslo. I have had great support along the way, but stand solely responsible for any faults in this work. For clarification; I changed my last name from Schuff to Seip in 2019, between the first and last publications in this project. This means that when I refer to my own work, I will sometimes refer to Schuff (e.g. 2016, 2018, and earlier work) and sometimes to Seip (2020). New name, new stage in lifethe same developing person, still becoming and learning. Acknowledgements I am grateful to everyone who made this learning process possible, and a long road less lonely. First, to all the children and young people I have met in Kaleidoscopethank you! You moved me. Some of you I have met up close, others as part of the community-I have seen you dance, hug and cry, and heard you sing, complain and giggle. I have witnessed you straightening your backs, bravely facing an audience. I have found myself excited and nervous and relieved with you, and often singing and dancing along. Your courage and appetite for life are an inspiration. I hope you dance! I am grateful to all the Kaleidoscope leaders and assistants who have welcomed me, answered questions and made it possible for me to join them during different stages of my research. Thank you, and all the best of luck in co-creating the citizens of tomorrow. To my colleagues at Ansgar University College and all of Ansgarskolenthank you! You are not only colleagues, but also a vital everyday community. I am grateful to librarian and dear friend Birgit Myrene, for all that you are. I want to thank the two main ingroups (departments) that have supported, inspired and sharpened my thinking and passion-Lars Mandelkow, Beate Helmikstøl, Helge Slotten and Linda Fisher-Høyrem (until recently) in the psychology department, and Ingrid Eskilt, Torstein Try and Anne May Abrahamsen in vii intercultural studies. I am grateful to the leaders who have had faith in me and given me the opportunity to pursue this project; former principal Harald Nygaard, current principal Ingunn Folkestad Breistein, and research leader Marie Strand Skånland. Priceless support has also come from the academic gentlemen Reidar Salvesen, Cato Gulaker, Thorkild Bruhn and Øyvind Skjegstad, who make things work. Thanks also go to Martin Jakobsen for the humor and ...