This paper examines the intrinsic potential for well-being outcomes in a heritagerelated music project. We look at how creative activities that are embedded in a community can serve to enhance the cohesion and well-being of communities through the work of its youth groups. The paper also examines the important roles of partnership working and peer mentoring and how they need the time and resources to be nurtured in order to ensure sustainability and self empowerment as long term legacies of arts based community well-being initiatives.

Community music offers organic opportunities for both Authentic and SituationLearning, as well as Process-directed education. It is evident that in many community music projects participants are empowered to discover their own learning paths through the creative process of music-making. However, the participatory nature of community music making also seems to encourage participants to share in each other's experiences that can often lead to an understanding of each other and themselves. The type of music workshops we were particularly interested in examining mainly consisted of group composition through the process of learning to play in a rock band (bass, keys, guitar, vocals and drums) and electronic composition using KeywOrDs music technology criminal youth justice sector group composition Crime-Pics II Music Map of Me Ornette D. Clennon 104the software Logic. We were interested in trying to measure the transformative effect of participating in community music sessions on young people's attitudes towards offending behaviour. Our preliminary results suggest that there seems to be a small but measurable improvement in the attitudes towards offending of the young people who had participated in the music workshops, especially in the perception of their life problems and how these problems could contribute to potential offending behaviour.

In this article, five black researchers bring their insights into conversation about meanings of blackness in contemporary Australia, Jamaica, South Africa, the United Kingdom and the United States of America. We critically interrogate blackness transnationally, but also within the historical contexts of our work and lived experiences. Situated within critical race studies, we draw on multiple theoretical frameworks that seek to preserve the complexity of blackness, its meanings and implications. We examine what it means to be made black by history and context, and explore the im/possibilities of transcending such subjectification. In so doing, we engage blackness and its relationality to whiteness; the historical, temporal and spatial dimensions of what it means to be black; the embodied, affective and psychical components of black subjectivity; and the continued marketization of blackness today. The article concludes by reflecting on the emancipatory promise of continued engagement with black subjectivity, but with critical reflexivity, so as to avoid the pitfalls of engaging blackness as a static and essentialised mode of subjectivity.

The role of the artist is crucial to the success of arts for health initiatives yet remains underexplored in the research literature. This article examines the practice of arts facilitation through the lens of self-determination theory (SDT). Fourteen interviews with artists leading projects for older adults across three settings were subject to a secondary thematic analysis. A hybrid approach was adopted with themes developed inductively and deductively. Artists were found to satisfy participants' basic psychological needs in diverse ways. Autonomy: artists spoke of valuing the expression of individual differences and identities, encouraging participants to assume ownership of projects. Competence: developing participants' aptitudes and skills and repairing negative self-beliefs emerged as common goals. Relatedness: artists sought to cultivate social interaction within groups and forge relationships with participants themselves. Self-determination theory provides a well-validated framework to conceptualize the psycho-social processes mediating arts project outcomes relating to psychological wellbeing.

In this paper we critically reflect, through the lens of liberation psychology, on our experiences of using participative community arts in work with young people and intergenerational groups in inner-city Manchester, UK. We used mixed methods to examine the impact of and engagement with community arts in two projects. One study was quasi experimental in design and used questionnaires developed by the researchers to compare Higher Education aspirations with levels of self-esteem and self-efficacy, as a result of participating in creative music sessions. The other study was a multi-media action research project, using qualitative methods to explore participant experience and the impact of the activities. Our methods included observations, interviews, the creative products and the creative processes. Through our critical reflections, we examine the role of power and powerlessness in participative arts, as well as ways in which participation had the potential to enable 'conscientisation' which in turn had the potential to lead to self-empowerment and motivation for action. Both projects demonstrated the importance of forming 'communities of practice' with a diverse range of stakeholders in order to gain maximum impact from the projects and move towards a position of collaborative governance. We found that this approach was a useful starting point for facilitating 'collaborative governance' for wider social and political change.