Artistic Production and (Re)production: Youth Arts Programmes as Enablers of Common Cultural Dispositions

Howard, Frances

doi:10.1177/17499755211066371

Cited by 5 publications

(4 citation statements)

References 50 publications

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“…As Brook et al sum it up in their recent book "Culture is Bad for You", both "[w]ho produces culture" and "[w]ho consumes culture reflects social inequality" [2020: 2]. Social class but also gender, religiosity, and race/ethnicity have been shown to link to different patterns of cultural consumption and participation [Katz-Gerro 2002, Chan and Goldthorpe 2007, Bull and Scharff 2017, Howard 2022.…”

Section: Researching Arts Consumption Diversity and Inclusion Arts Co...mentioning

confidence: 99%

Cultural and Arts Consumption as a Source of Social Solidarity: The Case of the Latvian Centenary Programme

Liene Ozoliņa,

Laķe

2024

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In 2017–2021, Latvia celebrated its centenary with a wide-ranging cultural programme. The Centenary programme was announced as “the biggest event in the history of modern Latvia” providing 22.3 million euros over three years for more than 800 festive events “to strengthen the spirit of nationhood and a sense of belonging amongst the people of Latvia, and to promote collaboration and self-organization within the community” [Ministry of Culture 2020]. In this paper, we explore the ways in which this cultural policy initiative worked as a form of social solidarity building in the Latvian society, where there is a large Russian-speaking community. We are interested in examining the public’s participation and perceptions of the Centenary cultural programme, focusing specifically on the differing patterns and effects in the Latvian and Russian-speaking communities. The analysis draws primarily on a representative survey, designed and conducted in the autumn of 2021 by the authors as part of a larger research project. The survey was designed to enable analysis of the perceptions of the Centenary programme, participation and consumption patterns among different social groups and cultural communities, and experiences and perceptions of social solidarity (or lack thereof) in the context of the Centenary programme. The survey has provided new data on the links between cultural and arts consumption practices in an ethnically diverse society, as well as on the perceptions of effects of arts consumption on social solidarity and sense of belonging. On the basis of quantitative analysis of the survey data, we study the patterns of cultural consumption and its social impact, given the ethnic diversity of the society in question. We explore, firstly, how cultural and arts consumption is influenced by ethnic belonging and, secondly, how the effects of this consumption differ among ethnic groups. Based on this empirical analysis, the paper contributes to the wider, ongoing interdisciplinary debates on cultural and arts consumption, societal diversity and inclusion. Furthermore, the paper offers a novel approach to exploring, both theoretically and empirically, the effects of cultural and arts consumption on social solidarity.

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Section: Researching Arts Consumption Diversity and Inclusion Arts Co...mentioning

confidence: 99%

Cultural and Arts Consumption as a Source of Social Solidarity: The Case of the Latvian Centenary Programme

Liene Ozoliņa,

Laķe

2024

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“…From the other position, Brown and Nicklin [23] have highlighted the value of music-making practice for developing positive attitudes to learning and raising consciousness about global issues. Both these positions situate the young person as the active creator rather than the passive consumer [24]. It is interesting to note that the majority of these studies focus on hip-hop or rap music, and other music genres and instrumental music playing, for example, seem to be neglected.…”

Section: Youth Work and Music Makingmentioning

confidence: 99%

Youth Work, Music Making and Activism

Howard

2023

Youth

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Music making holds great potential for youth activism. When combined with youth work, that potential is significantly heightened. This article applies Kuttner’s framework for justice-oriented cultural citizens to data gleaned from five youth workers across three different cities in the East Midlands of England. Each of these youth workers was interviewed about their involvement in music-making activities, from providing instrumental tuition to facilitating lyric-writing workshops, and their perspectives on youth activism. Data from this study highlights the affordances of youth music making in relation to three layers of activism: self-activism, community-level activism and wider social activism. This article concludes by arguing for the importance of music-making spaces for young people and music making practices within youth work.

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“…To explain this reality, Howard ( 2022 ) resorts to two theoretical concepts. First, subcultural capital (Thornton, 1996 ), which refers to youth cultures and can be defined as participation in non-traditional cultural practices, such as DIY cultures, digital arts (Guerra, 2022b ), among others.…”

Section: The Dialogical Complexity Between Spaces Actors and Resourcesmentioning

confidence: 99%

“…It is a continuation of Ricardinho 's criticism of many of the social support projects he has seen. What he wants are projects that create skills and trajectories of labor insertion through the arts (Howard, 2022 ), and then to use these examples as proof that it is possible to live from and through art in a neighborhood like Cerco. But not only that: give people the idea that they can be the actors of individual and collective change.…”

Section: A Change Is Gonna Comementioning

confidence: 99%

Dreaming is not enough. Audiovisual methodologies, social inclusion, and new forms of youth biopolitical resistance

Guerra

Sousa

2022

Front. Sociol.

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The eleventh Sustainable Development Goal, “make cities and human settlements inclusive, safe, resilient and sustainable,” can only be truly answered when there are no individuals in our societies who feel forgotten by the various social institutions. Not in Education, Employment, or Training [NEET] are among those most affected by this social invisibility. Nevertheless, these young people are not alienated or lost. Far from it. Instead, some of them found in the arts registered in the community—music, dance, photography and graffiti—a possibility to resist the various social stigmas attached on them. This was the view on which we conducted our artistic and social intervention, based on the innovative “arts-based research” methodology and “youth-led participatory research,” called “The Neighborhood is Ours II!,” with young NEETs in the socially underprivileged Cerco neighborhood of Porto in Portugal in 2022. We propose a theoretical-empirical approach around a visual/narrative sociology—namely using digital cinema—which will be based on a short film about the life narrative of a young NEET, who has used artistic practices to establish himself in the city of Porto as a cultural mediator. Thus—through these processes of co-creation of knowledge (cine-making)- we aim to demonstrate how the use of the arts can be a key tool in promoting social inclusion and reducing/minimizing feelings of insecurity, but also act as a means of resistance to the daily adversities experienced by marginalized young people and, of course, demonstrate the ways in which the use of artistic practices plays a pivotal role in the development of sustainable and alternative professional, social futures and citizenship.

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Artistic Production and (Re)production: Youth Arts Programmes as Enablers of Common Cultural Dispositions

Cited by 5 publications

References 50 publications

Cultural and Arts Consumption as a Source of Social Solidarity: The Case of the Latvian Centenary Programme

Cultural and Arts Consumption as a Source of Social Solidarity: The Case of the Latvian Centenary Programme

Youth Work, Music Making and Activism

Dreaming is not enough. Audiovisual methodologies, social inclusion, and new forms of youth biopolitical resistance

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