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Arts, education and society: The role of the arts in promoting the emotional wellbeing and social inclusion of young people
Abstract
In our second article, Vassiliki Karkou and Judy Glasman provide an illuminating overview of current debates about the place of the arts within education. They explore the emotional and social role of the arts in school, illustrating their discussion with insights gained from the Labyrinth Project, an arts-based prevention programme developed in schools in Hertfordshire and North London.
... Although Arts Education has been recognized by UNESCO (2006) as a universal human right and an early study even presents possible advancements on the art practice at schools through the knowledge of art professionals (Karkou and Glasman, 2004), the inclusion of arts in school curricula tends to decrease especially during times of economic crisis (Jindal-Snape et al., 2018). ...
... Many studies were already conducted before 2004 that show benefits such as increase in personal wellbeing and social inclusion for school students when arts were used in education (Karkou and Glasman, 2004). Art projects received particularly positive feedback from both teachers and students. ...
... One of the issues identified as very important was that the autonomy of art although it is necessary, it is limited in Greece. Karkou and Glasman (2004) also seem to point this topic as difficult to safeguard. ...
... The emphasis has now changed to highlight how the arts can contribute to social inclusion, marking a substantial change over the past five years. (Karkou & Glasman, 2004). In this context, the arts can play a vital role in promoting social and educational inclusion. ...
... Educational practices are deemed successful when they not only impart knowledge and skills related to specific subjects but also provide experiences that are fulfilling and valuable beyond the immediate context. This dual approach, where the acquisition of subjectspecific knowledge is coupled with the development of broader life skills, is often seen as a hallmark of effective education (Karkou & Glasman, 2004). The arts can also provide a unique platform for exploring issues of diversity, equity, and social justice. ...
... Consequently, this approach promotes egalitarianism, and people are given "permission" to engage in artistic activities, leading to the first level of social inclusion. (Karkou & Glasman, 2004). ...
There is a multifaceted relationship between creativity, art, digital social innovation, education, and their implications for the future of work. This book explores the sources of innovation and creativity, with a focus on the role of creativity in the arts. Furthermore, it discusses how digital social innovation has become a catalyst for novel forms of creative expression and collaboration. It also examines the potential impact of these trends on the future of work and the skills needed to thrive in an evolving landscape. The intersection of creativity, art, digital social innovation, and education is a dynamic field that shapes our understanding of innovation and its impact on society. This book aims to highlight key themes and explore their interconnectedness. Understanding the sources of innovation and creativity is crucial for fostering a culture of innovation in various domains. The role of curiosity, interdisciplinary collaboration, and diverse perspectives as essential drivers of innovation and creative thinking have been mentioned in this work. Artistic expression has long been recognized as a wellspring of creativity. The book delves into the relationship between creativity and the arts, exploring how artistic practices, such as visual arts, music, and performing arts, enhance innovative thinking, problem-solving skills, and imagination. The rise of digital technologies has revolutionized creative processes, enabling new forms of collaboration, communication, and artistic expression. The concept of digital social innovation and how it facilitates collective creativity, open-source collaborations, and participatory engagement in the digital realm has been reported. The Future of Work Advancements in technology, automation, and artificial intelligence are reshaping the future of work. The book examines the evolving landscape and discusses creativity, artistic skills, and digital social innovation in current and future workplaces. It also explores the need for adaptability, critical thinking, and interdisciplinary competencies in a rapidly changing professional landscape. The integration of creativity into educational frameworks and pedagogical practices, emphasizing the importance of fostering creativity from an early age and promoting arts-based education has been reported. In summary, this book sheds light on the importance of creativity, art, digital social innovation, and education in driving innovation and preparing individuals for the future of work. It emphasizes the transformative power of creativity and the arts and highlights the potential of digital social innovation as a force for positive change in society.
... Participatory arts engagement-engaging in arts activities in an active rather than a passive or receptive way-is held to afford myriad benefits to young people (Bungay & Vella-Burrows, 2013;Ennis & Tonkin, 2018;Karkou & Glasman, 2004;Stickley et al., 2012;Zarobe & Bungay, 2017). Research findings suggest that the arts help young people to, amongst others, develop their social skills, confidence, identity, and creative thinking, as well as improve their emotional and physical health, and enhance their engagement in wider learning (Anderson et al., 2020;Boer & Abubakar, 2014;Burkhardt & Brennan, 2012;Ennis & Tonkin, 2018;Goldstein, 2011;Hsiao, 2010;Karkou & Glasman, 2004;Mannay et al., 2021;Moneta & Rousseau, 2008;Rapp-Paglicci et al., 2011;Rizzi et al., 2020;Robson & Rowe, 2012;Rogers et al., 2014;Wolf & Baker, 2012;Zarobe & Bungay, 2017). ...
... Participatory arts engagement-engaging in arts activities in an active rather than a passive or receptive way-is held to afford myriad benefits to young people (Bungay & Vella-Burrows, 2013;Ennis & Tonkin, 2018;Karkou & Glasman, 2004;Stickley et al., 2012;Zarobe & Bungay, 2017). Research findings suggest that the arts help young people to, amongst others, develop their social skills, confidence, identity, and creative thinking, as well as improve their emotional and physical health, and enhance their engagement in wider learning (Anderson et al., 2020;Boer & Abubakar, 2014;Burkhardt & Brennan, 2012;Ennis & Tonkin, 2018;Goldstein, 2011;Hsiao, 2010;Karkou & Glasman, 2004;Mannay et al., 2021;Moneta & Rousseau, 2008;Rapp-Paglicci et al., 2011;Rizzi et al., 2020;Robson & Rowe, 2012;Rogers et al., 2014;Wolf & Baker, 2012;Zarobe & Bungay, 2017). However, although research into the factors associated with adult arts engagement has boomed over the last two decades, similar research with respect to adolescent arts engagement is arguably still in its infancy (Daykin et al., 2008). ...
Participatory arts engagement is argued to afford an array of prosocial and positive well-being outcomes across the lifespan. However, young people may face barriers to engagement that hinder access to the arts’ putative benefits. We explored the barriers to participatory arts engagement that early adolescents report facing and the extent to which well-being levels are associated with the perception of such barriers. We also explored associations between adolescents’ individual differences in personality, curiosity, and well-being and their relative interest in different types of art activities. Participants completed questionnaires that measured their perceived barriers to engagement and their individual differences in personality, curiosity, and well-being. They also completed items measuring their interest in taking up a list of arts opportunities that varied in terms of affordance for solitary creativity, performing to an audience, or working with others in a group. Results showed key barriers to arts engagement to be related to motivation (whereby participants reported relatively low levels of desire and drive to engage) and feelings of capability. Critically, however, we found a relationship between participants’ interest in taking up particular arts opportunities and their patterns of personality and curiosity. Finally, our data revealed low well-being to be associated with reduced interest in arts activities involving performing to an audience and working with others. Taken together, our results speak to the potential relevance—if art engagement’s putative benefits are to be exploited—of tailoring arts opportunities to young people’s personalities and interests and of facilitating entry points for young people with poorer well-being.
... Psikolojik danışmada danışan şiir okuyarak ve yazarak gerilimini azaltabilir, özgürlük duygusunu deneyimleyebilir ve sorumluluk duygusu hissedebilir (Bolton, Field ve Thompson, 2006;Karkou ve Glasman, 2004;Mazza, 2014;Mc Ardle ve Byrt, 2001). Ayrıca, ifade etmekte zorlandığı duygu ve düşüncelerini açığa çıkarıp ifade edebilir (Rubin, 2010). ...
... Empati ve duygu farkındalığı becerilerinin gelişmesi öğrencilerin böylesi riskli durumlarla karşılaşma olasılığını azaltabileceği gibi, karşılaştıkları durumlarda da çatışmaları daha yapıcı bir biçimde çözmelerini sağlayabilir. Nitekim yurtdışında yapılan bir çalışmada yaratıcı sanat eğitiminin öğrencilerin gelişimine katkı sağladığı ortaya konulmuştur (Karkou ve Glasman, 2004). Bir başka çalışmada ise, psikolojik yardım hizmeti sunan kuruluşlarda psikolojik danışma sürecinde yaratıcı yazı yöntemlerinin kullanılmasının oldukça yararlı olduğu görülmüştür (Mc Ardle ve Byrt, 2001). ...
Bu araştırmanın amacı, grupla psikolojik danışmada şiir kullanımının üniversite öğrencilerinin empati ve duygu farkındalığı düzeylerine etkisini incelemektir. Çalışmada yalnızca deney grubunun yer aldığı yarı deneysel desen kullanılmıştır. Deney grubu, Çukurova Üniversitesi Psikolojik Danışma Birimi’ne başvuran ve gönüllülük esasına göre çalışmaya katılmak isteyen 12 öğrenciden oluşturulmuştur. Deney grubuna öntest ve sontest olarak “Kişilerarası İlişki Boyutları Ölçeği”nin “Empati Alt Ölçeği” ile “Duygu Farkındalığı Alt Ölçeği” uygulanmıştır. Ayrıca, üyelerden geribildirim almak amacıyla araştırmacı tarafından geliştirilen “Psikolojik Danışma Değerlendirme Formu” kullanılmıştır. Deney grubuna sekiz oturumluk grupla psikolojik danışma yapılmıştır. Araştırmanın nicel bulguları, grupla psikolojik danışmada şiir kullanımının üniversite öğrencilerinin empati ve duygu farkındalığı düzeylerine etkisinin istatistiksel olarak anlamlı olmadığını göstermiştir. Ancak “Psikolojik Danışma Değerlendirme Formu” ile toplanan verilerden elde edilen nitel bulgular, deney grubundaki üyelerin çoğunluğunun grupla psikolojik danışmada şiir kullanımından yararlandıklarını ortaya koymuştur. Araştırmanın nitel bulgularına bağlı olarak, grupla psikolojik danışmada şiir kullanımının üniversite öğrencilerinin empati ve duygu farkındalığı düzeyleri üzerinde olumlu bir etkisi olduğu sonucuna varılmıştır.
... Wellbeing benefits have been associated with dance (Oliver 2009), theatre (James 2005) singing (Hampshire and Matthijsse 2010), as well as combinations of these and other art forms (Karkou and Glasman 2004). Youth arts activities are thought to contribute to self-confidence and self-esteem (Bungay and Vella-Burrows 2013). ...
... They became accountable for each other's progress and collectively aimed for the "team goal" for their recital. Being able to create art with others requires the ability to be open, spontaneous and embrace playfulness (Karkou and Glasman 2004), hence strategizing and collaboration for them was both fun and learning episodes. ...
Cooperatives were hailed as resilient to crisis and seen as a model to pursue with greater vigour, after the economic crisis of 2008. Currently, they are passing through another crisis, which is of much larger dimension, in terms of its impact and uncertainty. It is therefore of interest to examine how they are responding to the crisis created by the pandemic of Covid-19. Cooperatives all over the world are responding and trying to do their best to protect their members and workers from the adverse impact of Covid-19. While the reporting on their activities seems to be not up to the desired level, based on the information from the reporting cooperatives, we can say that cooperatives are certainly responding keeping in mind the values and principles they are structured upon. In the Asia Pacific region, cooperatives are primarily trying to focus on relief measures and providing social and economic protection to their members and workers. They are partnering with state and/or responding to state mandates to an appreciative extent. Some cooperatives are exhibiting a much longer term and futuristic response trying to insulate their businesses from continued economic uncertainties and adjust their approach to business as well as meeting the needs of the members, to the ‘new normal’, that of living with the virus. The case example of IFFCO and ULCCS clearly demonstrates that cooperatives have a highly forward-looking approach and are functioning very much in tune with the principle and values cooperatives stand for.
... Wellbeing benefits have been associated with dance (Oliver 2009), theatre (James 2005) singing (Hampshire and Matthijsse 2010), as well as combinations of these and other art forms (Karkou and Glasman 2004). Youth arts activities are thought to contribute to self-confidence and self-esteem (Bungay and Vella-Burrows 2013). ...
... They became accountable for each other's progress and collectively aimed for the "team goal" for their recital. Being able to create art with others requires the ability to be open, spontaneous and embrace playfulness (Karkou and Glasman 2004), hence strategizing and collaboration for them was both fun and learning episodes. ...
Social Innovation, the innovative activities/services that are aimed at meeting social goals, has been at the forefront of both academic and policy discussions. Among the institutions that engage in social innovation as a strategy to serve the community, cooperatives and social solidarity organizations are at the forefront. Cooperatives, themselves hailed as a great social institutional innovation of the nineteenth century, facilitate social innovation and deliver social good. Healthcare, alternative energy and environment are the key areas of social innovation by cooperatives in Asia and Pacific region, similar to their counterparts in Europe. The empirical evidences point to the presence of social innovation, as well as continued emphasis on increased social innovation on the part of cooperatives in the Asia Pacific region, both for serving the social purpose and for survival in the competitive setting.
... The arts are often employed as a therapeutic tool or a means of enhancing wellbeing among various populations (e.g. Karkou & Glasman, 2004). Evidence from qualitative studies demonstrates the benefits of engaging in recreational arts activities for people with disabilities, such as improvements in self-esteem, interpersonal skills, and perceived competence (Ehrich, 2010;Fuller, Jongsma, Milne, Venuti, & Williams, 2009;Goodgame, 2007;Karkou & Glasman, 2004;Kinder & Harland, 2004;Ovenden, 2017;Zitomer, 2016). ...
... Karkou & Glasman, 2004). Evidence from qualitative studies demonstrates the benefits of engaging in recreational arts activities for people with disabilities, such as improvements in self-esteem, interpersonal skills, and perceived competence (Ehrich, 2010;Fuller, Jongsma, Milne, Venuti, & Williams, 2009;Goodgame, 2007;Karkou & Glasman, 2004;Kinder & Harland, 2004;Ovenden, 2017;Zitomer, 2016). Dance may be a particularly valuable activity for promoting wellbeing as it involves physical, cognitive and affective components in the pursuit of creativity, self-expression, and technical expertise. ...
Little is known about the subjective wellbeing (SWB) of young dancers with disabilities and whether it changes over time. The aim of this study was to assess the SWB of young dancers with disabilities enrolled on an extracurricular inclusive talent development programme in the UK at two time points. Twenty-two young dancers completed the Personal Wellbeing Index for people with intellectual disability at the beginning of the academic year. Thirteen dancers completed the questionnaire a second time towards the end of the academic year. Scores were compared with normative values, and a Wilcoxon Signed Rank test was conducted to assess change over time. The participants reported high levels of SWB at both time points in comparison with normative values. There was no significant change in wellbeing scores over time. The study contributes to a growing body of literature suggesting that people with disabilities have high levels of SWB. Although causality cannot be assumed, inclusive dance programmes may contribute to SWB and allow young people with disabilities to overcome the barriers associated with physical activity.
... Participation in organised youth arts activity has been found, for the most part, to improve aspects of young people's social and emotional wellbeing. Wellbeing benefits have been associated with dance (Gardner, Komesaroff, and Fensham 2008;Oliver 2009), theatre (Bradley, Deighton, and Selby 2004;James 2005) singing (Hampshire and Matthijsse 2010), as well as combinations of these and other art forms (Grunstein and Nutbeam 2007;Hadland and Stickley 2010;Karkou and Glasman 2004;South 2006;Wright et al. 2006). Youth arts activities are thought to contribute to self-confidence and self-esteem (Bungay and Vella-Burrows 2013), 'emotional/mental health, family reintegration, employment options, suicide prevention and crime prevention' (Mills andBrown 2004 in Houbolt 2010, 48). ...
... The Joining In phase highlighted a sense of belonging also found by Trayes, Harré, and Overall (2012), Dworkin, Reed, and Hansen (2003), Hansen, Larson, and Dworkin (2003), Larson and Brown (2007), Barrett and Smigiel (2007). The attraction of fun without judgment has also been noted elsewhere (Karkou and Glasman 2004). The issue of identity formation and change articulated by Nathan (2013), Kemp (2006), andHoubolt (2010) are further understood in the present study. ...
Active participation in organised youth arts activities is generally considered ‘good’ for young peoples’ social and emotional wellbeing. There is, however, less known about how youth arts participation helps to create wellbeing benefits. This paper details a retrospective narrative study that sought to understand not only what wellbeing benefits 17 participants attributed to youth arts activity, but more specifically, how these outcomes occurred. The concept of liminality, within a spaces of wellbeing approach, is used as a framework to explore and understand participant’s stories of their time at Corrugated Iron Youth Arts, in Darwin, Australia. A pattern of transformation involving three phases emerged through an analysis of participant stories. This involved (1) joining in, (2) developing skills and gaining experience, and (3) becoming a ‘real’ performer. These stages have strong resonance with contemporary conceptualisations of liminal experiences, and provide further evidence for the value of youth arts activity as a space for the development of social and emotional wellbeing.
... Deci and Ryan, 2002;Hakanen, Bakker, & Schaufeli, 2005;Krapp, 2005;Seligman & Csikszentmihalyi, 2000) and particularly in wellbeing and its relationship to the arts (e.g. Karkou and Glasman, 2004;McLellan, Galton, Steward and Page, 2012) has grown considerably in recent years there is little consensus about what wellbeing is, how it differs from other related concepts such as happiness, and how it is explicitly linked to creativity. Matarosso (1997) discovered 50 types of social impact resulting from participation in art, including improvements in health status. ...
... The Labyrinth Project, initiated by arts therapists as a response to increasing national suicide rates amongst young people, is one of the examples where the arts were used for pupils' emotional wellbeing and social inclusion. One of the aims of the project was the development of skills (among teaching staff) for using the arts to address pupils' emotional wellbeing (Karkou and Glasman, 2004). Karkou and Glasman argue that in the past a more child-centred and less curriculum-based education emphasised self-expression, emotional development and self-actualisation of pupils. ...
... There is research which strongly suggests that the arts take a more inclusive approach to education, allowing more children to enjoy success (Karkou & Glasman, 2004;Kinder & Harland, 2004;Sanderson, 2008). One longitudinal US study found that 'in some cases, the relationship between arts integration and student achievement was more powerful for disadvantaged learners' (Ingram & Reidel, 2003). ...
Enrolments in school arts subjects are falling in both England and Australia. There are various arguments made in an attempt to reverse the situation. The arts are said to be vital for the economy, linked to success in core school subjects, are educationally inclusive and important for their disciplinary knowledges. In this paper, based on my Radford lecture, I canvass these arguments, concluding that arts education, like the arts themselves, are complex and refuse simple reductions. I speculate about what this might mean for the arts and broader education research community.
... In questo contesto riteniamo che la drammaterapia, in quanto pratica che permette al contempo la (ri)costruzione identitaria e l'espressione fisica e verbale del Sé, possa rappresentare uno strumento interessante ai fini dell'inclusione o della re-inclusione nel tessuto sociale (Kinder e Harland, 2004;Karkou e Glasman, 2004;Muller-Pinget e Golay, 2012). Nello specifico, riteniamo che la drammaterapia basata sull'approccio proposto dal drammaturgo brasiliano Augusto Boal permetta di intervenire in maniera adattata in ambiente sociale e educativo presso dei gruppi e degli individui marginali o marginalizzati (Chatelain e Boal, 2010). ...
Il Numero Zero della Rivista Corpo, Società, Educazione.
La rivista «Corpo, Società, Educazione» si propone come un veicolo essenziale per l’avanzamento del dibattito scientifico e culturale sul corpo, esplorandolo sia dal punto di vista dell’educazione e della didattica, che da quello delle dinamiche sociali e storiche. Attraverso una vasta gamma di prospettive e discipline, la rivista mira a esaminare le molteplici sfaccettature del corpo, dalla sua rappresentazione nella cultura e nella società, alla sua rilevanza nei contesti educativi e formativi, fino ai suoi legami con l’individuo e la società.
In questo contesto, la rivista intende superare le convenzionali barriere disciplinari, per favorire un’integrazione sinergica tra le varie articolazioni del sapere, con un’apertura teorica verso un’ampia gamma di approcci critici al corpo e incoraggiando lo sviluppo di lavori e approfondimenti innovativi che coinvolgano le più diverse aree culturali e scientifiche.
I saperi riflessi nella rivista spaziano dalla pedagogia e la didattica, alla sociologia, antropologia, comunicazione, studi culturali, studi ambientali, femminismo, salute e benessere, psicologia, fino agli studi religiosi e alla bioetica.
«Corpo, Società, Educazione» si propone come un crocevia di conoscenze interdisciplinari, offrendo contributi significativi che illuminano le molteplici incognite ancora irrisolte su un tema di capitale importanza per l’individuo e la società.
... Assim, inspirados por um lastro de pesquisas que se têm vindo a adensar desde meados dos anos 1990 (Karkou & Glasman, 2004;Sharp et al., 2005;Jeannotte, 2010;Ferrer-Fons et al., 2022), propomos a apresentação de uma abordagem/análise reflexiva e crítica através e sobre um conjunto de projetos de investigação que têm como denominador comum a intervenção social em territórios e junto de segmentos populacionais tidos como desfavorecidos. O principal objetivo deste artigo, é o de demonstrar que a arte (práticas artísticas) possui um papel determinante na capacitação e no empoderamento juvenil, bem como evidencia e incentiva a lógicas de participação cívica (Blumenfeld-Jones, 2016). ...
The issue of social exclusion in relation to young people has been one of the most prominent research areas in the field of social sciences. There have been several studies that reflect the various modalities of advanced marginality, whether in political, economic, geographic, social and cultural terms; however, there have been few studies that have demonstrated the transformative potential of arts-based research as an effective method of intervention, and also as a vehicle for research. Indeed, in this article, we intend to demonstrate the materialization of the crossing of these two topics, both from the theoretical and the empirical point of view, covering several and differentiated contemporary contexts, objects of studies and research-action modalities.
... O potencial das experiências vividas em espaços construídos é discutido em disciplinas ligadas às ciências humanas e sociais para promover a conscientização cidadã (Freitas, 2019) e o apego ao lugar (Furtado, 2020). Em específico, a arte é um material chave para auxiliar estudantes a aprender sobre desafios existentes na comunidade (García, 2017), criar espaços para interações comunitárias (Furtado & Payne, 2022) e ajudar jovens a se inserir socialmente (Karkou & Glasman, 2004). Arte em espaços públicos conjuram experiências físicas, emocionais e intelectuais que podem transformar como as pessoas se sentem e interagem com suas comunidades (Thurber & Christiano, 2019;Furtado & Payne, 2022). ...
O ensino de conceitos de Interação Humano-Computador (IHC) consiste geralmente de atividades de análise e de design de produtos interativos. É possível então ensinar IHC de forma “desplugada” onde o computador seja invisível para o aluno, como postulou Don Norman? Este artigo traz um relato de uma experiência de ensino onde alunos foram instruídos a observar aspectos de IHC em um espaço cultural que reúne obras de arte sobre a história do descobrimento do Brasil. 25 alunos visitaram o espaço para realizar observações e depois preencher um formulário de avaliação. Os resultados apontaram que a metodologia de ensino em um ambiente construído pode favorecer o desenvolvimento de competências educacionais, bem como trazer outros ganhos inesperados ao deixar alunos animados com a disciplina e com outras áreas de estudo como arte e história. A metodologia é descrita de modo a ser replicada em outros contextos onde espaços são utilizados como metáfora de interação para o estudo de aspectos de IHC.
... Sanata yönelik bu bakış açısı, sanat yapmayı müzik, çizim, oyunculuk ya da dans becerileri ne düzeyde olursa olsun herkesin erişebileceği bir etkinlik haline getirir. Sonuç olarak, bu yaklaşım eşitlikçiliği teşvik eder ve insanlara sanatsal faaliyetlere katılmaları için "izin" verilerek sosyal içermenin ilk aşamasına geçilir (Karkou & Glasman, 2004 • Mentorluk fırsatları sağlamak: Gençler, sanat alanında deneyimli bir mentora sahip olmaktan büyük fayda sağlayabilir. Mentorlar rehberlik, teşvik ve destek sağlamanın yanı sıra gençlerin sanatsal becerilerini geliştirmelerine ve özgüvenlerini artırmalarına yardımcı olabilir. ...
Yaratıcılık, sanat, dijital sosyal inovasyon, eğitim ve bunların işin geleceği üzerindeki etkileri arasında çok yönlü bir ilişki vardır. Bu yayın, sanatta yaratıcılığın rolüne odaklanarak inovasyon ve yaratıcılığın kaynaklarını araştırmaktadır. Ayrıca, dijital sosyal inovasyonun yeni yaratıcı ifade ve işbirliği biçimleri için nasıl bir katalizör haline geldiğini, bu eğilimlerin işin geleceği üzerindeki potansiyel etkisini ve gelişen bir ortamda başarılı olmak için gereken becerileri de incelemektedir. Yaratıcılık, sanat, dijital sosyal inovasyon ve eğitimin kesişimi, inovasyon anlayışımızı ve bunun toplum üzerindeki etkisini şekillendiren dinamik bir alandır. Bu yayın, kilit temaları vurgulamayı ve bunların birbirleriyle olan bağlantılarını keşfetmeyi amaçlamaktadır. İnovasyon ve yaratıcılığın kaynaklarını anlamak, çeşitli alanlarda bir inovasyon kültürünü teşvik etmek için çok önemlidir. Bu çalışmada, inovasyon ve yaratıcı düşüncenin temel itici güçleri olarak merak, disiplinlerarası işbirliği ve farklı bakış açılarının rolüne değinilmiştir. Sanatsal ifade uzun zamandır yaratıcılığın kaynağı olarak kabul edilmektedir. Yayın, yaratıcılık ve sanat arasındaki ilişkiyi inceleyerek görsel sanatlar, müzik ve sahne sanatları gibi sanatsal uygulamaların yenilikçi düşünmeyi, problem çözme becerilerini ve hayal gücünü nasıl geliştirdiğini araştırmaktadır. Dijital teknolojilerin yükselişi, yaratıcı süreçlerde devrim yaratarak yeni işbirliği, iletişim ve sanatsal ifade biçimlerini mümkün kılmıştır. Dijital sosyal inovasyon kavramı ve bunun kolektif yaratıcılığı, açık kaynak işbirliklerini ve dijital alanda aktif katılımı nasıl kolaylaştırdığı rapor edilmiştir. İşin Geleceği Teknoloji, otomasyon ve yapay zeka alanındaki gelişmeler işin geleceğini yeniden şekillendirmektedir. Kitap, gelişen durumu incelemekte ve mevcut ve gelecekteki iş yerlerinde yaratıcılık, sanatsal beceriler ve dijital sosyal inovasyonu ele almaktadır. Ayrıca, hızla değişen profesyonel ortamda uyum sağlama, eleştirel düşünme ve disiplinlerarası yetkinliklere duyulan ihtiyacı araştırmaktadır. Yaratıcılığın eğitim çerçevelerine ve pedagojik uygulamalara entegre edilmesi, yaratıcılığın erken yaşlardan itibaren teşvik edilmesinin ve sanat temelli eğitimin desteklenmesinin önemi vurgulanmaktadır. Özetle bu yayın, yaratıcılığın, sanatın, dijital sosyal inovasyonun ve eğitimin inovasyonu teşvik etmedeki ve bireyleri geleceğin iş yaşamına hazırlamadaki önemine ışık tutmaktadır. Yaratıcılığın ve sanatın dönüştürücü gücünü vurgulamakta ve toplumda olumlu değişim için bir güç olarak dijital sosyal inovasyonun potansiyelinin altını çizmektedir.
... The motivational systems with behavioural, experiential and cognitive mechanisms influenced by the experience and imagination of personal situations that shape their creative interpretation (González-Zamar & Abad-Segura, 2021). The role of teacher in art education learning is not only to unfold the students' experiences and make it theoretical, but also to value the artistic engagement for students to have opportunity to make connections and self-discovery (Karkou & Glasman, 2004). The students able to use a unique thinking mode in the process of cognition of objective things. ...
Aesthetic ability is crucial for students' quality because it helps them better appreciate the appeal of artistic creations, enhance their art education, and advance in their future growth and development. It is important for the students to establish positive aesthetic value and cultivate their aesthetic ability for the social trend's revitalisation. For art education, the aesthetic ability is an effective tool to improve student learning outcome. Art students' learning involves with craft design courses which encourage them to build a good learning environment in order to cultivate students' sensitivity to aesthetics, strengthen students' imagination, creativity and hands-on ability, and to improve students' aesthetic ability. In order to improve the efficiency of undergraduate art design education, it is necessary to continuously optimize the teaching mechanism of undergraduate art design education and innovate the teaching methods of art design education courses. The purpose of this paper is to investigate the role of emotional teaching value on the students' aesthetic ability. This study used a survey strategy for primary data from 89 undergraduate students from Art programme at Chinese Universities. The findings of the study reveal that the emotional teaching value is positively associated with students' aesthetic ability and their positive outcome. Moreover, the effects of different factors were to be a mediating reason in the relationship to their positive learning outcomes is important for students' performance and creativity. This study explored an important role of teacher to use emotional teaching value to enhance students' aesthetic ability and the findings showed some important implications at the end of the study. This study also provides strong evidence that emphasising feelings in art and design classes can improve students' academic performance and help them adapt to healthier practices. Within this objective, it may be useful for Art Design undergraduates to consider their own feelings as they create their work.
... Some studies focused on changing students' behaviour and also the institution in which they were located -addressing aggression, bullying and violence in schools 258 and suicide prevention 259 . There was one paper which addressed a regional change programme aimed at inclusion through the arts 260 : the range of projects included a theatre company working closely with Eritrean children from London schools to produce a touring play 261 , 5 to 15-year-olds on a marginalised housing estate participating in instrumental, music technology and singing classes, workshops and performances 262 , and the use of music technology tuition to engage disaffected and at-risk London-based African Caribbean young people in music production and performance 263 . ...
A review of twenty years of literatures on the benefits of Art Craft and Design Education.
... So, besides other counseling techniques, psychological counselors sometimes use creative techniques and arts such as drama and role-playing (Altınay, 2007), sculpture (Kar, 2011), painting (Capacchione, 2012), music (Karkou 1 This article is extracted from PhD thesis entitled "Grupla Psikolojik Danışmada Şiir Kullanımı: Deneysel Bir Araştırma", (PhD Thesis, Cukurova University, Adana / Turkey 2015) International Online Journal of Educational Sciences, 2019, 11 (5), 273-286. 274 and Glasman, 2004), dance (Tunç, 2007) and cinema (Gençöz, 2007) to establish a therapeutic relationship (Choi, Lee, Cheong and Lee, 2009;Frisch, Franko and Herzog, 2006;Kim, Wigram and Gold, 2008;Körlin, Nybäck and Goldberg, 2000;White, Bull and Beavis, 2008) and help the group to open itself to the individuals involved in psychological counseling sessions (Pearsonand Wilson, 2009). According to Madden and Bloom (2004, p. 137), poetry should also be added to the creative techniques and artsthat psychological counselor can benefit during the psychological help process. ...
The purpose of this study was to investigate the effects of group counseling using poetry on university students' empathy level. The Scale of Dimension of Interpersonal Relationship Empathy Subscale was used to identify participants' empathy level. In order to examine participants' ideas about group counseling process and sessions Group Counselling Assessment Form and a journal of sessions were also used. There were 16 group members in each experiment and control group. Participants were undergraduate students at Cukurova University. Quantitative data were analyzed by using SPSS 22 packet program to find out the effects of group counseling with poem on the empathy level. Qualitative data were analyzed by content analysis method. Results showed that group counseling had a positive and significant effect on university students' empathy scores and this effect was permanent during the time. Qualitative results of the study also supported this result.
... De igual modo, diferentes estudios muestran la importancia de programas artísticos con influencia en el bienestar emocional y la inclusión social (Karkou & Glasman, 2004;McLellan et al., 2012;Rocha & Ferreira, 2019). Estos programas, de acuerdo con Martín (2016) deben tener una duración dilatada en el tiempo que permita al alumnado enfrentarse a retos para los que inicialmente no están preparados. ...
... De igual modo, diferentes estudios muestran la importancia de programas artísticos con influencia en el bienestar emocional y la inclusión social (Karkou & Glasman, 2004;McLellan et al., 2012;Rocha & Ferreira, 2019). Estos programas, de acuerdo con Martín (2016) deben tener una duración dilatada en el tiempo que permita al alumnado enfrentarse a retos para los que inicialmente no están preparados. ...
Este texto se enmarca en el proyecto en curso I+D+i ‘Re-Habitar el Barrio: Procesos de Transformación y Empoderamiento entre Universidad-Escuela-Sociedad a través de Prácticas Artísticas’. El proyecto busca contribuir a la transformación social y al empoderamiento ciudadano del barrio Nou Llevant-Soledat Sud de Palma (Islas Baleares) y comprende tres objetivos generales: diseñar un programa artístico transdisciplinar de intervención socioeducativa; implementar dicho programa en un barrio periférico desfavorecido y marginal y evaluar el programa y su impacto en el ámbito educativo, artístico, social y cultural. A través de uno de los instrumentos de evaluación como el que nos ofrece la entrevista y los grupos de discusión, se recoge la opinión del alumnado universitario y las maestras de la escuela primaria que participan en el programa artístico socio-educativo en curso. Al establecer caminos para el diálogo desde un enfoque cualitativo, esta técnica nos ha permitido obtener información valiosa a fin de comprobar la evolución del programa, detectar algunos errores en el transcurso de las diferentes actividades y ahondar en un conocimiento reflexivo para futuras intervenciones.
... Most countries are striving to promote, protect, and nurture art through various support policies and to either directly lead the creation of art or indirectly support it through financial aid [22,23]. Art can be viewed as an important common social asset that develops the economy and sustains society as a source of creative technological innovation [24][25][26][27][28][29]. Furthermore, from an infrastructure perspective, government support for this sector can be justified in terms of the supply of public goods. ...
In this study, we aim to propose motives that can help increase the creative activities of Korean performing artists and discuss the policy implications for the sustainable management of Korean performing arts. First, we investigate the characteristics of Korean artists that receive subsidies as a form of government support for undertaking artistic activities. Second, we examine whether receipt of such grants influences the artists’ job and life satisfaction. Through a logistics model, we reconstructed the “2015 Survey Report on Artists & Activities” and validated the research hypothesis. We first considered subsidies that could directly impact artists’ income and activities and then verified whether subsidies influence artists’ job and life satisfaction. As a result of the research, first, art grants should be supported in order to help artists produce creative and experimental works. Second, we showed that artists’ subsidies should be expanded in order to enhance artists’ quality of life and the sustainability of artistic activities. Above all, subsidy support for artists showed that art can be legitimate as a public good, which is a common asset in society.
... Membuat karya seni dapat membantu klien secara bebas mengekspresikan kebutuhan sadar dan tidak sadar melalui media seni dan bahasa non verbal (Dow, 2008). Terapi Seni cocok bagi klien yang memiliki kesulitan verbal dalam mengekspresikan perasaan-perasaannya secara terbuka (Karkou & Glasman, 2004). Hasil wawancara setelah intervensi, subjek mulai merasa mampu mengatakan hal-hal yang ingin ia utarakan kepada teman-temannya, ia punmampu mengutarakan beberapa ide dan terkadang ide tersebut diterima. ...
Remaja obesitas kerap menjadi korban bully. Self-esteem mereka yang rendah, menghambat mereka untuk dapat adaptif dengan lingkungannya, sehingga menjadi rentan untuk menjadi korban bully. Penelitian ini bertujuan utuk mengukur efektivitas pemberian Cognitive Behavior Art Therapy guna meningkatkan self-esteem remaja obesitas yang menjadi korban bully. Teknik intervensi yang digunakan untuk meningkatkan self-esteem pada remaja obesitas korban bully yaitu Cognitive Behavior Art Therapy yang diadaptasi dengan menggunakan panduan art therapy tecniques and application. Melalui intervensi ini, subjek mengeksplorasi emosi dan kebutuhannya, serta melakukan restrukturisasi kognitif pikiran negatif dan mengubahnya menjadi pikiran positif menggunakan media menggambar, agar mereka dapat adaptif dengan lingkungannya. Partisipan dalam penelitian ini adalah dua orang remaja obesitas korban bully yang mengalami kendala untuk dapat adaptif dengan lingkungannya, keduanya perempuan usia 15 tahun. Desain penelitian yang digunakan adalah one group pre-test post-test. Hasil penelitian dibahas secara deskriptif, karena jumlah partisipan yang hanya dua orang, tidak mencukupi untuk dilakukan uji hipotesis. Self-esteem diukur menggunakan Coopersmith Self-esteem Inventory. Pengukuran self-esteem sebelum dan sesudah intervensi menunjukkan bahwa Cognitive Behavior Art Therapy cukup efektif dalam meningkatkan self-esteem kedua remaja obesitas korban bully tersebut. Subjek pertama mengalami peningkatan skor self-esteem sebesar 42,31%; sedangkan subjek kedua mengalami peningkatan skor self-esteem sebesar 38,46%. Dengan meningkatnya self-esteem, remaja obesitas korban bully menjadi lebih mampu mengenali kelebihan dan kekurangan dirinya, memberikan penilaian positif mengenai dirinya, sehingga dapat adaptif dengan lingkungannya. Kata kunci : Cognitive Behavior Art Therapy, Self-esteem, Obesitas, Korban bully
... En résumé, de nombreuses études suggèrent que les enfants inscrits à des programmes d'arts à l'école ont de meilleurs taux de réussite académique (Greene, 1995;Karkou et Glasman, 2004;Catterall et al., 2012;Sylwester, 1998;Zwirn et Graham, 2005 (Posner, 1994 • Le contrôle du flux d'information à travers un réseau de neurones qui constitue le système visuel; ...
Notre étude porte sur l’influence potentiellement exercée par des activités régulières d’appréciation d’oeuvres d’art sur le développement des seuils d’attention de 125 élèves du primaire. L’attention des enfants a été mesurée sur toute une année scolaire, avec groupe témoin, suite à des activités qui suivaient un protocole d’appréciation d’oeuvres déjà validé par des chercheurs, lequel est appelé Visual Thinking Strategies (VTS). Nos résultats suggèrent une progression significative de l’attention des élèves soumis régulièrement au protocole VTS. Au contraire, chez le groupe témoin, nous avons constaté une légère diminution dans les habiletés attentionnelles.
Our study examines the potential influence of regular art appreciation activities on the development of attention thresholds of 125 elementary school students. The children’s attention was measured over an entire school year, with a control group, following activities that complied to a researcher-validated art appreciation protocol called Visual Thinking Strategies (VTS). Our results suggest a significant increase in the attention of students who were regularly subjected to the VTS protocol. In contrast, in the control group, we found a slight decrease in attentional skills.
... Membuat karya seni dapat membantu klien secara bebas mengekspresikan kebutuhan sadar dan tidak sadar melalui media seni dan bahasa non verbal (Dow, 2008). Terapi Seni cocok bagi klien yang memiliki kesulitan verbal dalam mengekspresikan perasaan-perasaannya secara terbuka (Karkou & Glasman, 2004). Hasil wawancara setelah intervensi, subjek mulai merasa mampu mengatakan hal-hal yang ingin ia utarakan kepada teman-temannya, ia punmampu mengutarakan beberapa ide dan terkadang ide tersebut diterima. ...
ABSTRAK Remaja obesitas kerap menjadi korban perundungan. Self-esteem mereka yang rendah, menghambat mereka untuk dapat adaptif dengan lingkungannya, sehingga menjadi rentan untuk menjadi korban perundungan. Penelitian ini bertujuan utuk mengukur efektivitas pemberian Cognitive Behavior Art Therapy guna meningkatkan self-esteem remaja obesitas yang menjadi korban perundungan. Teknik intervensi yang digunakan yaitu Cognitive Behavior Art Therapy yang diadaptasi dengan menggunakan panduan art therapy tecniques and application. Melalui intervensi ini, subjek mengeksplorasi emosi dan kebutuhannya, serta melakukan restrukturisasi kognitif pikiran negatif dan mengubahnya menjadi pikiran positif menggunakan media menggambar, agar mereka dapat adaptif dengan lingkungannya. Partisipan dalam penelitian ini adalah dua orang remaja obesitas korban perundungan yang mengalami kendala untuk dapat adaptif dengan lingkungannya, keduanya perempuan usia 15 tahun. Desain penelitian yang digunakan adalah one group pre-test post-test. Hasil penelitian dibahas secara deskriptif. Self-esteem diukur menggunakan Coopersmith Self-esteem Inventory. Analisis data dilakukan secara deskriptif dengan menghitung kenaikan skor self-esteem sampel dan membahasnya secara deskriptif pada tiap sampel berdasarkan data kuantitatif dan kualitatif yang ada. Pengukuran self-esteem sebelum dan sesudah intervensi menunjukkan bahwa Cognitive Behavior Art Therapy cukup efektif dalam meningkatkan self-esteem kedua remaja obesitas korban bully tersebut. Subjek pertama mengalami peningkatan skor self-esteem sebesar 42,31%; sedangkan subjek kedua mengalami peningkatan skor self-esteem sebesar 38,46%. Dengan meningkatnya self-esteem, remaja obesitas korban perundungan menjadi lebih mampu mengenali kelebihan dan kekurangan dirinya, memberikan penilaian positif mengenai dirinya, sehingga dapat adaptif dengan lingkungannya. ABSTRACT Obese youth are often being bullied by people. Their low self-esteem inhibit themselves to adapt to the environment, and it makes them vulnerable to be bullied by people. The aim of this study was to measure the effectiveness of Cognitive Behavior Art Therapy to improve the self-esteem on obese youth who are victims of bullying. Cognitive Behavior Art Therapy was used as the iintervention techniques to improve self-esteem. The Cognitive Behavior Art Therapy was adapted by using the guide art therapy techniques and application. Through this intervention, subjects explored their emotions and needs, as well as cognitive restructuring, so the negative thoughts restructered into positive thoughts using drawing media. Therefore, they can expressed their feelings and needs, and hopefully they will be able to adapt to their environment. Participants in this study were two obese youth who are victims of bullying. They are suffering from obstacles to adapt to their environment, both are girls aged 15 years old. The research design was one group pre-test post-test. The results of the research are discussed descriptively, because the number of participants is only two persons, not sufficient to be tested hypothetically. Self-esteem was measured using Coopersmith Self-esteem Inventory. The data analysis was done descriptively by calculating the increase of self eteem score of the sample and review itu descriptively on each sample based on the quantitative and qualitative data that available. Measurements of self-esteem before and after intervention show that Cognitive Behavior Art Therapy is quite effective on improving the self-esteem of both obese youth who are victims of bullying. The first subject experienced an increase in self-esteem score of 42.31%; While the second subject experienced an increase in self-esteem score of 38.46%. With the improvement of self-esteem, the obese youth are able to recognize their own strengths and weaknesses, giving a positive assessment of themselves, so that they are able to adapt to the environment.
... There is evidence that arts education can improve both wellbeing and social inclusion (e.g. Karkou & Glasman, 2004;Kinder & Harland, 2004;Walshe, Lee & Smith, forthcoming), as well as developing children's capabilities (Zitcer, Hawkins & Vakharia, 2016). Arts-based approaches have been found to support the development of several of the qualities on Nussbaum's (2000) list of capabilities: for example, arts performance through kinaesthetic forms such as dance and theatre have a demonstrated impact on bodily health and bodily integrity (Stuckey & Nobel, 2010); practice in the visual arts has been shown to increase one's development of imagination and thought (Burchenal & Grohe, 2007); and a considerable body of research addresses the role of arts participation in developing emotional skills (e.g. ...
... As discussed above, participatory music making is seen to provide a sense of belonging and commonality, and this potential is validated in a number of other studies (Hampshire & Matthijsse, 2010;Karkou & Glasman, 2004;Rinta, Purves, Welch, Stadler Elmer & Bissig, 2011;Welch, Himonides, Saunders, Papageorgi & Sarazin, 2014). Reviewing existing research on the effects of active music making on social inclusion and cohesion, Susan Hallam (2015) concludes that "[g]roup music making clearly has the potential to promote social cohesion and support inclusion. ...
How does active music-making become a means of social transformation? This has been a driving question for Kim Boeskov in this study of a community music program in a Palestinian refugee camp in Lebanon. Through an ethnographic exploration of the Palestinian music program and critical investigations of the dominating conceptions of music and social transformation in the field of music education, Boeskov rethinks music as a means of social change. Boeskov shows how musical participation allows the Palestinian children and youth to experience feelings of belonging, commonality and agency, but also how such experiences are intimately tied to the constitution of specific cultural and social truths that in crucial ways constrain how the young Palestinians are enabled to make sense of their social world. Contemplating the paradoxes of this particular musical practice and drawing on insights from cultural anthropology, feminist philosophy and critical musicology, Boeskov advances the notion of ambiguous musical practice. As an analytical lens highlighting the ambivalent processes that occur when music is employed as a means of social interven tion, this notion extends the ways in which the fields of community music and music education can imagine and conceptualize music's social significance.
... Individual ability in the arts may help to counter all three of these. First, ability may draw respect from family and peers as well as helping more broadly in the development of social connections and social cohesion 14,15 . Second, arts activities help enhance self-empowerment and self-worth in people's own abilities 16 , which are particularly useful for ...
Arts engagement has been shown to have benefits for young people’s psychological and behavioural adjustment. However, it is unknown whether it is frequency of arts engagement or individual ability in arts activities that is associated with these benefits. This study therefore examines the link between arts ability and children’s behavioural difficulties and self-esteem independent of frequency of engagement. We analysed data from the 1970 British Cohort Study with an overall sample size of 7700 for the behavioural difficulties outcome, and of 4991 for the self-esteem outcome. Baseline measures were taken when the children were aged 10 and followed up at age 16. OLS regression analysis adjusted for identified confounders shows that ability in the arts at age 10 was associated with a lower level of behavioural difficulties at age 16 independent of baseline behaviours, identified confounders and frequency of arts engagement. An association between arts ability and self-esteem was only found amongst children who have higher educational ability. These result suggest that there may be a value to encouraging the cultivation of arts skills at the onset of adolescence as a way of helping to foster children’s positive behavioural development.
... Whilst it is informed by creative educational dance as an accessible means by which students with disability can find self-expression, the programme is distinct from dance education in its therapeutic intention. The focus is on students' experience of dance as an expression of social and emotional aspects of being, rather than on artistic development (Karkou and Glasman 2004;Karkou 2010). Student progress in this programme is considered across all aspects of development and change, and is underpinned by the principle that 'artistic change gives information about associated psychological change' (Karkou 2010, p. 11). ...
... At a population-level, participation in arts programmes has been seen to contribute positively to the social and emotional wellbeing of young people (see Karkou and Glasman 2004;Ennis and Tonkin 2018). In Ennis and Tonkin's (2018) study, the programme reviewed had resonant effects on the ability of young people to develop skills and experience, confidence, social networks and communities and experience transformative self-development. ...
Confidence in Care is a five-year funded programme by The Big Lottery. Led by The Fostering Network Wales, the programme will be delivered in partnership with Action for Children, Barnardo’s and The Adolescent and Children’s Trust. The programme will be independently evaluated by The Children’s Social Research and Development Centre at Cardiff University (CASCADE) and will work closely with Association of Directors of Social Services Cymru and Children in Wales. A strand of this programme aims to provide an engaging and fun experience for foster children that improves their confidence, develops friendships, self-achievement and trust, and involves their siblings and families in this process.
In relation to this wider project, the Wales Millennium Centre ran an arts-based programme which was funded and supported by the Confidence in Care Consortium led by The Fostering Network in Wales. The arts-based programme was delivered between May and July 2018 and involved eight care-experienced young people and their foster families. The Wales Millennium Centre commissioned Cardiff University to conduct research with care-experienced young people and their foster carers, and facilitators involved with the delivery of the arts project. The research explored the views of facilitators, young people, and their carers about their experiences of being involved, the possible value and benefits of being engaged with the arts, and the potential barriers to participation with the arts and culture.
... Creativity and imagination are fostered when the arts are integrated into classroom learning experiences (Greene, 2008). The arts also offers opportunities for problem solving and collaboration (Pope, 2005), as well as evoking significant emotional responses, vital to our physical and mental well-being (Karkou & Glasman, 2004). ...
While visual arts, drama, dance and music have been used to enhance literacy learning for many decades in preschool and primary classrooms, engaging with mobile learning can also provide many opportunities for young learners to explore and develop language and literacy. The use of mobile devices is of particular interest as technology has an impact on pedagogy and the mobility of digital devices provides many opportunities for engaged and meaningful literacy learning when teamed with the arts. In this chapter, we define the arts and their relationship with literacy learning before exploring a number of resources and practices for integrating their use in early learning settings.
... This failure to recognise the potential of the arts ignores an equally significant body of literature that outlines profound benefits associated with arts education in schools (Bamford, 2006;Caldwell & Vaughan, 2012;Eisner, 2002;Winner, Goldstein, & Vincent-Lancrin, 2014). Such benefits include: improved social and emotional wellbeing (Karkou, 2004), personal development, ability to express freely through a range of modes (Narey, 2009), and impact on cultural economics and social cohesion (Frey, 2013). ...
This paper explores the relationship between the arts and literacy in schools in three countries: Australia, Canada and France. It begins by sharing research that has investigated how literacy education has impacted on arts education but also relating to the unique literacies present throughout the arts. The authors then present information related to the arts and literacy in each of their prospective curriculums. This is then followed by a personal reflection on their own experiences related to the arts and literacy in schools. The paper summarises these observations by theorising ways in which the partnership between the arts and literacy be improved particularly in terms of perceptions of the arts and literacy education. We argue that provision of quality arts education is crucial if we are to address the policy rhetoric as well as approach learning holistically for children and young people.
... Pertaining to the recent marginalization of PA in our secondary GCSE curriculum, the worthwhileness of PA subjects is reinstated by our findings, supporting previous (Karkou & Glasman, 2004;Neelands et al., 2009), highlighting a link between engagement in PA subjects and pupils' self-confidence and sense of belonging or 'school connectedness' (McLaughlin & Clarke, 2010). Policy-makers should reassess the impact engagement in PA can have on pupils' emotional wellbeing and enjoyment of school, and the risks attached to increasingly marginalizing these subjects in education. ...
Set against the backdrop of decades of educational policy that has increasingly undervalued the role of arts curricula in our schools (Abbs, 2003; Taylor, 1996), this study investigates its potential role in nurturing secondary students’ wellbeing in school. The link between wellbeing and engagement in the arts has been well documented in the literature, however the extent to which this relationship exists specifically in adolescents in the school context is unknown. Similarly, studies with adults link individual playfulness and wellbeing, but this has not been examined in adolescents, and particularly in relation to the opportunities for being playful that students perceive in the school context. In this study we address these two gaps, and further propose a model in which students’ wellbeing is predicted by the levels of playfulness perceived in school and mediated through their interconnectedness with classmates. Secondary school pupils (n = 275 in Year 7 and Year 10) were administered a battery combining existing instruments measuring students’ subjective wellbeing in-school (McLellan & Steward, 2015) their individual playfulness (Barnett, 2007), and two new scales developed based on existing instruments (Vallerand et al., 2003) measuring pupils’ engagement in performing arts and their perceived opportunities for playfulness in school. Man- Whitney U tests indicated younger pupils engaged in performing arts had significantly lower subjective wellbeing, competence motivation in the core subjects at school and individual playfulness than their counterparts. These findings were reversed for older pupils engaged in performing arts, evidencing significantly higher subjective wellbeing than their counterparts. No differences were found in older pupils’ competence motivation in the core subjects. Spearman's correlations and mediation models suggested a positive relationship exists between playfulness, life satisfaction and connectedness at school. A mediation model in which opportunities for playfulness predicted student's wellbeing through interpersonal relationships was significant.
... However, arts consumption patterns are important to consider as an Opera Houses' cultural produce (high arts) tends to be consumed by a select group of people. Younger generations along with the lower socio-economic stratum of society have been identified as vulnerable to exclusion and the arts can be used to offset this effect (Karkou and Glasman, 2004). In this sense, a theatre's limited carrying capacity imposes challenges that other providers of culture such as museums are free from in terms of developing audiences and facilitating social inclusion (Sandell, 1998). ...
Purpose
The Royal Opera House, located at the epicentre of Covent Garden, stands as the UK’s leading provider of opera and ballet performances. Having been extensively redeveloped, its front facade is not visible from the area’s central market place and the perceived exclusivity and elitism commonly associated with its art forms also impose a challenge. This study aims to analyze the influence that the Opera House exerts on the tourist’s perception and experience of the world-renowned London’s “Theatreland”.
Design/methodology/approach
In all, three hundred and six semi-structured interviews with domestic, international, first-time and repeat tourists were conducted in six different locations throughout the area and inside the flagship building using a convenience sampling approach. These were then analyzed with the assistance of qualitative data analysis software (QSR N*Vivo) in two stages leading to an initial set of categorical topics that derived in a number of findings related to the factors that influence the tourist’s perception and experience of place.
Findings
The Opera House’s perceived urban concealment proved to have an impact on its influence on Covent Garden’s sense of place. But its social inclusion and audience development initiatives that foster a new generation of opera and ballet theatre-goers emerged as important findings as the House’s open door policy for daytime visitors along with live relays of current opera and ballet productions in other locations spark an interest in experiencing the building from the inside.
Research limitations/implications
This paper focuses exclusively on findings related to audience development and social inclusion initiatives currently used at the Royal Opera House and their impact on the tourist’s perception and experience of place. However, many other factors influence these processes and scope for further research is highlighted.
Practical implications
The Royal Opera House’s perceived urban concealment imposes a challenge to the task of developing new audiences for its current and future productions. Its learning and participation unit must endeavor to engage younger and international markets by focusing on the quality of the House’s performances, its heritage and added facilities of the venue such as exhibitions and shop.
Social implications
The Royal Opera House’s creed of “excellence, access and artistic development” is implemented by extending opportunities to younger target markets to engage with its cultural produce.
Originality/value
This paper addresses the gap in knowledge related to the development of the niche Opera House tourist segment of the cultural tourism market.
... While pupils with SEN may have difficulty with kinaesthetic, mathematical and linguistic forms of expression, their artistic intelligence may not only be accessible but highly developed. As early as 1982, the Calouste Gulbenkian Foundation suggested that the arts can provide an "all embracing" experience that includes developing the aesthetic, creative, moral, psychological and social functioning of school children (Karkou & Glasman, 2004). Individuals with SEN are firstly "individuals" and are also privy to this "all embracing" experience. ...
It is a feature of Irish second-level teaching that teachers will encounter pupils with special educational needs (SENs). To prepare them, the National College of Art and Design (NCAD) has designated SEN placements as part of the ITE programme, whereby students are immersed in SEN settings. These placements have been acknowledged as good practice by Merriman & Rickard, on behalf of the National Parents and Siblings Alliance (2013). Over the ten-year duration of this specific SEN placement, this immersion has led to positive outcomes for both the student teachers and the centres in which they have been placed.
This review explores the dynamic relationship between audience experience and theatre performance, focusing on key elements such as knowledge, risk, authenticity, and collective engagement. It examines how theatre fosters emotional connections, motivates engagement, and delivers lasting benefits such as enhanced wellbeing, strengthened relationships, and broader perspectives. The review further discusses audience development strategies, including outreach, marketing, education, and taste cultivation, while addressing the challenges posed by shifting audience demographics and preferences. Drawing upon these empirical insights, the review highlights theatre's enduring ability to inspire, connect, and transform, reaffirming its significance as a cultural cornerstone and a driving force in enriching shared human experiences.
Aims
Evidence suggests that group arts activities with children build resilience and positive mental wellbeing. However, insufficient attention has been paid to how such activities can be implemented in practice across different contexts, particularly in socio-economically disadvantaged areas. Therefore, we explored the implementation of a dance-based intervention in two primary schools situated in an area of high economic deprivation in North East England.
Methods
Our study explored Year 1 (age 5–6) and Year 5 (age 9–10) children, their parents, teachers and dance artists’ views of a creative dance intervention (South Tees Arts project; STAR) in two schools in North East England, using interviews and focus groups, combined with innovative data capture activities (i.e. movement activities, graffiti walls, songs and Vox Pops).
Results
Children felt that STAR contributed positively to their emotional wellbeing and physical health. Teachers noticed improved confidence, engagement, literacy, and social and motor skills and less disruptive behaviour in class. Benefits continued beyond school, with children exercising at home to practice their dance moves. Several implementation barriers were identified ranging from limited time, large classes, dealing with challenging behaviours, the impact of COVID-19, stigma and anxiety. In response to these challenges, several solutions were developed during project delivery, such as artists and children working in pairs and role modelling by teachers and dance artists.
Conclusions
We found three underlying mechanisms for successful implementation: (1) constant communication between teachers, dance artists and parents was essential to managing challenging behaviours, building personal relationships with children, and helping parents to get involved and support their children at home. (2) Linking dance activities to the school curriculum (using narratives from existing reading schemes) helped to support skill gaps. (3) A strong ethos of partnership between school, dance and arts providers and researchers ensured the adaptability and flexibility of projects.
In the wake of the global COVID-19 pandemic, understanding its psychological and social impacts has become a critical area of scientific inquiry. The pandemic's far-reaching consequences have been felt across diverse populations, prompting a need for innovative research methodologies to capture the breadth of individual experiences. This study addresses the challenge of articulating personal narratives during the pandemic by leveraging the capabilities of social virtual reality (VR) and digital storytelling, a method yet to be fully explored in pandemicrelated research. Here, we show that by integrating photogrammetric 3D media with social VR technology, we can obtain a nuanced understanding of individuals' experiences during the COVID-19 lockdowns. Our analysis reveals distinct themes related to health, life events, environment, technology, and employment, illustrating a complex interplay of factors influencing personal experiences during the pandemic. These findings contrast with and expand upon previous research by providing a more immersive and participant-centric perspective on the pandemic's impact. They highlight the value of using VR to capture and analyze personal experiences in unprecedented global situations. By situating these results within the broader context of pandemic research, this study underscores the potential of VR as a transformative tool for social science research. It opens new avenues for understanding complex human experiences, offering valuable insights across scientific disciplines, thereby enhancing our collective knowledge of the pandemic's multifaceted effects on society.
The world appears to be approaching a COVID-19 juncture as nations learn to live with the virus, and schools and universities have responded each in their unique way. A chronic problem for wellbeing education research is that it can be siloed. This book responds to the call for a more integrated approach to wellbeing education research in public policy. The authors of this book have responded to the issue through the lens of subfields of education research. Specifically, authors have engaged in new research focusing on wellbeing and the creative arts, media and communication curriculum and pedagogy; curriculum and pedagogy theory and development; teacher education and professional development; inclusive education; teacher and student wellbeing; humanities; and multicultural education. The editors invited established and emerging international experts to engage with the issue. The book adopts Viac and Fraser’s conceptual framework for teachers’ occupational wellbeing as the scaffold to investigate the problem. Chapters advance new knowledge and understanding of the nature of wellbeing in the context of education, examine issues related to ongoing problems of integrating wellbeing concepts into pedagogy in a post COVID-19 pandemic world and investigate international examples of best practices.
The role of arts education in promoting Social and Emotional Learning (SEL) among students is examined in this literature review. Between 2017 and 2022, the last five years yielded fertile ground for research studies and articles about Social and Emotional Learning (SEL) and the arts within the field of arts education. The article begins by establishing the significance of the topic and giving a brief summary of it. The remainder of the article focuses on transformative learning and is organized around a variety of artistic categories for social and emotional learning. The review reveals that arts education is an effective way of promoting SEL, as it provides a safe space for students to express themselves creatively, build their self-confidence, and develop their social skills. The review also highlights the importance of arts integration, which involves integrating the arts into other subject areas, in promoting SEL. The conclusion includes critical reflections and recommendations for future applications of this topic via research, programs, and policy. The encompassing goal of this literature review is to serve as a foundational source to compile the research on this topic and to serve as a springboard for future research in this area.
Participation in inclusive dance can have positive results for different groups of people with special needs, including those with mobility impairments. The purpose of study is to analyze the level of physical development and psychomotor skills of students with developmental disorders of the musculoskeletal system at different stages of inclusive dance classes. A model of a teacher using a Bayesian network has been developed to assess the level of physical fitness at different stages of training. The study involved 30 participants. There were two groups of students aged 17–19. Group 1included students engaged in inclusive dance classes for six months while Group 2 consisted of students having attended 2–3 classes before the study. The students were interviewed. In terms of the level of physical fitness, significant differences were revealed between Group 1 and Group 2 in favor of Group 1. Regular inclusive dance classes help to improve students' physical fitness and, consequently, their overall coordination of movements. Improvement in overall physical health should be explored more deeply in further research.
Educators usually recognise the value of drama‐in‐education, but hesitate to use it with unpredictable diverse groups that have limited communication and social understanding. This article evaluates a professional development initiative in an all‐age special school (3–19 years) in eastern England as a whole‐school improvement strategy to promote drama for enhancing children's communication through dialogic teaching. The project was the culmination of an action research cycle to refine an original constructivist five‐staged professional developmental model for teaching inclusive groups with children with special educational needs and disabilities. Following a staff training session, the researcher supported each teacher in class once a week for 6 weeks, using collegial mentoring strategies. The model enabled their starting point and priority next step to be accurately identified towards them gradually taking over leading drama sessions. A pedagogical framework for early drama – Prescribed Drama Structures – proved pivotal, enhanced by a flexible model for exploring story and understanding social narrative.
Students’ social-emotional capacities are crucial to their civic development, and art is known as a meaningful pedagogy of social-emotional learning. However, the previous studies were mostly conducted in western societies and have rarely done in emerging democratic societies like Kenya. Given Kenya’s educational reform agendas for the sustainable development of society and its citizens, it is necessary to explore pedagogies that contribute to the fulfilment of social demands. This paper examines, by a quasi-experiment case study using a mixed-method, the effects of art education in social-emotional learning of primary school students in a rural village of Kenya. Based on a collaboration between insiders and outsiders of the village, it also reveals appropriate approaches to art education given the social context.
Internationally, research documents a link between children’s creative engagement in Arts and their experiences of positive wellbeing. Yet this is at odds with both the provision of Arts curricula in England’s education system (which continues to decline including substantial cuts to resources and staff), and longitudinal research reporting a decrease in children’s wellbeing. In this article, the authors present findings from a qualitative study conducted as part of a mixed methods project in a Secondary school in England exploring how performing arts curricula (dance, drama and music: ‘PA’) nurture pupils’ hedonic and eudaimonic wellbeing. 11 pupils (aged 11–16) engaged in participatory creative projects as a means of expressing their PA experiences. Their projects served as a springboard for in-depth individual interviews. Thematic analysis revealed that Arts curricula are uniquely need-facilitating environments that nurture pupils’ wellbeing in school. Pupils’ experiences suggest that PA curricula positively impacted their eudaimonic wellbeing, satisfying their innate psychological needs of relatedness, autonomy and competence, as theorised in Self-Determination Theory. Pupils’ experiences also underlined the benefits of Arts engagement for their hedonic wellbeing, including increased positive affect and providing a space for regulating emotions. Collectively, the qualitative and quantitative findings from this mixed methods project suggest some pupils engaged in PA are vulnerable, and Arts play a critical role in facilitating their wellbeing. The positive implications of retaining Arts curricula, versus the potential damage to pupils’ wellbeing and wider engagement with school caused by continuing to devalue Arts, is discussed.
One of the pressing challenges of many cooperatives is ensuring second-liners and successors who will continue a movement in a genuinely cooperative way. The aim of this chapter is to highlight how PHCCI-MPC Tacloban has successfully run a youth arts program for 13 years, and, in the process, producing six of its tutees as incumbent officers of the PHCCI Laboratory Cooperative and potential future leaders of the guardian cooperative. This chapter specifically delves into the youth’s significant experience in the Summer Tutee-Friendly Program, and how this arts program has transformed the young lives of these tutees into Lab Coop officers. This phenomenological study gathered data using key informant interviews as source materials. The chapter concludes that PHCCI-MPC’s Tutee-Friendly Program has discovered and developed not only the talents and skills of the young but also subliminally developed their leadership potentials. Furthermore, this study encourages cooperatives to continually invest on and empower the youth, having much to give through their positive ideals and courage as they respond creatively and innovatively to the pressing challenges that they experience. This will, in turn, develop them as responsible second liners and the bloodline of the cooperative movement.
This article uses findings from a case study of an arts/education professional learning programme in Wales to construct a definition of creativity that reflects on and contributes to debates around the concept, and its value within education. The programme Arts and Wellbeing in Education (AWE) focused on supporting school teachers’ well-being through creative practice. The research comprised a participatory methodology that sought to explore the circulating discourse around the key concepts of creativity and well-being in order to identify how the team leading the programme conceptualized the value of creativity, and how this was enacted. The findings point to a notion of creativity that is an inclusive, carnival experience that may improve well-being through mindful approaches to creative practice.
Le recours aux arts circassiens dans la lutte pour l’intégration des populations marginalisées est en essor dans de nombreux pays, dont le Brésil, et en voie de reconnaissance internationale. En s’appuyant sur le cas de Crescer & Viver, qui intervient dans des quartiers défavorisés de Rio de Janeiro (Brésil), les auteures visent une meilleure compréhension de la dynamique d’intervention du cirque social. Leurs résultats mettent l’accent sur le rôle joué par les ateliers, activités et représentations, mais aussi par la mise en œuvre de principes démocratiques, dans le renforcement ou le rétablissement de liens sociaux entre les participants, leur communauté d’appartenance et le reste de la société brésilienne. L’analyse dynamique du capital social, mobilisé par les activités proposées par le cirque social, est au cœur du cadre d’analyse proposé.
This study examined the specific characteristics of art therapy practice that takes place within the school system. The study is based on the perspectives of 16 art therapists working in primary schools, as reflected in 113 journal entries that were recorded during 2015–2016. These entries were analysed according to the principles of consensual qualitative research Hill, C. E., Knox, S., & Hess, S. A. [2012. Qualitative meta-analyses of consensual qualitative research studies. In C. E. Hill (Ed.), Consensual qualitative research: A practical resource for investigating social science phenomena (pp. 159–171). Washington, DC: American Psychological Association]. The findings fall into five primary domains: (1) the therapeutic setting; (2) methods, tools and techniques; (3) the therapeutic interaction; (4) themes that emerged in the sessions; and (5) the therapists’ evaluation of the contribution of the therapeutic process. The findings highlight specific gaps between art therapy practices and field training, and the reality of the education system. These suggest changes that could be made as regards the training of school art therapists, that should be broadened to varied modalities and the construction of therapeutic models applicable to the educational setting, including the adoption of more short-term therapeutic approaches.
This study explores outcomes related to musical learning in a child with complex special educational needs. CB is a boy who was 8 years old at the start of the study and was diagnosed with comorbid autism spectrum disorder, attention deficit hyperactivity disorder, sensory processing difficulties, dyslexia, and dyspraxia during the study. He was evaluated on a battery of developmental measures before and after 1 year of music learning. At pretesting, CB obtained a high musical aptitude score and an average IQ score. However, his scores on tests measuring motor abilities, executive function, and social-emotional skills were low. Posttesting revealed improvements in CB’s fluid intelligence and motor skills, and although teacher and parent reports suggested a decline in his social-emotional functioning, his musical progress was good. The results are discussed in the context of impairments in developmental disorders, the importance of flexible teaching approaches, and family support for music learning during childhood.
This article will stretch the boundaries of the interdisciplinary lens to consider the history of and current potential for the arts to enhance, advance, and amplify individual, family, and community social change goals of the social work profession. To begin, consider the following questions: What would inspire artists and social workers to intentionally work together to reveal new strengths, energy, and capacity in the areas we care about? What do the arts have to teach the profession of social work and vice versa? How have the arts already played a role in the profession, and what has impaired social work’s ability to make greater use of the strengths associated with the arts? How have other professions (public health, psychology, education, and others) incorporated partnerships with the arts? This article concludes with a call to action to advance the potential of the arts in coordination with social work and related disciplines.
Historiquement, les arts plastiques ont été peu valorisés à l'école primaire au Québec. Pourtant, les arts ont le potentiel d'apporter un bienêtre développemental, éducatif et psychocognitif aux enfants, aidant à leur réussite. Nous devons considérer sérieusement cet apport. Voici un tour d'horizon des valeurs et des enjeux scolaires soutenus par un enseignement des arts bien intégré dans le curriculum, des habiletés potentiellement développées chez les enfants et des avantages de son intégration dans l'ensemble du curriculum scolaire, notamment en sciences.
The purpose of this paper is to provide a perspective that will help creative arts therapists to develop, select, and implement the most effective approaches to client assessment. Seven standards or criteria have been identified. To be clinically effective an assessment should: (a) have clearly defined objectives, (b) be conducted by a qualified therapist, (c) offer unique clinical advantages, (d) employ effective methods of data collection, (e) produce reliable data, (f) lead to valid conclusions, and (g) adhere to ethical standards.
Dance Movement Therapy (DMT) in the UK is derived from dance education, as well as other associated fields. Although DMT is growing in terms of numbers of practitioners and client populations, only very limited information is available concerning the theoretical bases and principles underlying the practice of DMT, as well as the backgrounds of therapists. A nationwide study was therefore undertaken at the University of Manchester, UK (1994–8), which aimed at describing the field of DMT, as well as other Arts Therapies (ATS), as fully as possible. A questionnaire was constructed, based on preliminary ‘in-depth’ interviews with leading arts therapists, five of whom were dance movement therapists, and distributed to all registered members of the ATS associations: 41 dance movement therapists returned completed questionnaires. Results showed the occurrence of high professional qualifications among practitioners as well as a range of backgrounds, including education. A number of theoretical influences and principles was also revealed, deriving from psychoanalytic and developmental theories as well as from DMT traditions, reflecting an overall eclectic approach to movement and therapy. The article also discusses the relevance of DMT to education, teachers and children.
Objective: Suicide rates in young people have increased during the past three decades, particularly among young males, and there is increasing public and policy concern about the issue of youth suicide in Australia and New Zealand. This paper summarises current knowledge about risk factors for suicide and suicide attempts in young people. Method: Evidence about risk factors for suicidal behaviour in young people was gathered by review of relevant English language articles and other papers, published since the mid-1980s. Results: The international literature yields a generally consistent account of the risk factors and life processes that lead to youth suicide and suicide attempts. Risk factor domains which may contribute to suicidal behaviour include: social and educational disadvantage; childhood and family adversity; psychopathology; individual and personal vulnerabilities; exposure to stressful life events and circumstances; and social, cultural and contextual factors. Frequently, suicidal behaviours in young people appear to be a consequence of adverse life sequences in which multiple risk factors from these domains combine to increase risk of suicidal behaviour. Conclusions: Current research evidence suggests that the strongest risk factors for youth suicide are mental disorders (in particular, affective disorders, substance use disorders and antisocial behaviours) and a history of psychopathology, indicating that priorities for intervening to reduce youth suicidal behaviours lie with interventions focused upon the improved recognition, treatment and management of young people with mental disorders.
Dance Movement Therapy (DMT) is a developing discipline in the UK, with some practitioners working in educational settings. Little is known, however, of their qualifications or backgrounds, their therapeutic aims, the criteria for selection of clients, the theories and principles which inform their work, and how these may differ from dance movement therapists working in other environments. This paper presents descriptive information gained from samples of therapists working in education (N=16) and elsewhere (N=25), as part of a nation-wide survey of the practice of creative arts therapies. Results show that the majority of therapists in education are well qualified professionally and artistically, although a proportion have no formal DMT or artistic qualifications. For the most part, therapeutic aims and the criteria for their selection are shared with therapists working in other settings. DMT is considered to be particularly suitable for children with emotional and communication difficulties who appear responsive to dance/movement. DMT practice in education, however, has an eclectic character with no specifically identifiable theoretical framework; although this permits flexibility of approach, it can also encourage criticisms relating to lack of definition. It is suggested that additional research is needed in order to clarify with greater precision the nature of DMT in education. With further research information, the practice of DMT may be accepted more widely at all educational levels.
Art therapy in education appears to be a growing area, despite the fact that there are as yet few practitioners. Data collected from a nationwide survey in all arts therapies, carried out at the University of Manchester, School of Education, indicate the extent of this growth as well as conditions of work, client groups and prevalent theoretical influences. Based on these findings, this article discusses the current position of art therapists in education. At the same time, other findings of the study are presented in order to put this work in the wider context of art therapy and arts therapies in general, and suggestions for future directions of work are made.
Melanie Peter, Advisory Teacher with Norfolk Local Education Authority, explores the value of arts experiences for pupils with special educational needs (SEN), and places the arts firmly in the current educational context. She believes that the arts are ‘therapeutic’ as distinct from ‘therapy’ and recognises their unique contribution to the curriculum.
There is a lack of literature and research supporting the use of art as therapy in occupational therapy. In spite of this, art as a therapeutic modality is a frequently used tool. In an attempt to define the rationale for using art in therapy, this paper reviews selected literature to gain an understanding of the historical use of art and the current status of art used by occupational therapists in mental health settings.
In the UK the suicide rate for male adolescents has nearly doubled since 1975. With a similar increase reported from other countries it is not surprising that preventing suicide in young people has become a priority for many health professionals and policy makers. Unfortunately despite advances in our understanding of suicide in young people there are still deficiencies and inconsistencies in our knowledge. There are also problems in transforming our knowledge of suicide and suicidal behaviour in young people and our understanding of theoretically possible approaches to prevention into effective suicide prevention strategies. To increase the chance of preventing suicide in young people we need to be aware of the problems of putting theory into practice and evaluate all interventions that are undertaken to determine their appropriateness and effectiveness.
It is widely recognized that official suicide rates conceal the real scale of non-accidental self-injurious fatal behaviour, including among children and young people. There are many reasons for this including the constraints of registration policy and practice, uncertainty about the circumstances surrounding a death, an unwillingness-often for the family's sake-to affix a suicide label on a child, and perhaps the belief that the term "suicide" is not quite accurate. The present study examined all records over a 17-year period from an inner London coroner's office in order to make some quantitative assessment of the extent to which non-accidental self-injurious deaths might be underestimated by suicide returns among those under 20 years. It is suggested on the basis of this examination that the real rate of what might be termed "suicide" among this group may be up to three times the official recorded level. This finding received general confirmation from a smaller-scale comparison in an out of London location.
This paper describes a small qualitative research study conducted in the area of suicide. Family and close friends of 15 young people who lived in Sydney, New South Wales, prior to their suicide, between 1990 and 1995, were interviewed to elicit their perceptions of the healthcare support given to the suicidees prior to their death.
Content analysis of in-depth interview transcripts identifying common themes in the description of the participants' experiences and impressions was carried out. A recurring theme was their call for more proactive management and support programs for people at risk of suicide, as well as education and support for close family and friends.
Participants claimed that they believed there were inadequate supports in place, that information and education were uncoordinated and sparse, and that healthcare workers were not effective in preventing suicide attempts because they lacked adequate diagnostic and management skills and displayed poor attitudes towards suicidees.
Experiences of care received and suggestions for improving them by people closely associated with suicide, provide healthcare staff with important information about the types of information, education and support that those at risk of suicide and their loved ones require at a time of crisis.
Suicide rates in young people have increased during the past three decades, particularly among young males, and there is increasing public and policy concern about the issue of youth suicide in Australia and New Zealand. This paper summarises current knowledge about risk factors for suicide and suicide attempts in young people.
Evidence about risk factors for suicidal behaviour in young people was gathered by review of relevant English language articles and other papers, published since the mid-1980s.
The international literature yields a generally consistent account of the risk factors and life processes that lead to youth suicide and suicide attempts. Risk factor domains which may contribute to suicidal behaviour include: social and educational disadvantage; childhood and family adversity; psychopathology; individual and personal vulnerabilities; exposure to stressful life events and circumstances; and social, cultural and contextual factors. Frequently, suicidal behaviours in young people appear to be a consequence of adverse life sequences in which multiple risk factors from these domains combine to increase risk of suicidal behaviour.
Current research evidence suggests that the strongest risk factors for youth suicide are mental disorders (in particular, affective disorders, substance use disorders and antisocial behaviours) and a history of psychopathology, indicating that priorities for intervening to reduce youth suicidal behaviours lie with interventions focused upon the improved recognition, treatment and management of young people with mental disorders.
To test the 'absolute misery hypothesis' that suicide rates are a proxy measure of psychological maladjustment within the general population of young people.
Study I regressed World Health Organization statistics on youth suicide rates on measures of adolescent adjustment across seven countries. Study II analysed the results of a Canadian survey involving 2,111 children from 31 schools in grades seven to 12 (ages 11-20 years, mean = 15.5, SD = 1.7). The survey contained measures of suicidality, depressed affect and social comparison.
Study I found that male suicide was much more likely in psychologically well-adjusted countries than in less well-adjusted countries. Although not statistically significant in a sample of this size (n = 7), correlation analysis suggested that the relationship between suicide and adjustment was in the opposite direction for females. Study II found that suicidality in boys was not associated with depressed affect on its own, or with social comparison on its own, but was associated with the combination of depressed affect and negative social comparison. By contrast, suicidality in girls was significantly associated both with absolute and comparative levels of unhappiness.
A new, 'relative misery hypothesis' is proposed to account for these results. Under this hypothesis, the disposition of vulnerable young men towards suicide is influenced by their affective state relative to others. When those around them are perceived to be better off than they are, the predisposition of young men to suicide is increased. By contrast, female suicide is predicted to be less influenced by young women's relative state, and more by their absolute level of unhappiness. The primary implication of the relative misery hypothesis is that the prevention of young male suicide in particular is likely to require methods that discourage vulnerable individuals from making negative social comparisons.
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