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ARTISTIC CITIZENSHIP:
Co-Creating a Flexible Definition
by Jacob Thompson-Bell
Leeds Conservatoire
December 2022
A report on the Leeds Conservatoire Knowledge Exchange project:
Arsc Cizenship Forum: Co-Creang a Flexible Denion for 2022
Correspondence regarding this report should be directed to: j.thompson-bell@lcm.ac.uk
This document, including all data and images herein, is published
under a Creave Commons Aribuon-NonCommercial-ShareAlike 4.0
Internaonal (CC BY-NC-SA 4.0). For more informaon on this license,
visit: hps://creavecommons.org/licenses/by-nc-sa/4.0/hps://
creavecommons.org/licenses/by-nc-sa/4.0/
To cite this report: Thompson-Bell, J. (2022) Arsc Cizenship: Co-Creang
a Flexible Denion. Leeds: Leeds Conservatoire. December 2022.
ARTISTIC CITIZENSHIP:
Co-Creating a Flexible Definition
by Jacob Thompson-Bell
Leeds Conservatoire
December 2022
This report is based on delegate discussions at the Arsc Cizenship Forum: Co-Creang a Flexible
Denion for 2022, hosted at Leeds Conservatoire, on 16 - 17 June 2022.
Funding to produce the forum and this report was provided by Leeds Conservatoire via the UKRI
Knowledge Exchange Covid-19 Recovery Fund 2021-23.
1. Introducon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
2. Arsc Cizenship in Current Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.1 Locang the Field . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
2.2 Areas for Further Research . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10
3. Format of Discussion at the Forum . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11
4. Summary of Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4.1 Arsc Values, Social Values . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
4.2 Higher Music Educaon, Arst Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
4.3 Arsc Cizenship Beyond the Creave Industries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15
4.4 Co-Creang a Flexible Denion for Arsc Cizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
5. Themac Analysis of Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
6. A Framework for Arsc Cizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6.1 Contexts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18
6.2 Responsibilies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21
7. Conclusion and Recommendaons . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22
8. References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25
9. Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26
List of Figures
Figure 1. Dening Arsc Cizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Figure 2. Intersecng Model of Sustainable Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Figure 3. Intersecng Model of Art and Society . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Figure 4. Arsc Provisioning Systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19
Figure 5. Framework for Arsc Cizenship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
Contents
6 | Arsc Cizenship: Co-Creang a Flexible Denion
This report summarises and develops themes
discussed at the Arsc Cizenship Forum: Co-
Creang a Flexible Denion for 2022, hosted at
Leeds Conservatoire, on 16 - 17 June 2022.
The forum brought together a diverse,
transdisciplinary collecve of 45 delegates to:
• Discuss the value of music and the wider
performing arts, across a variety of sectors, and
to a range of stakeholders;
• Examine the arsc and/or social ideals to which
higher music educaon aspires, and to assess
these from an equity perspecve;
• Idenfy ways in which music does, or could,
engage with sectors such as STEM, healthcare,
and other arts and humanies, to advance
progress on signicant social and environmental
issues;
• Co-create a exible denion of arsc
cizenship, which captured the views and ideas
of the people assembled, and accounted for the
aims outlined above.
The following report contributes to these aims
in two ways: rstly, by expanding upon delegate
discussions to develop a professional development
framework based around four key themes for
would-be arsc cizens (p.18); and, secondly, by
proposing six recommendaons for centres of arts
pracce, educaon or research (p.20), designed to
strategically support these themes.
The themes and recommendaons proposed do not
constute a singular denion of what it means to be
an arsc cizen. Instead, they oer crical posions
through which arsts and instuons might progress,
thereby to idenfy ways in which their pracce could
engage with signicant social and environmental
issues, and to establish frames of reference for
their work which go beyond discipline-specic
consideraons.
The forum and report add to current research on
arsc cizenship in the following ways. Firstly,
whereas previous research has predominantly
focused on arts educaon, this project brings
together the perspecves of professional, academic
and pedagogical stakeholders to explore what arsc
cizenship might mean, and what kinds of language
and focus are considered appropriate, across
these areas. Secondly, by drawing on sustainable
development models linking economic, social and
environmental domains, this report expands the
scope of arsc cizenship research to engage
beyond the typical cultural industries, in order
to create new transdisciplinary opportunies.
Ulmately, it is proposed that arsc cizens should
organise their pracces around a desire to live well,
to live equitably, and to live within planetary limits.
Although this report is wrien with a broad
readership in mind, it should be acknowledged
that, since the forum was held at a performing
arts instuon, and given that the specialism of
the author is music, there is a primary focus on
musical examples and commentary. Equally, it
should be recognised that much arsc cizenship
research begins from a Western perspecve,
based on Western ideas about the posion of art
in relaon to wider society. Therefore, whilst the
recommendaons in this report are designed to be
exible rather than prescripve, their scope and
relevance must, to some extent, be individually and
culturally determined by the arsts, instuons, or
other people who might have reason to use them.
Introduction
1
Arsc Cizenship: Co-Creang a Flexible Denion | 7
2.1 Locating the Field
Arsc cizenship is a research area of increasing
signicance within higher music educaon, and
especially within the European and American
network of conservatoires, including through the
Associaon of European Conservatoires Arsc
Cizenship Working Group (hps://aec-music.
eu/project/aec-sms-2017-2021-creave-europe-
network/strand-1-music-in-society/). At its heart,
arsc cizenship denotes an intenon for
artmakers and educators to consider the social and
environmental role their work might play, separate
from, or perhaps beyond, the concerns of their
specic discipline or tradion (Ellio et al., 2016).
Iniaves such as the Reecve Conservatoire
Conference series, developed at Guildhall School of
Music and Drama (hps://theculturecapitalexchange.
co.uk/2017/09/19/guildhall-schools-5th-
internaonal-reecve-conservatoire-conference/),
and the Research Centre for Arsc Cizenship,
based at Rhythmic Music Conservatory Copenhagen
(hps://rmc.dk/en/news/crearc-new-research-
centre-arsc-cizenship-rmc), have progressed
debate around the role of arts educaon, and the
queson of how arsc pracces might be expected
to engage with broad social and environmental issues
(Gaunt, 2016).
A parcular issue for arts educaon instuons has
been how to determine their strategic focus so as
to priorise between the variety of possible social
and environmental issues with which they might
engage. In other words, with such a wide net, how
can instuons and policymakers make sensive
decisions about where to direct funding, me and
aenon (Tregear et al., 2016)?
Arsc cizenship research has its origins in Western
higher music educaon, such as in the work of U.S.
academic David Ellio (Ellio, 2012; Ellio et al.,
2016). In adopng the term “arsc cizenship”,
Ellio is driven by a convicon that music
pedagogues must empower students to “‘put their
music to work’ for the beerment of other people’s
lives and social well-being” (Ellio, 2012, p.22). Ellio
urges educators to frame music not simply as the
execuon of musical skills, but as an “ethical acon”
(Ellio, 2012, p.22), which can help improve the lives
and health of communies (Crossick and Kaszynska,
2016). In essence, he challenges musicians and music
educators to think not only about how they make
music, but also why they do so. These consideraons
are value-driven and praccal in scope, encompassing
both the purpose and potenal of music, as well
as its juscaon for connued development and
renement, and thus its enduring status as an acvity
worthy of support and aenon.
The discussion of arsc cizenship within a
European conservatoire context has, most recently,
been signicantly expanded by Gaunt et al. (Gaunt et
al., 2021). They ask what the relaonship should be
between cra-focused and socially-engaged forms
of pracce, and whether, in respect of this queson,
conservatoire educaon in its current form is t
for purpose. Gaunt et al. propose the paradigm of
“musician as maker in society” (Gaunt et al., 2021,
p.9), by which they mean something not dissimilar
to Ellio, namely that musicians put their hard
won skills to use in the wider social sphere. The
disncon between Gaunt et al. and Ellio is in the
extent to which they consider cra-based skills to be
a jusable measure of arsc success, i.e. whether
the art should be judged on social/environmental
impact alone, or if discipline-specic skills are also
Artistic Citizenship in
Current Research
2
8 | Arsc Cizenship: Co-Creang a Flexible Denion
of relevance in adjudging arsc quality. Gaunt et al.
argue that cra should be a core dimension of arsc
cizenship, whereas Ellio is more ambivalent about
whether such skills have any inherent value beyond
their use in wider social sengs.
Of parcular concern for Gaunt et al. is how to
balance the conservaon and development of arsc
tradions, whilst also fostering socially-engaged
forms of pracce. As higher educaon leaders, they
also grapple with the issue of whether these career
paths should be equally valued within conservatoire
sengs. They advance a model of musicianship in
which arsc values and social values are placed
on a connuum, from “art for art’s sake through
to art for social purpose” (Gaunt et al., 2021, p.5).
They also reect on how a consideraon of the
civic responsibility of conservatoires might drive
equity and inclusion, and help instuons advocate
more eecvely to their stakeholder community for
connued funding and support. Ulmately, they seek
to oer “a manifesto against hierarchical thinking”
(Gaunt et al., 2021, p.6), in which diering arsc
value posions, pracce contexts, and skill sets, are
conceived of as a connuum of equally valuable
posions, rather than organised according to a
hierarchy of expectaons.
The work by Gaunt et al. is useful because it
smulates discussion across the music educaon
sector about what skills students should be taught,
and what career paths should be promoted as
being appropriate for musicians to progress into.
The conceptualisaon of musicians as makers is
also valuable because it establishes the potenal
for synergies to emerge between dierent forms of
pracce, including those concerned primarily with
mastering a range of prescribed skills within a musical
tradion, and those concerned with community-
led or parcipatory forms of pracce in which one’s
aptude as a facilitator might be more important
than technical prowess.
Arsc Cizenship: Co-Creang a Flexible Denion | 9
10 | Arsc Cizenship: Co-Creang a Flexible Denion
2.2 Areas for Further Research
As noted in the introducon, the social responsibility
of arsts, as currently explored and dened within
arsc cizenship studies, is an issue arising, to
some extent, from a Western context in which
arsc pracces are perceived to transcend, or be
separate from, other kinds of human acvity, i.e. to
be autonomous. Expressing arsc cizenship as
a desire to bring art back into society implies that
these domains were ever separate in the rst place.
In many cultures, the separaon between art and
other domains either does not exist, or is parsed
dierently. For example, Tim Hodgkinson’s study of
Tuvan culture illustrates how the rites and rituals
underpinning Tuvan shamanism include acvies
which might be understood more secularly in the
West, as art (Hodgkinson, 2016). Similarly, within
Islamic scholarship, music is, for some, considered
to be an ethically contenous issue, somemes
considered haram, or forbidden, and somemes,
framed as a space for negoang issues of cultural
identy (Adely, 2007; Nieuwkerk et al. 2016).
These social, cultural, and perhaps spiritual, factors
must surely be explored if the ethical praxes,
imagined by Ellio for arsc cizens, are to move
beyond paternalisc outreach models, and embody
more collaborave ways of doing and thinking.
Equally, arsts wishing to explore their social value
within mulcultural Western sociees (e.g. Britain)
must grapple with the challenge of negoang
between potenally compeng denions of art,
society and religion (or ritual), and widely diering
views as to the posive or negave value of pracces
falling into these categories. It therefore remains
to be seen, rstly, how and if arsc cizenship is a
meaningful paradigm outside of a Western context;
and secondly, how social responsibilies for arsts
might be entangled with ethical and identarian
issues arising from within other domains, such as
those relang to religious or polical freedoms.
Another potenally under-explored area within
arsc cizenship studies is that of arsc pracces
as a site of encounter (Rovisco, 2019), rather than
a process of making. In other words, art as the
staging of experiences or encounters between
people, or objects, which is intended to generate
new perspecves, rather than new things. Making,
as proposed by Gaunt et al., implies creang things
or resources, but a more curatorial stance is also
possible, in which praconers work with exisng
materials to shed new light on them, or use them
in unusual ways. There is, accordingly, scope within
arsc cizenship studies to explore a broader
model of art as a mode of aending to materials,
relaonships or values, which can render them
afresh. Consideraon of the potenal of art as a site
of encounter, and the issues of cultural relevance
outlined above, have informed the framework for
arsc cizenship, outlined in secon six.
Regardless of precisely how it is dened, arsc
cizenship is a concept intended to strike at the heart
of what the arts are all about, and to queson what
kinds of aributes arsts need in contemporary,
globalized, sociees. Arsc cizenship implies that
the arts are more than a commodity to be shared
out, they are social praxes (Ellio, 2012); that is,
ways of working together and, hopefully, making our
lives beer. Doubtless, art can move us emoonally,
draw us together, and galvanise us around common
causes. As a powerful resource then, the arts are also
something we need to think carefully about - how do
we use them, how should we use them, who gets to
use them?
The Arsc Cizenship Forum at Leeds Conservatoire
engaged with these issues through a series of
quesons posed to a group of 45 delegates over a
two-day period. Delegates were asked to reect on
each queson for between 20 - 30 minutes, working in
small groups loosely convened by a nominated “host”,
whose responsibility extended to note-taking and
communicang back to the other delegates what was
discussed at various stages during the forum. Delegate
responses were collected under the Chatham House
Rule, meaning that, whilst delegates can be named,
names must not be linked to any specic comments.
Quesons were collecvely shaped with delegates
during the development of the forum, in order
to ensure breadth and relevance to a variety of
stakeholders, and were designed to steer discussion
towards the place of music within society, and the
roles and responsibilies of praconers, professionals
and educators. As already noted, although the
conservatoire context and specialism of the forum
conveners meant that some quesons were posed
specically in relaon to music, the intenon was to
consider how these ideas might relate to all forms of
arts pracce. For this reason, delegates parcipated
from elds as diverse as sociology, internaonal
development, cizenship, arts management, theatre,
educaon, sound art, and curatorship, to name a few.
Discussion was divided into four related areas:
• Part 1. Arsc values, social values: (1.1) What
is music for and why do we need musicians? (1.2)
Is there a disncon between social values and
arsc values? (1.3) How can we best advocate
for the relevance and importance of music in the
public sphere?
• Part 2. Higher music educaon, arst
development: (2.1) What kinds of training
do musicians need and when? (2.2) What
partnerships do higher music educaon
instuons need to ensure legimacy - with whom
and on what terms?
• Part 3. Arsc cizenship beyond the creave
industries: (3.1) What role could/do arsc
cizens play in sectors outside the tradional
creave industries? (3.2) How eecvely does
music educaon and development equip students
to full “extra-musical” roles?
• Part 4. Co-creang a exible denion for arsc
cizenship: This phase was le relavely open,
with delegates invited to provide a collecve
denion of “arsc cizenship” through
group discussion, accounng for answers to the
quesons in the preceding stages of the forum.
To create this report, delegate responses were
analysed and theorised in two ways. The rst
analycal approach was to summarise discussion for
each queson. This combined rapid note-taking at
the forum, with subsequent renement of responses,
capturing the specic concerns and perspecves
of delegates, and preserving, somewhat, the ow
of discussion. The second approach was to collate
responses to all quesons and to themacally group
them, so that macro-level connecons could emerge
linking the dierent sectors and contexts discussed.
This was achieved by photographing notes from
group hosts (Appendix 1), and breaking these into
257 ‘statements’ (i.e. sentences or groups of ideas
from within a single photograph), which were then
organised into themes (Appendix 2).
Format of Discussion
at the Forum
3
Arsc Cizenship: Co-Creang a Flexible Denion | 11
12 | Arsc Cizenship: Co-Creang a Flexible Denion
4.1 Artistic Values, Social Values
Q. 1.1 What is music for and why do we need
musicians?
Music has always been in our lives; it is a primal
acvity culvang emoonal engagement and
embodied awareness, which simultaneously goes
back to each individual’s childhood, and acts a means
of arculang public memory. Music possesses
an ontological force, bringing into being aspects
of personal identy, enacng (or acvang) social
bonds, envisioning ‘human-ness’, and perhaps even
occupying a spiritual or metaphysical dimension.
The very basis for human existence is, in many
cases, enshrined in arsc artefacts. It could even
be argued that we don’t need musicians per se, but
rather, we need people who can make music. The
former presupposes professionalism, accreditaon,
or specialised status of the individual, whilst the
laer suggests a shared, or social, acvity involving
mulple and diverse actors. Implicit within this
argument is the issue of who is worth listening to,
which is also a central issue within cizenship studies.
Q.1.2 Is there a disncon between social values
and arsc values?
Music can give license for people to occupy liminal
idenes or spaces; however, the power dynamics of
this arsc role should not be overlooked. We need
to queson, “who gets to decide who is a musician”,
and thus, “who has access to, and control over, these
arsc capacies and privileges”? At the same me,
there is, perhaps a tension between the collecve
capacity of music-making and the individualism of
arsc expression.
Certainly, music pracce can be a means through
which to foster a sense of belonging, cultural
identy and self-ecacy; however, at least within
the Western cultural industries, arsts (including
musicians) nd themselves in compeon with
one another, not only in the pursuit of resources
and funding, but also to jusfy their legimacy as
‘experts’. Nevertheless, compeon should not be
understood as universally bad and collecvism as
universally good, since each can be modulated and
pracced in dierent ways. Indeed, culvang arsc
cizenship could be understood, in part, as a maer
of interrogang what gets included in the denions
of both the social and arsc, and quesoning the
extent to which these domains should be considered
separate.
In this sense, arsc cizenship would be concerned
not so much with arsts and the social message of
their art, but with social actors and their parcular
capacies to form bonds, to move, to organise, or
to express ways of being, through which cizenship
can be constructed. On this basis, we could
think of arsc cizenship as a kind of polical
chimera, combining ideals of individualism and
entrepreneurship commonly championed within
a neoliberal capitalist system, whilst also enabling
forms of acvism and social change which cut across
these dominant regimes of power.
Q. 1.3 How can we best advocate for the relevance
and importance of music in the public sphere?
Rather than advocang for art, we could advocate
for the condions under which creavity might
be possible, thereby opening up new pathways
through which arsc pracces might ow. It is
Arsc Cizenship: Co-Creang a Flexible Denion | 13
Summary of Discussion
4
“Power to evoke/culvate emoonal response”
“Tell stories, give tesmony”
necessary to tell the whole life-cycle story of music
making, to cover the enre ecosystem, and give
tesmony to everyone involved. For example, in
the realm of educaon, this means moving beyond
graduate earnings as the sole metric through which
impact is measured, and adopng more holisc
models accounng for the personal, social, creave,
professional and nancial impacts of being a
musician. Recognising these dimensions may require
longitudinal studies to be undertaken, and more
wide-ranging documentaon of pracce would be
needed to tell these stories.
Arsts should be supported to advocate for
themselves, to recognise their own value and be
ready to acknowledge the ways in which they
create social good. This involves establishing
transdisciplinary relevance, both in terms of reaching
new publics, and nding new language to arculate
arsc value, e.g. to policymakers or other sectors.
This suggests that arsc cizenship might, in fact, be
a form of “transversal” (Braido, 2019, p.36) pracce
through which arsts engage with the languages and
idenes of a variety of communies, in order to
expand the scope and relevance of their work.
4.2. Higher Music Education, Artist
Development
Q. 2.1 What kinds of training do musicians need and
when?
Educators should teach creavity not as something
homogeneous or xed, but as a dynamic eld which
is changeable in dierent situaons, i.e. owing
through dierent contexts (c.f. Blain, 2016). In pursuit
of this ideal, art educaon should foster humility
and the development of ‘so’ or interpersonal
skills, as well as technical ones. One might design
curricula from the perspecve of “cizens rst, arsts
(musicians) second”, so as to incorporate a wide
range of personal, professional and creave skills,
and not only disciplinary skills, although the laer
might remain important. Higher educaon curricula
need to be student-led, since everyone has dierent
needs.
Educators need to teach students through, and
not only about, arsc pracce, but students
should not be expected to work for free, and
educaonal placements should embody the kind
of professionalism expected of parcipants. In
fact, training might be too narrow and didacc to
describe such an educaon; instead, there might be
an emphasis on acve learning, the culvaon of
aptudes, and self-determinaon, thus supporng
students to create an environment suitable for their
own development.
Q. 2.2 What partnerships do higher music educaon
instuons (HMEIs) need to ensure legimacy - with
whom and on what terms?
Partnerships in higher music educaon could engage
with the requirements of sectors outside of music,
rather than being exclusively related to music and
musical employment. This might enable musicians
to reach new publics and drive creave innovaon
in a variety of sectors. In part, this will necessitate
the consideraon of diverse views, from diverse
peoples, on music and arts pracce. To help with this
process of orientaon, there are issues with exisng
terminology which could be addressed: ‘training’
might be re-nuanced as ‘educaon’, ‘outreach’ as
14 | Arsc Cizenship: Co-Creang a Flexible Denion
“Valuing and equally valuing dierent career paths�
“Arculaon of public memory”
Arsc Cizenship: Co-Creang a Flexible Denion | 15
‘collaboraon’, even ‘arsts’ as ‘arsc cizens’.
In parcular, there is a need to move away from a
paternalisc partnership model, and towards a more
mutually impacul model in which the strategic
needs and ambions of both pares are considered
from the outset.
4.3. Artistic Citizenship Beyond the
Creative Industries
Q. 3.1 What role could/do arsc cizens play in
sectors outside the tradional creave industries?
There is a need to break out of disciplinary paradigms
to enable new forms of pracce to emerge. It is
therefore necessary to nd crossing points between
the modes of creavity prevalent in dierent
disciplines, including beyond the arts, e.g. science
and engineering. Transdisciplinary collaboraon must
start from shared values, based on equity between
actors, thereby enabling a sense of shared curiosity
to emerge.
Art praxis can express, reinterpret, crique, and
generate, complex data by making them ‘special’
(i.e. communicable and emoonally resonant by
design), and not simply communicate exisng
ndings from within other elds. There might also
be scope to think of arsc cizenship as a liberatory
framework, in which arsc pracces oer a crique
of normavity, or genealogy, of cizenship.
Q. 3.2 How eecvely does music educaon and
development equip students to full ‘extra-musical’
roles?
There is a risk that the arsc cizenship paradigm
could lead to the expectaon of arsts providing
something for nothing. It is especially challenging
for freelancers, many of whom are in precarious
posions, to think about the civic applicaon of
their work, since this could represent an addion of
responsibility, which praconers may not have the
me or resources to full. This suggests there may
be some addional responsibility for instuons to
support praconers to engage with civic themes,
in order to nurture the whole pracce ecology and
not simply those aspects which are of current market
value. Nevertheless, it is important not to completely
instrumentalise art pracces to the demands of other
sectors, since there is, perhaps, an ineable quality of
experience with which art pracces (including music)
are concerned. Put simply, art doesn’t always need to
be for something.
The queson must also be raised as to who gets to
call themselves an arsc cizen when some people
are unsafe in their naonal cizenship. Indeed, if
arsc cizenship is conceived of as an especially
impacul form of civic engagement, there might
be a risk that uncrical pracces could perpetuate
systemic inequies by further empowering those who
are in a posion to benet from such an ‘enhanced’
form of (arsc) cizenship. This highlights the need
for arsc cizens to act reexively, to assess not
only what is being said but also who is speaking
through arsc pracces. The present cultural
moment also needs to be assessed: Help Musicians
UK report that, post-Covid, 22% of musicians are
considering leaving the profession, so there is a
need not only to reinstate previous pracces but to
build back beer by developing new, more inclusive,
approaches (HMUK, 2022).
Figure 1. Dening Arsc Cizenship.
4.4. Co-creating a Flexible Definition for
Artistic Citizenship
At the end of the forum, delegates were invited
to collecvely formulate a exible denion of
arsc cizenship accounng for the discussions
from the previous one-and-a-half days. The working
denion eventually proposed was an aempt to
draw together a number of, somemes compeng,
priories and values into a statement designed to
inspire creave acvity based around consideraons
of social and environmental impact.
The denion was phrased as follows: “Arsc
cizenship cares for the virtues that could create
a liveable, sustainable world, which is open to
renewal” (Appendix 2. Response #256).
Strengths of this denion are that it is values based
(“virtues”), that it captures a variety of dierent kinds
of arsc acvity, that it posions these acvies
in a broad ecological context (“sustainable world”),
and that it is open-ended (“renewal”). However, the
abstract nature of the language perhaps reects
the diculty of seling on a single, normave,
denion for an arsc approach which is supposed
to be exible to the demands of dierent arsts,
sectors and publics. The diculty of agreeing on a
suitable formulaon can be seen in the number of
crossings out, re-wordings, queson marks, and other
annotaons, in Fig. 1, below.
The second means by which delegate responses were
analysed and theorised was by collang responses
to all quesons, and themacally grouping them.
Acve keywords were used to emphasise that these
themes are intended to be put into pracce, rather
than used as labels to categorise exisng work. In
lieu of a singular, all-encompassing, denion of
arsc cizenship, this approach has revealed a more
uid, praxical, understanding of arsc cizenship,
based around core principles or values. Addionally,
although the delegate responses match the sphere
of ambion already outlined for arts pracces in
exisng arsc cizenship research (see secon 2),
the context is not limited to civic life, but extends to a
Thematic Analysis of
Responses
5
16 | Arsc Cizenship: Co-Creang a Flexible Denion
variety of social and environmental impacts.
The themes selected reect a conscious aempt
to avoid fully instrumentalising arts pracce to the
demands of other socio-economic sectors, since to
do so would risk undermining arsc cra (Gaunt
et al., 2021), and thereby disempowering arsts
themselves, even in cases where other sectors might
stand to benet from arsc intervenon. Instead,
the intenon is to enable arsts to advocate for their
value both as ‘nomadic’ (Ferrando, 2014; Braido,
2019) actors moving into diverse elds beyond
the creave industries, and for the arts as a forum
through which signicant social and environmental
issues can be explored and negoated. In other
words, these themes concern not only the movement
of arsts into other elds, but also the incorporaon
of other elds into the arts, as a means of expanding
the range of associaons and capacies which arsts
can claim for their pracce.
Themes are elaborated below, based on delegate
responses. Unique numerical ideners are given to
indicate how delegate responses have shaped each
theme (e.g. #001). These responses can be traced
back to the original data via Appendix 2.
5.1 Artistic Citizenship Themes.
• Theme 1. Traverse
To traverse is to be nomadic, to explore juncons
between disciplines (#190) (#196), sectors, or
cultures (#072), and somemes to transgress (#232).
It denotes a readiness to think in metaphors (#047),
to noce connecons and synergies between
dierent ways of doing and thinking (#101), to
queson or redene boundaries between values
and denions (#108). Traversing means to cross
between current pracces in order to carve out and
arm new contexts and meanings (#137); to mulply
the possibilies of a person, object or idea by forming
new connecons (#122).
• Theme 2. Belong
To belong means to share a me or place with others
(#003), to create and express shared values, beliefs,
or experiences (#005). It means to nd a community
(#077), or to move people towards each other
(#028). Belonging can be primal, ancient (#086), or
newly forged. It can strengthen tradion (#070),
reconnect broken bonds (#037), or break tradions
to form new connecons. It can be universal or local,
public or personal, in scale (#009). Belonging can
also have a negave side, leading to tribalism, or the
establishment of boundaries between insiders and
outsiders (#026).
• Theme 3. Empathise
To empathise is to nd meaning with, in, and through
the other, and to give agency (#152). To empathise
means to be open: to dierence (#165), to the
unknown (#149), to the possibility of equitable
transformaon (#106) (#241) (#250) (#255). It
denotes a willingness to channel (#078) other voices
or sensibilies, a desire to seek out emoonal or
sensory resonances with other people (#068) (#107),
even other species (Titon, 2020). Empathy means
the mutual recognion of value (#175), and is the
condion of giving and receiving (#218), including to
expect remuneraon or support for your work (#098)
(#172) (#246).
• Theme 4. Narrate
To narrate is to document and share, to represent,
to reveal or uncover hidden people (#119), things
and ideas. It could also mean to show your process,
to be vulnerable, to make yourself available to
scruny (#198). Narrang means to tell stories on
a personal, social, or environmental level (#018)
(#182); to organise, or categorise (#073). Stories can
be arming, but they can also compel or coerce.
Arsc Cizenship: Co-Creang a Flexible Denion | 17
6.1 Contexts
The themes above (secon 5) demonstrate how
arsc cizenship might be understood and
evaluated based on its engagement with, and
impact on, domains beyond the demands of a
specic discipline or tradion of cra. However,
there remains work to be done on dening how arts
pracce ts into this wider ecology. If arsc cizens
are supposed to be thinking through how their
pracce could have an impact beyond disciplinary
boundaries, where should they look for inspiraon
and conrmaon of their creavity and value as
praconers?
An extra-disciplinary starng point might be found
in sustainable development, which is another area
of research seeking to connect the dots between
dierent kinds of acvity, namely the economic,
social and environmental domains. A key queson
within sustainable development is, how can we carry
out economic acvity so as to live well in a way which
respects the needs and limits of the environment
(O’Neill et al., 2018; León et al., 2021)? Analogously,
arsc cizenship could be posed as a challenge
to carry out fullling arsc acvity in a way which
respects the ethical demands of wider society (Ellio,
2012; Gaunt et al., 2021), and the needs and limits of
the environment.
Within sustainable development, this range of
responsibilies is tradionally conceived of as an
intersecng model between social, economic and
environmental domains (León et al., 2021) (see Fig.
2, opposite). Current research into arsc cizenship
can be mapped similarly (see Fig. 3, opposite) as an
intersecon between arsc and social domains,
or ‘qualies’ (Gaunt et al., 2021). However, the
problem with an intersecng model, for either
sustainable development or arsc cizenship,
is that it presupposes that the various domains
can be considered in separaon, and that it might
be possible to aend to one without aending
to the others. Addionally, the omission of an
environmental domain, in Fig. 3, is problemac given
the resource implicaons of artmaking.
In place of an intersecng model, some have
proposed a nested one (León et al., 2021), showing
how economic acvity could be bounded by social
impact, and social impact in turn bounded by
environmental limits. Within this model, it is possible
to think of art as a broad ‘provisioning system’ (Fine
and Leopold, 2002; Fanning et al., 2020) through
which arsc cizens connect elements between
economic, social, and environmental domains. In
development terms, a provisioning system is a means
of mobilising resources to sasfy human needs, e.g.
wind power is converted into energy, or pasture is
converted into farmland to drive food producon.
Provisioning systems link environmental and social
elements, and in doing so, create structural and
organisaonal interdependencies between human
society and the wider environment.
Fig. 4, opposite, illustrates the arsc cizenship
themes as an arsc provisioning system through
which resources are (economically) mobilised to
foster more producve, or meaningful, social and
environmental relaonships. Following this model,
arsc cizens might seek to give voice to shared
idenes, and to cross between disciplines, in
pursuit of more empathic communal ecologies.
In other words, to organise their pracces around
a desire to live well, to live equitably, and to live
within planetary limits. Fig. 5 (p.20) outlines this
A Framework for Artistic
Citizenship
6
18 | Arsc Cizenship: Co-Creang a Flexible Denion
in a frameworrk for arsc cizenship, intended
as a professional development model for arts
praconers wishing to explore their potenal role
as arsc cizens in this vein. The benet of dening
arsc cizenship through a themac framework,
rather than a single statement (as aempted in Fig.
1), is that it oers more freedom for arsts, and more
ways in for collaborators from dierent sectors. It
also enables praconers to evaluate their pracce
in ways which are appropriate to their cultural
background and context.
By illustrang arsc cizenship as a range of
pracces across dierent, interdependent domains,
the proposed framework builds on exisng models
of arsc cizenship, such as the nested model
put forward by Gaunt et al., which links “vision and
identy”, “cra and arstry”, and “need and potenal
in society” (Gaunt et al., 2021, p.13). However, by
contrast, the exible framework in Fig. 5 does not
imply that praconers should demonstrate any
specic cra values. This is important, because it
rejects the noon that arsts must be evaluated,
wholly or partly, based on their praccal skills
within an idenable tradion. This is not to say
that praccal, tradional, arsc skills (e.g. playing
musical scales, or developing musical literacy) cannot
be of value – these skills can be crucially important
under the right circumstances – but to indicate that
a cra-based approach is not necessarily the dening
feature of arsc pracce.
Instead, the framework for arsc cizenship
proceeds from the noon of arstry as a form of
encounter: a parcular quality of aenon, or
orientaon, towards an object, person or idea,
which has the potenal to uncover new aordances
for them. On this basis, it is possible for an arst to
traverse disparate contexts, or to create empathic
connecons between people, based simply on
a conceptual or curatorial premise, rather than
through a parcular cra or set of praccal skills,
though the laer could no doubt be instrumental in
certain situaons. To deny this would be to deny the
validity of paradigms such as conceptual art, or live
art. Consequently, the idea is that praconers can
adopt the dierent crical perspecves within the
Figure 2. Intersecng Model of Sustainable
Development.
Figure 3. Intersecng Model of Art and Society.
Arsc Cizenship: Co-Creang a Flexible Denion | 19
Figure 4. Arsc Provisioning Systems
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Figure 5. Framework for Arsc Cizenship
20 | Arsc Cizenship: Co-Creang a Flexible Denion
Value, agency, and the
armaon of marginalised, or
"unfullled", idenes.
• Can you strengthen the
agency of others?
• Can you be open to arsc
contexts not yet dened?
TRAVERSE
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Crossing between contexts;
challenging boundaries or
categories.
Can you create bridges
between people, things, or
ideas?
Can you be open to arsc
contexts not yet defined?
•
•
Care for the Other; sensory
and imaginave orientaon
towards people, things, or
ideas.
Can you care for the other,
and affirm their agency?
Can you aend to qualies
typically overlooked?
•
•
Giving voice and showing
processes, including who is
involved in these.
Can you give tesmony?
Can you narrate equitably,
and challenge inequitable
stories?
•
•
Connecon to and with the
other; fostering of
communality/conviviality.
Can you find shared
meaning?
Can you help people to
evolve together?
•
•
framework so as to help determine an appropriate
range of skills or resources through which to engage
with a given sector or issue.
Furthermore, by mapping arsc cizenship as a
range of interconnected processes, the framework
avoids re-centring what should, by denion, be a
de-centred pracce. In order to take account of the
cross-cultural and mul-cultural challenges of the
dierent categorisaons, roles, and responsibilies
of arsts outlined in secon 2.2, the framework is
formulated as an heurisc, or praccal and exible
model, rather than a normave or prescripve label,
since a xed denion might fail to capture exisng
or emergent pracces and tradions of arstry, and
risks inappropriately imposing cultural values. It is
open to individual praconers to determine the
distance traversed, empathic connecons made,
communies assembled and stories told. The hope
is that, in crically engaging with their approach
through the themes outlined, praconers will be
able to determine new or unexplored contexts,
communies and creave processes to drive and
movate their work, in ways which are relevant
and meaningful from their parcular cultural and
personal vantage point.
6.2 Responsibilities
Praconers need not see arsc cizenship as an
addional concentraon of responsibility weighing
them down. Arsc cizenship denotes an intenon
to look outward, to seek producve and meaningful
contexts for arsc pracce, and to recruit support
from more diverse sectors and communies. It does
not mean that arsts are expected to cover all bases,
so to speak, or that their worth should necessarily be
evaluated on the basis of stakeholder connecons.
Praconers and educators might, instead, think of
arsc cizenship as a methodological innovaon,
designed to generate creave ideas, materials, or
communies of pracce, and to support advocacy
for the arts across a more diverse array of sectors.
This could be achieved by using the themes in the
framework as provocaons to think through the kinds
of economic, social and environmental impacts, or
relaonships, which arsc pracce makes possible,
so as to design projects around these consideraons
from the outset. Furthermore, the hope is that
arsts will be able to use this framework as a starng
point to advocate for their work in broader, less
discipline-specic language, so that a wider array
of stakeholders, investors or parcipants, can be
reached and engaged.
A broad outlook for arsts is, perhaps, especially
important at a me when there are signicant
pressures on funding, and acknowledged barriers
to parcipaon in educaon, training and skills
development across the creave industries.
Praconers therefore need to be able to arculate
their value to a variety of audiences with sucient
understanding of how their pracce could posively
shape the broader economic-social-environmental
ecology, rather than assuming that their work is
inherently relevant. From an economic perspecve,
this might also have implicaons for how funding is
provisioned for projects that are not immediately
nancially protable, but which may nevertheless
have an arculable benet within social or
environmental domains.
Addionally, arts development organisaons could
aim to adopt similarly transdisciplinary principles
as the arsts they aim to support. For example,
collaborave plaorms and funding schemes for
arsts could assist praconers in locang suitable
collaborators within STEM, healthcare, or elsewhere
as appropriate. Similarly, arts educaon instuons
could think about what skills their students will
need to prepare them to be adaptable and resilient
across a widening range of professional and creave
contexts.
Arsc Cizenship: Co-Creang a Flexible Denion | 21
This report has sought to draw together the wide-
ranging discussion from the Arsc Cizenship
Forum: Co-Creang a Flexible Denion for 2022,
hosted at Leeds Conservatoire on 16 - 17 June
2022. Delegate responses to quesons posed at
the forum have been summarised, and themazed,
to oer a series of crical perspecves on how
arsts might pracce with social and environmental
impact in mind. Drawing on theory from sustainable
development, the themes derived from delegate
responses have been organised into a professional
development framework (Fig. 6) for would-be arsc
cizens to build their pracce in ways which take
account of social and environmental issues.
Based on delegate discussion at the forum, and the
analysis subsequently undertaken as part of this
report, the following recommendaons are made
for arts praconers and instuons responsible
for developing, educang, or advocang on behalf
of, arts pracces. The intenon is that these
recommendaons will bring arsts into wider
social and environmental domains, and draw other
sectors into the exisng arts ecology, to generate
new opportunies and modes of expression.
Further, it is hoped that these recommendaons
will help to establish ferle grounds for arsts to
develop their pracce in ways which enable greater
transdisciplinary collaboraon, whilst upholding
creave freedom. Recommendaons are colour
coded to indicate relevant themes from the
framework for arsc cizenship.
Recommendation 1
Centres of arts pracce, research and educaon
should focus on forming transdisciplinary
partnerships with other sectors and disciplines.
Instuons need to look beyond the typical creave
industries to establish partnerships with other
sectors and disciplines. These partnerships must
establish empathic connecons across industries or
communies, so that arsts and their collaborators
can work as equal partners. The outputs from these
partnerships need not necessarily be dened from
the outset, since to do so could limit the scope for
creave enquiry.
Therefore, instead of direcng strategic priories
towards specic forms of social or environmental
intervenon, which in any case might be
inappropriate or too narrowly focused, instuons
might take a more speculave approach, asking:
what kinds of transdisciplinary collaborave
partnerships could be created, in order to reveal
new forms of material pracce and engage new
sectors? By “pushing the net wider” (#207) as one
delegate put it, arsc cizens can hope to create
networks through which new, socially, economically
and environmentally relevant forms of pracce can
emerge.
Conclusion and
Recommendations
7
22 | Arsc Cizenship: Co-Creang a Flexible Denion
Recommendation 2
Centres of arts educaon should think crically
about the skills their graduates will need to remain
adaptable and resilient in transdisciplinary contexts.
Arsts need to belong in many sectors and
communies, and not only within cultural spaces.
This will drive both need, and the resilience of arsts
and the cultural sector. This is analogous to, for
example, the movement of sciensts into polical
contexts to inform and shape public health policy
around epidemiology, or nutrion. Correspondingly,
graduates of arts educaon instuons need to
develop not only the skills prescribed by their study
instuon, but also the ability and self-ecacy to
idenfy when these skills need to be adapted or
expanded to engage new sectors or communies.
Where idened skills cannot be provisioned
in-house, instuons should seek collaborave
industrial, polical, or research, partnerships that
will culvate greater transdisciplinary awareness and
capability in their students.
Recommendation 3
Centres of arts pracce, research and educaon
should adopt an ethic of care towards the arsts
they support.
In place of driving arsc development through an
experse or innovaon model of arsc achievement,
in which arsts are expected to demonstrate
originality within a range of predetermined skills,
instuons could adopt a model of care, through
which arsts (including students) can see themselves
as part of a diverse pracce community comprising
mulple disciplines and tradions. This should not be
about homogenising pracces, but about culvang
condions conducive to creavity, including
upholding the nancial, expressive, identarian, or
polical freedoms required for arsts to take creave
risks. Under the right condions, arsts will be able
to determine relevant focuses and skill sets for
themselves, and to adapt these to a range of contexts
and sectors in which they might be relevant.
Recommendation 4
Centres of arts pracce, research and educaon
should take account of how arsc work shapes and
relies upon environmental constraints.
Regardless of whether arsc work is framed as
being predominantly cra-focused, or conceptually
driven by social or environmental issues, instuons
must acknowledge how they engage with other
sectors and communies for delivery (e.g. touring
infrastructure, construcon, transportaon, etc.), and
how these industries and sectors have corresponding
environmental impacts. Individual arsts should not
bear total responsibility for negave impacts, nor
take full credit for posive ones, since these may
be structural and beyond their personal control.
Nevertheless, arsts and instuons might consider
the embedded environmental interdependencies
of their work as part of their project development
process or strategic framework, so that, where
praccal, eorts can be made migate against
negave impacts, and to amplify posive ones.
Part of this should involve being transparent about
working methods and producon processes, so that
the wider ecology of arts pracce can be made visible
and thus examined.
Recommendation 5
Centres of arts pracce, research and educaon
should take account of how their work shapes and
relies upon other social sectors.
Instuons, and individual arsts themselves,
should think through which idenes are being
armed through their work, and which are not.
Rather than reiterang the values, perspecves and
beliefs of dominant people or instuons, arsts
Arsc Cizenship: Co-Creang a Flexible Denion | 23
could give voice to what is le out of public debate
and understanding. It could be argued that arsc
cizenship is a maer of connually mapping and
revealing those qualies of experience not captured
in commonly agreed denions, idenes, or social
structures. For example, arsc cizens might
contest denive categories of naonal cizenship
based on language and ethnicity by staging
encounters in which these apparent dierences can
be negoated through shared experiences.
Recommendation 6
Arsc cizens should organise their pracces
around a desire to live well, to live equitably, and to
live within planetary limits.
Arsc cizens must acknowledge interdependencies
between social and environmental domains in
relaon to their work. This means to recognise how
economic and social elements are constrained by
environmental limits, and to seek out ways in which
art pracces can make these constraints visible,
or harness opportunies to live well within them.
Living within environmental limits entails locang
humanity within a wider ecology, so that we can
learn how other species and enes belong with us,
rather than to us. This also means seeking out ways
in which arsc pracces can serve a uid, diverse,
collecve of dierent posions and idenes, rather
than focusing on the expectaons of a standardised
consumer. For example, arsts could drive
sustainability and equity in urban planning or food
producon by imaginavely exploring, or criquing,
how human infrastructure aects a diversity of
peoples and species. The resource implicaons of
this make it imperave that instuons culvate
and advocate on behalf of condions conducive
to creavity (Recommendaon 3), and form
broad, transdisciplinary collaborave partnerships
(Recommendaon 1) to establish economically,
socially and environmentally relevant modes of
pracce.
24 | Arsc Cizenship: Co-Creang a Flexible Denion
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Appendix 1. Handwritten Group Notes
DOI: 10.13140/RG.2.2.22393.95841.
Group hosts at the forum were asked to make notes
on discussion relang to each queson. In many
cases, notes for several quesons under the same
topic became combined, such as those relang to the
topic ‘arsc values, social values’.
Notes were photographed and archived. Original
images are available via the link below, each prexed
with a date and me stamp, and suxed with the
queson numbers to which the notes relate. For
example, ‘Day 1 20220616-122851-Q1.1 + 1.2’
denotes that the note was taken on day one of the
forum, that the me and date at which the image
was captured was 12:28:51 (hh:mm:ss) on 16 June
2022, and that the notes relate to ‘Q. 1.1 What is
music for and why do we need musicians?’ and
‘Q.1.2 Is there a disncon between social values and
arsc values?’.
Access group host notes:
hps://www.researchgate.net/
publicaon/365871671_Appendix-1-Handwrien-
Notes-Arsc-Cizenship-Forum.
Appendix 2. Thematized Responses
DOI: 10.13140/RG.2.2.12327.62887.
As noted above, delegate responses at the forum
were captured via group host notes, which were
then transcribed and spit into 257 statements on a
single theme or queson. These statements were
linked to the original queson and photograph (see
Appendix 1), and given a unique number, enabling
each statement to be traced back to the original
handwrien note. Statements were then tagged
through an inducve process of themazaon,
resulng in the arsc cizenship themes: traverse,
belong, empathise, narrate.
Access themazed responses as a CSV le:
hps://www.researchgate.net/publica-
on/365871634_Themazed_Responses_Arsc_Cit-
izenship_Forum.
Appendices
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26 | Arsc Cizenship: Co-Creang a Flexible Denion
Arsc Cizenship: Co-Creang a Flexible Denion | 27
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