Professor Dr Anne BamfordInternational Research Agency

anne@annebamford.com

Diana and CallistoTitian

1556–1559

I have told my family and other friends about this project

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Girls

• [A girl, who hitherto has been quiet]: It [the painting] does make you think how things are the same today. Art is not just about drawing, this painting is also about being in someone else’s shoes.

• [A girl]: Yes, you look for a story behind it, don’t you? What is happening and why is it happening is what you look for.

• [A boy says]: Yes, it’s nice. It is so quiet in here. And you get ideas. I don’t really like the realistic stuff. I like more modern paintings. But I think that now we have had this project. I will draw more realistic things in the future. I mean not just in art classes, but also when I draw [hesitates], like if I am bored in science, I draw boxes and shapes and so on. But I think now I will draw real things.

• [Same girl]: I think I will draw more real, or more realistic, things in the future. I think it is great if you can tell a whole story in one single picture. I normally draw many pictures and then together they are one big story. But in this painting the whole story is hidden away in the painting. I would like to do that too.

My attitudes have changed

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My attitudes have changed (Boys)

My attitudes have changed (Girls)

Themes of the painting in terms of the experiences of the young parents

Outcast

Isolation

Society judges you

Demonization of young parents

Absence of the male perspective

Denigration

Sense of shame

Disgrace

Separation

Helplessness

Lack of support

Anger

Disappointment

You are being looked down on

Vulnerability

Shunned

Poor

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Recommendations• The opinions of young people need to be

listened to in planning and developing programmes and explicitly structured into the project planning.

• There was some evidence that the programme was not pitched at the right level for the pupils and in fact the pupils sought more challenge because they were inspired.

• Ensure clarity about the expectations of all participants at the outset of the project

• Planning and collaboration takes time and this time needs to be resourced and communicated clearly in the project development stage

• Gallery visits are a highlight and more visits would enhance the overall impact of the project

There are many things about human experience that exceed the representational capacity of verbal language or intellectual analysis but yield themselves to us through art.

• The mirroring neurons• Make sense of the

actions, emotions or sensations in others through embodied simulation

• Brain activation – direct experiential understanding of objects and the inner world of others

We must have empathy for natural world and for each other regardless of cultural, religious and ethnic division. Empathy requires imagination and this is the realm of creativity. Art - an empathetic link between the artist and the viewer, which is necessary for their collaboration to complete the artwork. Because of this the presence of art in the world necessarily encourages empathy. I think this is true for all art but it works most dramatically when the art involves an embodied experience for the viewer.

Cultural competence begins from the understanding that we are all influenced by the different social, educational and organisational cultures in which we live and participate. Recognising that ours is not the only way of seeing or doing things opens us to learning about other perspectives. Exploring differences as well as similarities in our cultural expectations improves our capacity to understand and relate to others and helps to build social cohesion.

Everyone has the right freely to participate in the cultural life of the community, to enjoy the arts

RELEVANCE

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Points from the Norwegian report

• The soft drink visitors• Declining levels of interest in attending some

museum programmes were blamed mainly on two things – the curriculum and the DKS

• Increased costs associated with museum visits in the future.

• Outreach to families • Travelling exhibitions• Work was undervalued – lack of priority

Where?• Private (at home); • Populist (movie theatre), • Virtual (i-pod), • Institutionalised (e.g.

galleries/theatres)• Non-designated (e.g.

disco, church),• The everyday (e.g. urban

space)

Consumer or maker?

• Plato believed that being exposed to art may give rise to creativity

• Aristotle believed that through the processes of making an artist becomes creative

Possibilities and challenges

• The choice argument…“I don’t really remember much about the rucksack. We maybe have things twice a year. We had an author and then someone doing country music. It is always country music!”“It would be better if we had more say in the sort of thing that came to the school.”

• The NO choice argument…In this Kommune we make all the schools take the rucksack. We don’t give them a choice. If we gave them a choice, a lot of principals would say they did not want it. Even making it compulsory, we battle to get two things into the school each year. The schools wouldn't take the offer. They would say they don't want it. It takes too much tie or it does not fit into their schedule. They don't want It.

It’s a bit weird…

• “When they present the arts it is always something a long way from where the kids are at. It then comes across as sort of weird and that only reinforces the view that is already in the school that the kids who do sport are normal and the kids who do the arts are kind of weird. So in that way, the Rucksack is really not helpful to teenagers."

• "If you are interested in the arts then maybe the Rucksack performances are OK, but for most of the kids It is too far out… too extreme. There need to be acts that are more reachable for young people, especially for teenagers. The performances need to meet the pupils where they are at and then take them further. Most of the performances I have seen are really only for the music nerds.”

It’s a bit weird for the teachers too…

• “It is usually only by accident that we know the Rucksack performance is in the school. No one shares the information. The performances need to be lower threshold… what I mean is that they are often quite challenging and difficult works. The gap between where the pupils are at and the performance is too big. The performances are clearly chosen by people with a lot of experiences of the arts, but for the pupils they often see the performances as just too weird, and this reinforces their belief that the arts are for weirdoes.”

Experience or education?• In some ways it is OK that teachers are happy to go into the

Rucksack performances totally unprepared. At least then they too can experience something that they have never known before. Has there been any research about the impact of the Rucksack on teachers?

• “I don’t mind that the teachers don’t prepare. The arts experience has to have value in its own right. Some groups produce material for teachers (such as the dance groups). I really don’t know if the teachers in this school even look at this stuff. We have to do research on this.” School principal.

• “The rucksack has been an amazing boost for culture, but I get the impression that sometimes It has too much of a pedagogic focus. The art form is being adapted to fit into the school. Every performance has to teach something and has to go for 45 minutes.”

• Just over 1% of public arts funding is directed towards work for which children are the main audience

• Children up to 12 years old make up around 15% of the population

Engaging families• Differentiated offer• Importance of local media• Family packages/offers• Peer-to-peer networks• Value for money• Awards schemes• Parental pledge

Hard to reach

4 Groups • Those already regularly engaging and

getting more than 5 hours; • Those engaging, but require more, and

higher quality exposure; • Those not engaging but keen to engage;• Those not engaging and not keen to

engage.

Removing barriers• Buddying system for ‘non-

users’• Low threshold activities• Take the culture to the

people• ‘significant experiences’• Incentivised participation• Journey from familiar to

unfamiliar• Peers as instructors

Portrait of an arts-rich 20 year oldCatterall 2009 USA

• More likely to enrol in college/higher education (> 17.6%)

• More likely to volunteer (15.4%)• More likely to have strong

friendships (8.6%)• More likely to vote (20%)• 10% less likely to not be in either

employment or education at aged 20.

Portrait of an arts-rich 26 year old Catterall 2009 USA,

• Continue to do better than people who attended non-arts-rich schools.

• Found better jobs(Arts poor students were 5

times as likely to report dependence on public assistance at age 26.)

Measuring human capital• creative capital • artistic capital• cultural capital • economic capital• social capital • innovation capital• spiritual capital • educational capital• negative/loss capital• comparative capital• ethical capital• catalytic capital

Education out of step…

• Increased effort has to be made to establish synergies between knowledge, skills and creativity. With few exceptions educational politics gets no further than paying lip service to these ideas.

The National Endowment for Science (UK), Technology and the Arts suggests that between 2009 and 2013 the UK creative industries, which are responsible for films, music, fashion, TV and video games production, will outstrip the rest of the economy in terms of growth by 4% on average. By 2013, the sector is expected to employ 1.3 million people.

Employment growth

Pillars of Innovation The European Innovation Scoreboard (EIS) based on 29 indicators of innovation• Human capital

• Openness and diversity• Cultural environment• Technology• Institutional and

regulatory environment• Creative outputs

Human Capital

• Hours on arts and cultural education in schools

• Number of arts schools per million people• Tertiary students studying in the field of

culture• Cultural employment as a % of overall

employment

RankingInnovation Scoreboard 2008(EU15 Countries)1. Sweden2. Finland3. Denmark4. Germany5. Netherlands6. France7. Austria8. Uk9. Belgium10. Luxemburg11. (EU average)

Active artistic participation(Eurobarometer 2007)1. Sweden2. Luxemburg3. Finland4. France5. Denmark6. Netherlands7. Belgium8. Germany9. UK10. Austria11. (EU average)

Welfare• Cultural participation is only second to absence of serious illness in predicting psychological well being and more important than income, place of residence, age, gender or occupation.

Sustainability

• Cultural participation increases social mobilization and awareness of social consequences of individual action

Crime prevention

• Cultural projects produce strong and significant effects in cases of juvenile crime prevention.

Entrepreneurship• The cultural and creative field is the most

powerful incubator of new forms of entrepreneurship and makes a major contribution in Europe’s competitiveness.

Local identity

• Cultural facilities substantially increase the global visibility of a place and improve urban and regional milieu

Soft power• Increase the visibility,

reputation and authoritiveness of a country at all levels of international relationships.

4As Vision for the offer

• Accessible• Appropriate• Affordable• Attractive

Quality? Or…

1. Active partnership and collaboration

2. Flexible organizational structures

3. Accessibility to all

4. Ongoing professional development

5. Reflection and evaluation strategies

6. Local

7. Project-based, research-based

8. Active creation, performance and exhibition

9. The languages of the arts

10. Take risks