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Table of Contents:

• Machine generated contents note: ch. 1 Situating Inclusive Arts: aesthetics, politics, encounters
• Introduction
• What is Inclusive Arts?
• Why use the term Ìnclusive Arts'?
• What sorts of inclusions occur through Inclusive Arts Practice?
• Learning disabilities, intellectual disabilities, learning-disabled or learning difficulty? Some notes on terminology
• What contribution does Inclusive Art make to Contemporary Art?
• What are the potential aesthetic effects of Inclusive Arts?
• Is this Outsider Art?
• How should work be labelled? If at all ...
• How does this work relate to the everyday lives of people with learning disabilities?
• What are the transformative potentials of Inclusive Arts?
• So what is the difference between an Inclusive Artist and a community worker?
• Audience encounters 1 What can be achieved when audiences experience this work?
• Audience encounters 2 How does this work change how people with learning disabilities are viewed?
• Audience encounters 3 What can audiences take away from this work?
• How does Inclusive Arts differ from Disability Art?
• How does Inclusive Arts differ from Art Therapy and occupational therapy?
• What are the characteristics of good quality Inclusive Arts?
• What's in the rest of the book?

• note from the authors
• Paradox
• note on editing the conversations in Chapters Three and Four
• What this part of the book is about
• References
• ch. 2 Curation, biography and audience encounter
• Introduction
• Diversity, encounter and exchange in the cultural sphere
• Artists' statements
• Alice Fox on inclusive curation: putting on the Side by Side exhibition at the Southbank
• Manifesto for Inclusive Arts Practice / Draft 1
• Art and inclusion: what is shared with other artists and curators who are placed at the margins?
• Interviews with: Jude Kelly, Artistic Director of the Southbank Centre
• Anna Cutler, Director of Learning at Tate
• Catherine Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, New York
• Conclusions: productive difference, performative interpretation and an emphasis on unknowability
• What this part of the book is about
• References
• ch. 3 How do we practice Inclusive Arts?
• Introduction
• agreement to travel together creatively to an unknown destination
• Frameworks, foundations, timetables and starting points
• Choice and freedom
• Time
• Trust
• Risk and uncertainty
• openness to all the languages we communicate in
• embodied ethic of encounter
• Becoming a self-aware practitioner
• answers are in the room
• Rockets Artists in conversation
• conversation about the Wedding Cloaks. Jane Fox, Louella Forrest and Alice Fox
• conversation about being a Rocket Artist.Tina Jenner, Alice Fox and Louella Forrest
• Conclusions
• What this part of the book is about
• References
• ch. 4 Conversations with artists
• Heart n Soul, Dean Rodney and Mark Williams
• Kilkenny Collective for Arts Talent (KCAT), Declan Kennedy and Andrew Pike
• Project Art Works, Kate Adams
• Action Space, Charlotte Hollinshead
• Corali Dance Company, Bethan Kendrick and Jacobus Flynn
• What this part of the book is about
• ch. 5 Inclusive Arts Research
• Introduction
• Inclusive Arts Practice as a form of research: making meaning through artistic forms of inquiry
• Research terminology
• Research Cycle
• Who or what is the subject of Inclusive Arts Research?
• What constitutes a literature review in Inclusive Arts Research?
• What are the methods of Inclusive Arts Research?
• Being a reflexive (self-aware) research practitioner
• What are the possible findings of Inclusive Arts Research?
• Research on Inclusive Arts: interpretation, definition and classification
• Evaluating the success of a project
• Thinking about social impact and cultural value
• Matarasso (1997)
• list of 50 social impacts identified through Comedia's study of participative arts programmes
• Evaluation needs to be embedded from the outset and ongoing
• few starting points for Inclusive Arts Research
• Research project ethics
• Context
• Informed consent
• Free from coercion
• Research òutputs' and intended audiences
• What this part of the book is about
• References
• ch. 6 future of Inclusive Arts: building a global movement
• Introduction
• What would you hope for the future of Inclusive Arts?
• What is the future for learning-disabled arts education?
• How can learning-disabled artists go professional?
• What is the significance of Inclusive Arts for all, and how can support worker buy-in be ensured?
• How can Inclusive Arts help advance the human rights of learning-disabled people and achieve social justice?
• central human capabilities
• How can Inclusive Arts work explore themes such as sex, sexuality, nudity and death?
• What this part of the book is about
• References
• Permissions.

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Author/Creator:

Fox, Alice , author

Contributors:

Macpherson, Hannah , author

Languages:

English

Language Notes:

Item content: English

Main Work:

Inclusive arts practice and research: a critical manifesto [by Fox, A.]

Subjects:

Artists with mental disabilities

Arts — Therapeutic use

Group work in art

Artistic collaboration

General Notes:

Includes bibliographical references and index.
Electronic reproduction. Ipswich, MA Available via World Wide Web.
Description based on print version record.

Physical Description:

1 online resource.

Call Numbers:

NX164.M45 F69 2015

ISBNs:

1317555333 (electronic bk.)
9781317555339 (electronic bk.)
9781138840997 (hardback, alk. paper) [Invalid]
1138840998 (hardback, alk. paper) [Invalid]
9781138841000 (pbk., alk. paper) [Invalid]
1138841005 (pbk., alk. paper) [Invalid]

OCLC Numbers:

910237302

Other Control Numbers:

999216 (source: EbpS)
[Unknown Type]: ybp12454253