Inclusive Arts Practice and Research: A Critical Manifesto

Contents

• List of Illustrations
• Foreword
• Acknowledgements
• Chapter 1 Situating Inclusive Arts: aesthetics, politics, encounters
• Introduction
• What is Inclusive Arts?
• Why use the term Inclusive Arts?
• What sorts of inclusions occur through Inclusive Arts Practice?
• Learning disabilities, intellectual disabilities 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 intervene in regimes of disabled visuality?
• 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 is in the rest of the book?
• A note from the authors...
• Paradox
• A note on editing interviews in Chapters Three and Four
• Accessible Summary
• Chapter 2 Curation, biography and audience encounter.................................................................41
• Introduction
• Diversity, encounter and exchange in the cultural sphere
• Alice Fox on Inclusive Curation: Putting on the 'Side by Side' exhibition at the Southbank
• Art and inclusion: what is shared with other artists and curators who are placed at 'the margins'?
• Jude Kelly, Artistic Director of the Southbank Centre, London
• Anna Cutler, Director of Learning at Tate
• Catherine Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, NY.
• Conclusions: productive difference, performative interpretation and an emphasis on unknowability
• Chapter 3 How do we practice Inclusive Arts? .............................................................................85
• Introduction
• Frameworks, foundations, timetables and starting points
• Choice and Freedom
• Time
• Trust
• Risk and Uncertainty
• An openness to all the languages we communicate in
• An embodied ethic of encounter
• Becoming a self aware practitioner
• The answers are in the room
• Interviews with the Rockets
• Rocket artists: a conversation about the Wedding Cloaks
• Jane Fox, Louella Forest and Alice Fox
• Conclusions
• Chapter 4 Interviews with the artists..........................................................................................115
• Dean Rodney and Mark Williams, Heart and Soul, London
• Declan Byrne and Andrew Pike, The Kilkenny Collective for Arts Talent (KCAT), Ireland
• Kate Adams, Project Art Works
• Charlotte Hollinshead, Action Space, London
• Bethan Kendrick and Jacobus Flynn, Corali Dance Company, London
• Chapter 5 Inclusive Arts Research...........................................................................................159
• Introduction
• Inclusive Arts Practice as a form of research: making meaning through artistic forms of inquiry
• Research terminology
• 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 your project
• Thinking about social impact and cultural value
• A few starting points for Inclusive Arts research
• Research Project Ethics
• Context
• Informed Consent
• Free from Coercion
• Your research 'outputs' and intended audiences
• Chapter 6 The Future of Inclusive Arts: building a global movement...................................................195
• 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 Art help advance the human rights of people with learning disabilities and achieve social justice?
• The Central Human Capabilities (Adapted from Nussbaum 2003)
• How can Inclusive Art work explore themes such as sex, sexuality, nudity and death?
• Chapter 7 The making of this book................................................................................224
• Who made this book and why?
• How was this book made?
• Afterword