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City Research Online Clements, P. (2003). The arts, culture and exclusion : with reference to New Labour cultural policy 1997-2002 this is a critical examination of the social function and evaluation of the arts in Britain and the extent to which they legitimate social difference or integrate the socially excluded. (Unpublished Doctoral thesis, City University London) City Research Online Original citation: Clements, P. (2003). The arts, culture and exclusion : with reference to New Labour cultural policy 1997-2002 this is a critical examination of the social function and evaluation of the arts in Britain and the extent to which they legitimate social difference or integrate the socially excluded. (Unpublished Doctoral thesis, City University London) Permanent City Research Online URL: http://openaccess.city.ac.uk/8403/ Copyright & reuse City University London has developed City Research Online so that its users may access the research outputs of City University London's staff. Copyright © and Moral Rights for this paper are retained by the individual author(s) and/ or other copyright holders. All material in City Research Online is checked for eligibility for copyright before being made available in the live archive. URLs from City Research Online may be freely distributed and linked to from other web pages. Versions of research The version in City Research Online may differ from the final published version. Users are advised to check the Permanent City Research Online URL above for the status of the paper. Enquiries If you have any enquiries about any aspect of City Research Online, or if you wish to make contact with the author(s) of this paper, please email the team at [email protected]. The Arts, Culture and Exclusion. With reference to New Labour cultural policy 1997-2002,this Is a critical examination of the social function and evaluation of the arts In Britain, and the extent to which they legitimate social difference or integrate the socially excluded. Paul Clcments Doctoral Thesis City University, Departmentof Arts Policy and Management,Autumn 2003 Declaration I declarethat no part of the work referredto in this thesishas beensubmitted in support for an application of any otherdegree or qualification of this or any other university or other institute of learning. All quotationsand other sourceshave been duly acknowledgedin accordancewith appropriateacademic conventions:other than thesethe ideasand argumentspresented are my own. Copying Authorisation I grant powersto the University Librarian or his/her duly authorisedrepresentative to allow this thesisto be copiedin whole or in part without further referenceto me. '17hispermission covers only single copies for studypurposes, subject to normal conditionsof acknowledgement. Table of Contents Acknowledgments P11 Preface p12 Abstract p13 Chapter I Introduction p14 PART I- Social Exclusion P19 Chapter 2. Social Exclusion p2l 2.1 Derivation and History of the Term 'Social Exclusion' 2.2 Poverty and Social Exclusion 2.3 Social Exclusion, Employment or Engagement. 2.4 A Critique of Social Exclusion and Poverty 2.5 An Excluded Youth Underclass 2.6 An Exclusive Society and the Breakdown of Consensus 2.7 Individual Choice and Deviancy 2.8 Inclusion 2.9 Wider Parametersof Inclusion/Exclusion 2.10 Summary Chapter 3. Cultural Policy: Art and Social Exclusion p34 3.1 Introduction 32 Social Exclusion Unit 3.3 Policy Action Team 10 3.3.1 Art and NeighbourhoodRenewal: Key Findings and Principles 3.3.2 The Evaluation of Impact on NeighbourhoodRenewal 3.3.3 Recommendations 2 3.3.4 A Critique of Key Principles 3.3.5 Building on PAT 10 3.3.6 Misinformation 3.4 The Quality, Efficiency and StandardsTeam (QUEST) 3.5 Arts Council Response 3.6 A Critical Overview of New Labour's Policy on the Arts and Social Exclusion 3.7 Summary PART 11 - Evaluation p52 Chapter 4. Evaluation Methodology p55 4.1 Introduction 42 Ifistory of Evaluation 4.3 Evaluation Methodology 4.3.1 An Overview 4.32 The Positions 4.4 Formative and SummativeEvaluation Design 4.5 Evaluation in Terms of Social or Aesthetic Impacts 4.5.1 A Critique of the Behavioural Approach 4.5 2A Critique of Art Criticism 4.6 Politics and IndependentEvaluation 4.7 A Constructivist Model of Evaluation 4.7.1 Fourth GenerationEvaluation 4.7.2 A Critique of Fourth GenerationEvaluation 4.8 A Pluralistic Evaluation of Inclusion 4.9 Empowerment,Critical Evaluation and Practical Hermeneutics 49.1 EmpowermentEvaluation 4.9 2 Critical Evaluation 4.93 Evaluation as Practical Hermeneutics I 3 4.10 StakeholderParticipation in Evaluation 4.11 Summary Chapter 5. A Critique of Comedia's Research into Evaluating the Social Impact of the Arts p74 5.1 Introduction 5.2 The Community 5.3 Fitting the Arts into an EstablishedFramework of Positive Social Impacts 5.4 Cultural Inclusivity 5.5 Evaluation Methodology 5.5.1 Indicators to MeasureSocial Impacts 5.5.2 Social Auditing 5.5.3 StakeholderControl 5.5.4 Evidence and Advocacy 5.5.5 Languageof Evaluation 5.5.6 A PrescriptiveEvaluation 5.5.7 Negative Outcomes 5.5.8 Lack of StandardisedEvidence 5.6 Do the Ends Justify the Means? 5.6.1 Welfare Implications: Artistic Enterpriseor Social Purpose 5.6.2 Cultural Rights 5.6.3 Informed Consent 5.7 Poverty and Cost 5.7.1 Lack of Financial Comparability 5.72 Financial Responsibility 5.7.3 Poverty 5.8 EducationalImpacts 5.8.1 A Learning Society 5.8.2 Developing a Critical Attitude and Active Citizens 4 59 RelevantSocial Impacts 5.10 Cultural PerformanceIndicators 5.11 Counter Argument 5.11.1 The Expert Evaluator 5.112 Appropriation: Evaluation as Pragmatismor Ideology 5.12 Evaluation, Putting it all together 5.13 Summary Chapter 6. Evaluation Reports p107 6.1 Introduction 62 The London Arts Regional ChallengeProgramme Report: The Arts and Inclusion 6.3 Scottish Arts Council Report: Not Just A Treat: Arts and Social Inclusion 6.4 Departmentfor Culture Media and Sport Report- Count Me In 6.5 Summary Chapter 7. Evaluation Case Study p117 7.1 Introduction 7.2 Back-groundConsiderations 7.2.1 Methodological Position of the Researcher 72.2 The CaseStudy Method 7.2.3 The Context 73 Evaluating 'Connecting Lines' Programme C,the 7.3.1 The Brief 7.3.2 Back-groundto Inside Arts Trust and ProgrammeObjectives 733 UseofArtforms - 7.3.4 Applied Theatre -Cognitive B ehavioural Change. 7.4 Practical Operation 7.4.1 A Method of Evaluation 5 7A2 Contradictionsin Position 7.4.3 Preparationfor On-Site Evaluation 7.4.4 Observation:Evaluation in Practice 7.5 The Written Notes 7.6 'Sleepers' at HMP Wolds, Humberside(Oct 1999) 7.6.1 AM - Visits Room 7.6.2 PM - Chapel 7.6.3 Triangulation of opinion 7.6.4 Overall Impressions ' 7.7 'North/South' at Portland YOI, Dorset (Oct 2000) 7.7.1 AM - Industrial Cleaning Workshop Cleaning Workshop 7.7.2 PM - Industrial 7.7.3 Triangulation of Opinion 7.7A Overall Impressions 7.8 'Sleepers' at Portland YOI, Dorset (May 2001) 7.8.1 AM - Industrial Cleaning Workshop 7.82 PM -Industrial Cleaning Workshop 7.8.3 Triangulation of Opinion 7.8.4 Overall Impressions 7.9 The Report Writing and Outcome 7.10 Conclusion 7.11 Summary PART III - Cultural Exclusion p158 Chapter 8. Taste p 161 8.1 Introduction 82 Culture 8.3 Cultural Capital 6 8.4 The Arts as Distinction 83 A Critique of Bourdieu 8.6 CaseStudy: Outsider Art 8.6.1 Foucault: Art as Disempowerment 8.6.2 A Social Aesthetic 8.6.3 Parody.The Visible Spectacleas Deterrent 8.6.4 Art Brut and Accessto the Mainstream 8.6.5 A Welfare Model of Outsiders:Art Works in Mental Health 8.6.6 The Conundrum 8.6.7 Insider, Outsidersand the Power of Society 8.6.8 Conclusion 8.7 Summary Chapter 9. Cultural Democracy p179 9.1 Introduction 9.2 The Cultural Industries 9.2.1 As a Driver for DemocratisingCulture 9.2.2 As a Threat to High Culture 9.3 A Grounded Aesthetic 9.3.1 Art as Exclusion, Culture as Inclusion 9.3.2 The Common Culture 9.3.3 Real and Simulated Culture 9.4 The Community Arts Movement 9.4.1 History of Antagonism 9A. 2 Problemswith the Community Arts Movement 9.4.3 The Arts as Excellence, Entertainmentor Reflection of Community 9.4A Education into High Culture or Cultural Democracy,A Political Framework 9.4.5 Cultural Diversity 7 9.4.6 The RelevanceToday 9.5 CaseStudy- The Theatreof the Oppressed 9.5.1 Historical Precedent 9.52 Boal's Political Position 9.5.3 Three Formatsof the Theatreof the Oppressed 9.5.4 The Rainbow of Desire 9.5.5 Social Role of Theatre 9.5.6 Orature 9.5.7 Participation and Language 9.5.8 Oppressionand Social Exclusion 9.59 Conclusion 9.6 Summary Chapter 10. Popular Culture: Politics, Participation and Identity p2ll 10.1 Introduction 10.2 Politics of Popular Culture 10.3 Participation 10.4 Multiculturalism and Identity 10.5 CaseStudy- ReggaeMusic 10.5.1 History of Reggae 10.5.2 Rastafarians 10.5.3 The Music 10.5.4 The Effect of Reggaeand Racial Inclusivity 10.5.5 Musical Participation 10.5.6 Reggae/Rastafarianismas a Subculture 10.5.7 Adolescent Rite of Passageand Incorporation 10.5.8 A Feminist Perspective 10.5.9 A Virtual World 8 10.5.10 Conclusion 10.6 Sununary PART IV - The Arts: Individual Need and Social Function p230 Chapter 11. Empowerment, Transformation and Need p233 11.1 Introduction 11.2 Transformation of the Excluded 11.2.1 Empowerment and Emancipation 11.2.2 Self-Regulatory Power and Disempowerment 11.2.3 Learning About the Self as an Agent of Social Change 11.2.4 Education for Personal Transformation 112.5 Transformation Theory 11.2.6 Fear of Freedom and Spontaneity 11.3 Needs 11.3.1 Theory of Human Needs 11.3.2 Critique of Human Needs Theory 11.4 Case Study: Arts Education in Prison 11.4.1 History of Penal Education 11.4.2 Prison Education Models, Shifting Paradigms 11.4.3 Critique of Prison Education and the Cognitive Model 11.4.4 Lack of Research 11.4.5 Aims and Purpose of Arts Education in Prison 11.4.6 Conclusion 11-5 Summary Chapter 12.
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