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An Exploration Of How Visual Art Can Be Used To Prepare Marginalised Youth For A Positive Future Using Mixed Human Inquiry Methodologies A Thesis submitted for the degree of Doctor of Philosophy By Valerie Mae Oliver Design Media & Management Buckinghamshire New University Brunel University November 2015 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author under the terms of the United Kingdom Copyright Acts. No quotation from the thesis and no information derived from it may be published without proper acknowledgement. ii Abstract The overarching research explores if and how using contemporary art education and practices can help to reintegrate marginalised youth and to raise their sense of self-efficacy. The framework of theory involving Sartre (2003), Foucault (1977), and Bandura (1994) informed the research activity in the action research undertaken. In regard to the social and cultural transition beginning with the Enlightenment period in the eighteenth century, the research identifies a need to establish the value of how fine art offers theoretical and practical methods which would strengthen and increase educational resources along with pedagogic values for future sustainability of creative and educational impacts. In today’s society there are apparent gaps in relation to the discourse of aesthetic and ideology of cultural values regarding the fine arts and discourse of past and present diversity with sub cultures within our society. The research design of this particular action research project involves selected research methods incorporating contemporary ‘art-based’ practices and case studies. It is guided by the interpretive paradigm because ‘it is characterised by a belief in a socially constructed subjectively-based reality, one that is influenced by culture and history’ (O’Brien, 2001:7). Three intertwined strands: (1) the action research project, (2) the observation and reflection on three Outsider Art exhibitions and (3) the process evaluation of Maidstone Prison (see Appendix 2: 228) address the research question by forming a practical structure that individuals can explore. The chosen methods used for documentation purposes included using a reflective diary, video, photography and sound recordings. A key finding highlighted the displacement of the participants within the educational institution, which mirrored their exclusion. This pertains to two key elements that were present in the treatment of the participants; (1) separation that is used as a function and (2) space that is used for placement. Therefore, it is important to consider further application towards addressing additional time and location of space. This will enable a richer environment to sustain a participant’s sense of self- efficacy in the wider society and allow a sense of closure where individuals do not get lost within the process. A different approach towards selecting a location and interior space is also essential so as not to mirror exclusion. iii Acknowledgements I would like to express my deepest gratitude to Dr Paul Springer, who opened the door of opportunity. His support and words of encouragement aided in bringing life to this thesis. He paved a way towards the introduction of my supervisors Professor Juliet Simpson and Dr Nadia Wager. I would like to thank Professor Juliet Simpson for instilling the value of independence, keeping focused, and the meaning of clarity. I am deeply grateful to Dr Nadia Wager who introduced me to action research whose patience and support taught me the value of time and reflection. I am also indebted to Professor Margaret Greenfields, whom I interacted during the course of my studies and had the opportunity to work with members of IDRICS. I would like to thank Bill Beech for spending a day with me sharing his stories of his experience at The Special Unit at Barlinnie Prison. His confirmation and belief in what I was doing encouraged and inspired me to continue in the direction of how I was approaching the work with my participants. A special thank you to all the participants involved with the research. They have taught me so much more then I thought possible. Most importantly, I would like to express my heart-felt gratitude to my son who has been extremely patient and who this thesis is dedicated to, my mother Marlyn Oliver who has been a source of concern, support, and strength throughout the years. I would like to give a special mention to the memory of my father Robert G. Oliver who instilled the value of freedom. Ronnie Ashley, and Sue Short for their support throughout the years of friendship and to my immediate friends who have helped me overcome setbacks and stay focused. Their support and care will forever be cherished. Finally, I appreciate the financial support from Dorman Products and Berman Scholarship Fund. iv Author’s Declaration The purpose of this thesis is to reach a wider audience involved in social sciences, community organisations, the penal system, and educational institutions. Therefore, the aim is to not to further alienate (exclude) the audience but provide a written discussion that will enhance individuals understanding towards the individual, artist, creator, theories, methodologies, the subject of fine art, society and culture that pertain to the area of research covered in this thesis. There are elements within this thesis that provide general information in order for the audience to appreciate the associations made with the theories discussed. Moreover, encourage curiosity to engage in further research with the content obtained in this thesis. I declare that the work conducted with the action research project is my own. The project was devised and conducted by myself. v Contents Abstract……………………………………………………………………………..ii Acknowledgements………………………………………………………………iii Author’s Declaration……………………………………………………………..iv Contents…………………………………………………………………………….v List of Illustrations……………………………………………………………...viii Abbreviations……………………………………………………………………..xi Introduction…………………………………………………………………………1 1. Art and Discourses of Culture and Social Exclusion…………………….7 1.1 Introduction……………………………………………………………..7 1.2 Discourses of the Fine Arts within Cultural and Community Paradigms: Past and Present Concepts ....................................... 9 1.3 The Institutionalisation of Individuals According to Michel Foucault. ...................................................... 19 1.4 The Role of the Individual within the Context of Contemporary Art Practice: A Discussion Linking Sartre's Existentialism and Bandura's Self-Efficacy Theories…………….25 1.5 Social Exclusion and the Role of the Community Arts ................. 29 2. Society and the Displacement of the Individual .................................... 34 2.1 Introduction .................................................................................. 34 2.2 Defining Society and the Individual Through Jean-Paul Sartre's Concept of 'Responsible Being' and Michel Foucault’s Concept of ‘Take Care of Oneself’ ................................................................. 35 2.3 Social Exclusion and Michel Foucault's Writing on the Panopticon ............................................................................ 39 2.4 Establishing Social Exclusion through European Government Policies………………………………………………………………..42 2.5 The Relation between Arts in Britain and Social Exclusion……..............................................................................50 3. How Marginalised Groups are Presented and Represented in the Art World and Placed in Society………………………………………………...53 3.1 Introduction………………………………………………………….. 53 3.2 Aesthetic Culture ......................................................................... 54 3.3 Power and Knowledge Formations Defined by Foucault’s Concept of Heterotopia ................................................................ 57 3.4 The First and Fifth Principle: In Relation to the Sample of Participants at TVU, and the Inmates at The Special Unit, Barlinnie ........................................ 59 3.5 The Second Principle: In Relation to Aesthetic Culture’s Art Movements: Outsider Art as a Means to Revealing the Marginalised and Excluded…………………………………………60 3.6 The Role of the Artist ................................................................ 65 3.a Emil Otto Hoppe .................................................................... 67 vi 3.b Diane Arbus ........................................................................... 69 3.c Art by Offenders, Secure Patients and Detainees ................. 71 3.7 The Fourth Principle: In Relation to Galleries and Temporary Exhibitions ................................................................................... 75 3.8 Summary ..................................................................................... 75 4. Understanding Change in Social and Penal Arts Programmes ........... 77 4.1 Introduction……………………………………………………………77 4.2 The Concept of Rehabilitation ..................................................... 78 4.3 Financial Implications Regarding Punishment and Containment. 79 4.4 Historical Changes of Rehabilitation ............................................ 81 4.5 Theoretical Approaches to Rehabilitation and Secondary Prevention…………………………………………………………….82 4.6 Strategies in the Development of Rehabilitation and Prevention Programmes………………………………………………………….87 4.7 Strategies Used with the Theoretical Approaches………………..92 4.8 Arts at The Special

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