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3Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
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Arts in Health, also known as Arts for Health, is an umbrella term used to describe the domain of using the arts to enhance our (mental) health and well-being. It involves a heterogeneous range of professionals who use the arts in various ways, with different goals and outcomes. The practices of these professionals can be placed on a continuum based on the variety of goals and outcomes, ranging from promoting social connection or well-being to treating (mental) health conditions. Recent discussions in the Netherlands have raised questions about the position of creative arts therapists on this continuum. This opinion paper addresses this issue by providing a brief overview of the development of the profession of creative arts therapists, the working areas of creative arts therapists and the growing evidence base of creative arts therapeutic interventions. The practices of creative arts therapists are positioned on the continuum, where the emphasis on and accountability for the clients’ (mental) health increases and evidence-informed use of the arts within a more clearly delineated and legally safeguarded professional framework are present. Knowing where the practices of creative arts therapists are placed can assist in identifying when to choose creative arts therapists, other professionals combining arts and healthcare, or a combination of professionals.
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Our letters pay homage to the 1890 novel News from Nowhere by William Morris, a major figure in the 19th century British Arts and Crafts movement. Morris’ novel tells the story of a protagonist who wakes up in a better society [the literal “nowhere” of his book title when “utopia” is translated from Greek into English] and who reciprocally informs the future people about the misery from where he came. Our first letter is written from a dystopian, the second from a utopian future of arts education in 2030.
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Background: Virtual Reality (VR) holds much promise for online offering of arts and psychomotor therapies. As these therapies use bodily experiences, expressive/artistic media, materials, movement, music, and (role) play, VR is more suitable than online/video consultations. Objectives: This study was set up to improve VR possibilities for arts and psychomotor therapies, with the primary aim of redeveloping and rebuilding a VR application.
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Three ideas are central to this booklet. First, the teaching/learning process is seen as a multi-modal form of teaching/learning. A form of learning that is distributed over the entire body: a living process that requires a bodily attentiveness and dynamical attunement of both teacher and pupil. Second, teaching and learning in dance and music is considered a participatory sense-making activity (in terms of De Jaegher & Di Paolo, 2007). An activity that can be described as an embodied engagement process in which music and dance experiences are exchanged, coordinated and shaped between pupil and teacher. Rhythm, pulse and timing are co-constituted and co-regulated in the interaction. The third and final idea is that art itself is aesthetic and expressive-affective. In learning and teaching music and dance meaning is created together: the aesthetic and expressive-affective meet, and from this meeting meaning arises.
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In this paper, we explore the ways in which we can employ arts-based research methods to unpack and represent the diversity and complexity of journalistic experiences and (self) conceptualisations. We address the need to reconsider the ways in which we theorise and research the field of journalism. We thereby aim to complement the current methodologies, theories, and prisms through which we consider our object of study to depict more comprehensively the diversity of practices in the field. To gather stories about journalism creatively (and ultimately more inclusively and richly), we propose and present the use of arts-based research methods in journalism studies. By employing visual and narrative artistic forms as a research tool, we make room for the senses, emotion and imagination on the part of the respondents, researchers and audiences of the output. We draw on a specific collaboration with artists and journalists that resulted in a research event in which 32 journalists were invited to collaboratively recreate the “richness and complexity” of journalistic practices.
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Twenty sixteen year old fourth-graders of the School for Young Talent (School voor Jong Talent) in The Royal Academy of Fine Arts, Design, Music and Dance (Hogeschool van Beeldende Kunsten, Muziek en Dans) participated in a pilot project that combined music, dance and visual arts in a creative process. A group of six teachers from three different disciplines guided the young artists. This report shows how this process took place and indicates some of the issues that were encountered along the way.
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Based on his personal experience, the author aims to examine some of the key competencies that he considers essential for facilitators of group activities in arts-based environmental education (AEE). In this, participants are encouraged to enhance their sensibility to the environment through artistic approaches. A case in point is a workshop called “making a little me”. Its participants sculpt – while keeping their eyes closed – a clay version of their own seated body in miniature. When guiding such a workshop, it is of critical importance, according to the author, to encourage the participants to suspend their judgments on the art works of others. The facilitator should make every effort to provide a safe environment by practicing “holding space”.
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Philanthropy is on the rise in the Dutch visual arts. Fat cash prizes, big-name exhibitions, large-scale renovations, spectacular public artworks, and big scandals are changing the public display of art and undermining the democratic governance of art institutions. While some have critiqued the patron's rise to power, the majority of the art world remains silent, muted by a combination of ignorance and self-censorship. How can we overcome this deadlock and start cultivating a healthy public debate?
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In Community Art, visual and performing artists and theorists employ diverse modes of thinking and writing to explore the practices and concepts of the phenomenon of community art in western and non-western societies. The book does not offer a cut-and-dried theoretical model, but presents a new critical reformulation of community art in society.
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