Research has both developed from and underpinned development in educational contexts.
Our Inclusive Arts Practice MA has run for many years, investing research and community enterprise directly into the educational framework, while a major long-term set of collaborations have been engaging people who have complex learning disabilities and challenging behaviour.
The 香港最快开奖现场直播资料 has led and innovated research in this field, both in the context of arts practice and the advocacy of human rights. Projects have explored how inclusive arts practices can be accessible and appropriate to performers with and without learning disabilities. It asks - when words are not enough how do we collaborate equally?
It also explores and promotes the nature of a university-community partnership, which grows out of real-world problems – the absence of educational opportunities for artists with learning difficulties - which could only be addressed collaboratively. This relationship pushes the boundaries of student learning in the community and asks what is acceptable for students and who are acceptable students?
The key collaboration has, over many years, been with the learning disabled , which has pushed the boundaries of inclusion in the arts through performance, symposiums and exhibitions – making the case for diversity through the work whilst posing questions that challenge prejudice and work against isolation.
Alice Fox’s Side-by-Side (2013) for example was commissioned by the Arts Council and London’s Southbank Centre and attracted over 6,500 visitors. It brought together 150 able-bodied and disabled artists, representing the collaborative approach and outlook of 30 international organisations to carefully consider how to use the processes of collaboration to create a space for equality of expression and the development of creative ideas ensuring everyone’s ideas were ‘heard’.
Jude Kelly, Artistic Director, Southbank Centre, said:
‘I consider this exhibition to be groundbreaking in its ambition and realisation. It shifts a paradigm by making us understand that art created by people with different life experiences gives us fresh perspectives on ideas around what is possible for an artist, both practically and emotionally. It demands that both artists and audiences think of inclusivity as the only approach to the full expression of our cultural life.’
Other successful enterprises included Smudged (Tate Modern 2008), Overalls (2007) and Measures of Bodies (Medical Museum,Brussels, 2010)