Are rural development programmes socially inclusive? Social inclusion, civic engagement, participation, and social capital: Exploring the differences

Considerable importance is attached to social exclusion/inclusion in recent EU rural development programmes. At the national/regional operation of these programmes groups of people who are not participating are often identified as ‘socially excluded groups’. This article contends that rural development programmes are misinterpreting the social processes of participation and consequently labelling some groups as socially excluded when they are not. This is partly because of the interchangeable and confused use of the concepts social inclusion, social capital and civic engagement, and partly because of the presumption that to participate is the default position. Three groups identified as socially excluded groups in Northern Ireland are considered. It is argued that a more careful analysis of what social inclusion means, what civic engagement means, and why participation is presumed to be the norm, leads to a different conclusion about who is excluded. This has both theoretical and policy relevance for the much used concept of social inclusion.

Participatory Sonic Arts: towards a socially engaged art of sound in the everyday (The Som da Maré Project)

Participatory and socially engaged art practices have, for a couple of decades, emerged a myriad of aesthetic and methodological strategies across different media. These are artistic practices that have a primary interest in participation, affecting social dynamics, dialogue and at times political activism. Nato Thompson in “Living Form: Socially Engaged Art from 1991-2011” surveys these
practices, which range from theatre to urban planning, visual art to healthcare. Linked to notions such as relational aesthetics (Bourriaud, 1998), community art and public art, socially engaged art often focuses on the development of a sense of ownership by the part of participants. If an artist is working truly collaboratively with participants and addressing the reality of a particular community, the long-term effect of a project lies in the process of engagement as well as in the artwork itself. Projects by New York based artist Pablo Helguera, for example, use different media to engage with social inequalities through participative action while rejecting the notion of art for art sake.

“Socially engaged art functions by attaching itself to subjects and problems that normally belong to other disciplines, moving them temporarily into a space of ambiguity. It is this temporary snatching away of subjects into the realm of art-making that brings new insights to a particular problem or condition and in turn makes it visible to other disciplines.” (Helguera, 2011)

Socially engaged practices develop the notion of artwork about or by a community, to work of a community. In this chapter we address how socially engaged, participatory approaches can form a context for the sonic arts, arguably less explored than practices such as theatre and performance art. The use of sound is clearly present in a wide range of socially engaged work (e.g. Helguera’s “Aelia Media” enabling a nomadic radio station in Bologna or Maria Andueza “Immigrant Sounds – Res(on)Art (Stockholm)” exploring ways of sonically resonating a city, or Sue MacCauley’s “The Housing Project” addressing ways of representing the views of urban dwellers on public scape through sound art. It is nevertheless rare to encounter projects which take our experience of sound in the everyday as a trigger for community social engagement in a participatory context.
We address concepts and methodologies behind the project Som da Maré, a participatory sonic arts project in the favelas of Maré, Rio de Janeiro.

Special Education Today in the United Kingdom

This chapter attempts to provide a critical analysis of special needs education within the United Kingdom today. Central to such an analysis is an understanding of the rapidly changing social and political milieu within which special needs education is embedded, including the rapidly changing demographics of schooling, and the devolution of political power into four separate but linked countries - England, Wales, Scotland and Northern Ireland. Following a discussion of such wider social, political and educational issues, the authors thoroughly explore the convergences and divergences in policy and practice across the four devolved administrations. They describe a plethora of contemporary texts within each of the four administrations that speak to the need for special needs education to change in response to 21st century concerns about the problems of access to, and equity in education for all children. Despite this, they explain why they remain circumspect about the potential of such developments to lead to successful inclusive practices and developments on the ground. Their analysis in the last section centres on the issue of teacher education for inclusion and some very innovative UK research and development projects that have been reported to successfully engage teachers with new paradigm thinking and practice in the field of inclusive special needs education.

Thinking ‘Dignity’ as a basis towards inclusive development

In an era of increasing political disenfranchisement, deep economic inequalities and associated social humiliations encountered by the rapidly globalising planet, this paper seeks to chart the current thinking about the paths that civil society need to take in order to achieve distinctive peace. Here commitment as part of the universal cosmopolitan order is critical to go beyond the binaries of religious and cultural differences. The role of dignity, of interdependency, respect and understanding has become all the more critical to sustain hope and life in this age of austerity. The paper argues for an empowered citizenship, based on dignity and respect to think socially towards inclusive development.

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on “spatial sound” privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an “ontopological” model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.