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Aug 29, 2019

Evaluation in participatory arts programmes
A selection of approaches, models and methods developed across Creative People and Places 2013-2016

Since the Creative People and Places (CPP) programme began in 2013, individual programmes have been developing a range of interesting evaluation approaches, models and tools.

Each CPP Place commissions a local evaluation, conducted by an external evaluator / agency to answer the main programme evaluation questions. The National Evaluation draws on these evaluations in the programme-level review.

The three programme evaluation questions driving the CPP National Evaluation are:

1. Are more people from places of least engagement experiencing and inspired by the arts?
2. To what extent was the aspiration for excellence of art and excellence of the process of engaging communities achieved?
3. Which approaches were successful and what were lessons learned?

This compendium presents a sample of these examples from 2013 to 2016 – offered and written by CPP directors and managers, critical friends, local evaluators and artists – to readers who may be thinking about their own evaluation in community contexts and participatory programmes.

 


By enhancing cultural participation among Europeans, will the values of tolerance, trust and willingness to engage respectfully with others be strengthened, and more open, inclusive societies emerge as a result?

A link has been made in recent years between a strong, well-functioning democracy and an abundance of cultural opportunities for all. Societies are said to be more open, tolerant and economically successful when people have easy access to a wide range of cultural activities and when participation rates in these activities are high. This first Council of Europe thematic report on culture and democracy specifically explores the relation between cultural participation and aspects of inclusive societies in Europe, such as tolerance and trust, and underlines the potential power of culture in nurturing them.

The report is based on the Indicator Framework on Culture and Democracy, developed by the Council of Europe and the Hertie School of Governance, in co-operation with the European Cultural Foundation. It was published in December 2016. 


Jun 19, 2019

In July 2016, Acesso Cultura | Access Culture presented a project to the Calouste Gulbenkian Foundation which involved a series of meetings at national level (namely, the 21 intermunicipal communities and the two autonomous regions – Azores and Madeira), in order to reflect on what constitutes a barrier to cultural participation. The two metropolitan areas (Lisbon and Porto), where Acesso Cultura has a more permanent and intense presence, were excluded from the project.
Acesso Cultura considers that, thanks to the continuous promotion of accessibility and the legislation in force, professionals in the cultural sector are more aware now of the existence of physical barriers to cultural venues. However, in addition to the legislation not being implemented, it is also true that our reflection on access does not go much further than the physical aspect and, even in this case, beyond the need for ramps and adapted bathrooms.


El fenómeno de la participación social, impulsado por el auge de las nuevas tecnologías, ha planteado un nuevo escenario y nuevos interrogantes para los profesionales y teóricos del museo. Para muchos de ellos, la participación se ha convertido en un pilar del nuevo paradigma del siglo XXI, en el que la co-creación desempeña un papel fundamental. Sin embargo, la terminología que rodea la participación en las artes se encuentra en un estado de cambio y tanto el concepto de participación como el de co-creación son conceptos ambiguos y son múltiples los usos e interpretaciones que se les otorgan. Este artículo se propone reflexionar sobre el binomio museo y co-creación a partir de una extensa revisión bibliográfica.

Artículo de Macarena Cuenca-Amigo Universidad de Deusto y Zaloa Zabala-Inchaurraga Universidad Yasar (Turquía) en la revista HER&MUS (Heritage and Museography) publicado en septiembre 2018. 


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