The established cultural sector is facing a paradigm shift. At the center of this change is the demand to do justice to the diversity of the population. The handbook opens up strategies for implementing art practices that are critical of discrimination, and for reaching new dialogue groups. Successes in partnerships with unequal cultural institutions are analyzed, and concrete strategies for action are shown on the basis of eleven documented productions. Starting point are the insights from the artistic practice in Brunnenpassage Vienna, founded in 2007. The handbook sets practice-relevant impulses for cultural workers, artists, and cultural policy-makers.

How can we think of art history as a discipline that moves process-based, performative, and cultural migratory movement to the center of its theoretical and methodical analyses? With contributions from internationally renowned experts, this manual, for the first time, provides answers as to what consequences the interaction of migration and globalization has on research in the field of the science of art, on curatory practice, and on artistic production and theory. The objective of this multi-vocal anthology is to open up an interdisciplinary discourse surrounding the increased focus on the phenomenon of migration in art history.

In the first dedicated analysis of its kind, international experts review the rationale and results of arts-based approaches to research, teaching, and practice in social work. The book presents examples of their use and methods to evaluate and theorise results and shows how arts can form outputs from research too.

This book provides answers to the following questions: How could visual art support us in reflecting about interculturality critically? When we look at, engage with and experience art, what is it that we can learn, unlearn and relearn about interculturality? The book adds to the multifaceted and multidisciplinary field of intercultural communication education by urging those working on the notion of interculturality (researchers, scholars and students) to give art a place in exploring its complexities. No knowledge background about art (theory) is needed to work through the chapters. The book helps us reflect on ourselves and on our engagement with the world and with others, and learn to ask questions about these elements. The authors draw on anthropology, linguistics, philosophy and sociology to enrich their discussions of critical interculturality.

This book brings together essays by established and emerging scholars that discuss Pakistan, Turkey, and their diasporas in Europe. Together, the contributions show the scope of diverse artistic media, including architecture, painting, postcards, film, music, and literature, that has responded to the partitions of the twentieth century and the Muslim diasporas in Europe. Turkey and Pakistan have been subject to two of the largest compulsory population transfers of the twentieth century. They have also been the sites for large magnitudes of emigration during the second half of the twentieth century, creating influential diasporas in European cities such as London and Berlin. Discrimination has been both the cause and result of migration: while internal problems compelled citizens to emigrate from their countries, blatant discriminatory and ideological constructs shaped their experiences in their countries of arrival. Read together, the Partition emerges from the essays in Part I not as a pathology specific to the Balkans, Middle East, or South Asia, but as a central problematic of the new political realities of decolonization and nation formation. The essays in Part II demonstrate the layered histories and multiple migration paths that have shaped the experiences of Berliners and Londoners. This analysis furthers the study of modernism and migration across the borders of, not only the nation-state, but also class, race, and gender. As a result, this book will be of interest to a broad multidisciplinary academic audience including students and faculty, artists, architects and planners, as well as non-specialist general public interested in visual arts, architecture and urban literature.

With cross-cultural perspectives from eight European countries, this book provides much-needed research on migration and social work. Focusing on the experiences and integration of refugees and asylum seekers, the text considers the impact of EU policies on borders and integration, and the rise of racism across European societies.

In American visual culture, the 1930s and 1940s were a key transitional period shaped by the era of modernism and the global confrontation of World War II. Christof Decker demonstrates that the war and its iconography of destruction challenged visual artists to find new ways of representing its consequences. Dealing with trauma and war crimes led to the emergence of complex aesthetic forms and media crossovers. Decker shows that the 1940s were a pivotal period for the creation of horrific yet also innovative representations that boosted American visual modernism and set the stage for debates about the ethics of visual culture in the post-9/11 era.

While it has been argued that anonymity in gamete donation has been brought to an end by legal changes and technological developments, Amelie Baumann suggests that this is in fact still in transformation. By focusing on the narratives of those who were conceived with anonymously donated gametes in the UK and Germany, she examines this transformative process and the role which donor-conceived persons play in it. This book shows that it is not someone's decision to procreate that turns »being donor-conceived« into a meaningful categorisation. Rather, kinship knowledge gets activated by the donor-conceived in specific ways for »being donor-conceived« to become a powerful identification.

In the complex and multi-layered process of migration and identity-building, classical migration theories and approaches of transnationalism seem no longer able to grasp how belonging and home are to be found in movement. This ethnography leads the reader into the lives of five Jamaican women in Montreal; their daily practices and experiences, their spaces of communion, their memories and projections for the future. Lisa Johnson sheds light on the mobile biographies and migratory agency of her interlocutors by following the intricate mental and physical trajectories of their deep-rooted yearning to return home.

This book takes a new, exciting and important approach to art. It shows how children and older students can use art to explore personal, social and cultural issues that touch their lives. The book covers new ground, responding as it does to the increasingly diverse nature of cities and to recent government initiatives worldwide to foster social inclusion and equality of opportunity and support active citizenship. The contributors are art educators. They write about their ways of engaging with contemporary art practice in their particular fields so as to encourage young people to acquire critical understanding. They also challenge the pedagogies that perpetuate long-established forms of art practice. Tim Rollins writes about his work with disaffected youths in the Bronx and John Johnston describes work in art to bring communities together in Northern Ireland. Other contributors include Toby Jackson, head of interpretation at Tate Modern, Diedre Prinz, curator of the Robben Island museum in South Africa, the 198 Gallery in south London, and Viv Golding who works in museums and gallery education. Sinath Bannerjee explores socio-cultural issues in comic novels in India and Sue Lok explores identities through art practices. Educators at each level also contribute to this groundbreaking book. Andy Gower describes his innovative art practice in a secondary school, and children of Room 13 - in a Scottish primary school - report on their organization of their own focus for art. Lesley Burgess and Nick Addison give an account of their development of critical and social practices in art education at London''s Institute of Education. The book is for all those working in art education, in museums and galleries, schools and communities. Contributor information : Tim Rollins work in New York with Kids of Survival (KOS) has achieved world-wide acclaim. Beginning in the 1980s Rollins taught a highly disaffected group of teenagers in the Bronx and together they established an art workshop where members of the group produced challenging conceptual art work. Subsequently work was sold and is now held in major galleries around the world. Through their visual practices many members of the group overcame feelings of rejection and alienation and developed self assurance and confidence. John Johnston works with the Protestant communities in Belfast and through the use of visual practices he has been working with young people in a variety of community sites to explore issues of identity. This is a difficult educational challenge given the history of Northern Ireland. Recently he has been invited to work in Lebanon at a human rights summer school. He has been working with young people there to explore themes of ''home'' and ''belonging'' through visual practices. Room 13 consists of a highly creative group of children at Caol Primary School near Fort William in Scotland. The children are producing contemporary art which has received much interest and acclaim nationally and internationally. The children run Room 13 as an entirely self-funding business, independent from the school. Rob Fairley and Claire Gibb are the only adults involved, they offer advice but they are not the children''s teachers. An elected committee of children makes all decisions about the work and the business. Viv Golding is a lecturer in museum studies at Leicester University. She uses the concept of ''museum clearing'' to counter the discourses of lack, often a self-fulfilling prophecy that frequently permeates much discussion of Black children and their under-achievement in UK schools today. The practical value of her critique is illustrated through a fieldwork project involving imaginative art and literacy school and museum work in south London with early years children. Deidre Prins and her team work as education officers at Robben Island Museum in South Africa. They provide some background to the work of the museum and introduce readers briefly to the legacy of creative forms used in the maximum security prison between 1960s and 1991 and the role it played in creating a process of ''normalization'' under conditions that were repressive and alienating. A large part of the audiences of Robben Island Museum are children and youth. All of them have no memory or experience of the colonial period in RSA history and very few of them have a memory or experience of apartheid. These are two defining periods in the lives of all South Africans, with the scars, benefits and joys of a new democracy. To create a dynamic learning environment in which children and youth can engage with a legacy which is at once painful and liberatory, requires a process of ''making memory'', speaking about the past, doing the past and understanding the past. Their engagement with this past in turn creates their own memories and leaves its mark on Robben Island, which is a living museum. The theme of ''memory making'' will be described through the production of a photographic collage which is part of the annual Spring School activities. 198 Gallery :The team at the 198 Gallery write about their work on he Urban Visions scheme which is an outreach programme that deals with disaffected youth in south London. Lucy Davies the chief administrator and other gallery staff will write about how their program has impacted on the learning experience of children from this diverse urban environmen. Many are excluded from schools or have learning difficulties which schools find difficult to address. The gallery in its work across a range of media, but more especially electronic media, has earned the respect of many in educational and fine art circles both in this country and in mainland Europe. Sue Lok is a an artist and lecturer at Middlesex University. She has a particular interest in the experience of Chinese British artists and young people. Her work will explore themes central to their experience alongside issues emanating from her own experience as an artist and researcher. Lesley Burgess and Nick Addison are art educators at the Institute of Education in London. They have a nation-wide reputation for their seminal publication Learning to Teach Art and Design in the Secondary School. They have carried out further research in the arena of teacher education for this book. Andy Gower is head of art at a north London comprehensive school. He and his team have devised a way of teaching which is unique but very successful within the state system. Their issues-based approach extends across the year groups and encourages responses which address issues of personal, social, cultural and political concern. The idea is not to focus greatly on the development of traditional skills in making art but in fostering a creative thinking environment in which children respond imaginatively and personally to issues which impact on their lives. Sarnath is a comic artist: he address issues through the graphic medium of comic imagery. His work explores relationships and issues of exclusion, both physical and psychological. The ways in which his pieces unfurl encourage different interpretations and readings of what is being said. It is an extraordinarily intense and challenging comic style which demands constant revisiting and re-reading. His chapter invites us to enter the world of a south Asian man whose thoughts drift in and out of different points of experience. It takes us on a physical and psychological journey and depositis us in a space that begs more questions about identity and belonging. Sarnath Banerjee has initiated a scheme in the south Asian community of Tower Hamlets in east London which will see Bengali women make comics about their lives and thoughts. He is developing a similar scheme among a number of minority ethnic communities in the Brixton area of south London. He is shortl