Creative
Engagement
Title
Two lines
Pursuing youth outcomes through the arts across
Subtitle
one line
the Victorian
Government
PREFACE
This project has been conducted as a requirement of the 2011 Victorian Public Service Graduate
Recruitment and Development Scheme. Graduate recruits must complete a ‘group learning task’ to
demonstrate their development of skills in project management, team work, report writing and
presentations.
This project, ‘Creative Engagement: pursuing youth outcomes through the arts across the Victorian
Government’ was produced by the Department of Premier and Cabinet graduate recruits and was
sponsored by Arts Victoria. It has been produced under the guidance of Sue Doyle, David Everist
and Warren Peart from Arts Victoria.
We extend our thanks to representatives from the organisations profiled in this report who
generously shared their time and resources with us.
2011 DPC Graduates
Jessica Bartik, Karen Bird, Elizabeth Bott, Alex Kaiser, Felicity Rhodes, Daniel Smolich
2011 DPC Graduate Learning Team Project
2
Executive Summary
Engaging young people through the arts has many benefits for both individuals and communities.
This report examines seven Victorian art projects that have achieved positive outcomes for young
people and their communities. The report highlights key characteristics of these projects for
Victorian Government departments and agencies.
The report profiles the following projects: ‘Who Owns me Today?’ by HighWater Theatre; ‘Northern
Trax’ by the Anti Racism Action Band (A.R.A.B.); FReeZA Youth Committees; ‘We’re Afraid of the
Daylight’ by Scum Pups; ‘Out of My Head’ by the Artful Dodgers Studio; ‘Kooriez in da Hood’ by the
Koorie Heritage Trust; and the ‘Boon Wurrung Ngargee Sunset Ceremony’ by The Torch. The
projects represent a diverse range of art forms, geographic locations and cultural and socioeconomic participants. Information for each project was gathered using face-to-face and phone
interviews with project coordinators. Project coordinators also provided additional documentation
such as acquittal reports and project evaluations.
In addition to the intrinsic value of engagement in artistic activities for participants, these projects
have led to a number of instrumental outcomes. This includes facilitating re-engagement in
education, access to career pathways, improvements in health and wellbeing, reductions in antisocial behaviour, community engagement and exploration of personal and cultural identities.
The projects profiled in this report highlight lessons for Victorian Government departments and
agencies to consider when planning programs that use the arts to engage young people. Projects
should draw upon the expertise and experience of professional artists, involve high quality art and
public presentations and engage young people over the long term. Government departments and
agencies should also explore opportunities to make connections with pre-existing community groups
and networks.
2011 DPC Graduate Learning Team Project
3
Contents
Introduction .............................................................................................................................................. 5
Project Scope & Methodology ................................................................................................................ 5
Policy Context ........................................................................................................................................ 6
Case Study Profiles ................................................................................................................................. 7
HighWater Theatre – Who Owns me Today? ........................................................................................ 7
Antiracism Action Band (A.R.A.B.) – Northern Trax .............................................................................. 9
FReeZA - Youth Committees ............................................................................................................... 11
Scum Pups – We’re Afraid of the Daylight ........................................................................................... 12
Artful Dodgers Studio – Out of My Head.............................................................................................. 13
Koorie Heritage Trust – Kooriez in da Hood ........................................................................................ 15
The Torch – Boon Wurrung Ngargee Sunset Ceremony..................................................................... 16
Project Outcomes .................................................................................................................................. 17
Education ............................................................................................................................................. 17
Vocational Training & Career Pathways .............................................................................................. 18
Health, Wellbeing and Reductions in Anti-Social Behaviour ............................................................... 20
Community Engagement ..................................................................................................................... 22
Identity & Culture.................................................................................................................................. 23
Characteristics of successful projects ............................................................................................... 25
Involvement of Professional Artists ...................................................................................................... 25
High Quality Artistic Products/Performances ....................................................................................... 26
Long-term Engagement ....................................................................................................................... 26
Use of Existing Resources and Networks ............................................................................................ 27
Conclusion ............................................................................................................................................. 29
2011 DPC Graduate Learning Team Project
4
Introduction
This report examines seven Victorian projects that use creative activity as a way to connect with and
generate positive outcomes for young people and their communities. The projects profiled in this
report illustrate how arts projects have intrinsic value for participants, but also present avenues for
advancing youth policy objectives across the Victorian Government in areas including education,
employment and training, health and wellbeing, community engagement and cultural identity.
Project Scope & Methodology
Terms of Reference
The aim of the project was to compile case studies of existing projects that use creative
engagement to connect with young people. This is intended to assist Arts Victoria in promoting the
value of creative engagement across the Victorian Government.
Selection of Case Studies
The projects were selected to represent a diverse range of art forms, geographic locations, and
participant demographics. Most of these projects have had a previous association with Arts Victoria
and were identified as examples of good practice in the field.
Research Methods
Information for the report was gathered through a combination of desktop research and interviews
with project coordinators. A review of academic literature on the role of arts and cultural activity in
youth policy was undertaken, and policy approaches in other Australian jurisdictions were
considered. Pre-existing information on the selected projects was gathered from a range of sources,
including external evaluations, media reports, internal evaluations and acquittal reports. This
information was complemented by semi-structured interviews with program coordinators. These
interviews were conducted throughout August and September 2011.
Limitations
The main constraint on this research was the limited time allocated for the project. Each team
member was allocated 40 hours, or five working days, to complete the project. This limited the
number of projects that could be profiled, as well as the depth of information that could be gathered,
analysed and presented in the report. Representatives from HighWater Theatre were unavailable
during the interviewing period, so the research on their project is based on previous evaluations and
acquittal reports, which included first-hand accounts from participants and audience members.
Definitions
Key terms used in this report are:
2011 DPC Graduate Learning Team Project
5

Arts and cultural activity: these terms are used broadly and cover a variety of forms including
audiovisual multimedia, contemporary music, theatre performances, sculpture, painting,
photography and comedy.

Intrinsic value of the arts: the personal and private benefits derived by an individual from
experiencing art, including aesthetic pleasure, captivation and enjoyment.

Instrumental value: the value of the arts as an instrument for achieving broad social and
economic goals such as re-engagement with education or improved health and wellbeing.

Young people: people aged between 12 and 25 years (based on definitions used by Arts
Victoria’s Youth Arts Reference Group and the Youth Inter-Departmental Committee).
Policy Context
The contribution of the arts to policy areas across government is increasingly evident in Australian
policy development (Craik 2007).
The Queensland Government’s Creative Queensland policy
established a framework for a whole of government perspective on the arts, arguing that the arts
can contribute to improvements in educational outcomes, individual wellbeing, and community
cohesion (Arts Queensland 2002). The Queensland Government also released the youth arts policy
Arts, Culture + Me: Children and Young People in the Arts Action Plan, which set out a framework
for supporting young people’s participation in the arts. This included a range of arts programs that
provide young people with artistic skills and experiences while also offering education and training
opportunities (Arts Queensland 2008).
At the Commonwealth level, the National Cultural Policy Discussion Paper, released in 2011,
included a discussion of the contributions the arts make to Australian society. It highlighted the
important role that the arts can play in policies for young people, including educational engagement
and social and cultural cohesion (Office for the Arts 2011). This focus on the broader value of arts
and cultural activity has been a feature of Victorian Government policy in recent years.
Arts Victoria is responsible for supporting and developing arts policy, programs, and cultural
infrastructure in Victoria. In addition to its work within the arts and cultural sector, Arts Victoria
advises on the ways that arts and cultural activity can contribute to broad government policy
objectives. Arts Victoria supports several arts programs that make contributions to the policy
outcomes of Victorian Government departments. Foremost among these are the schools
partnership programs that are facilitated by Arts Victoria and the Department of Education and Early
Childhood Development. These programs have provided young people with opportunities to
develop their artistic skills and have helped teachers develop new approaches to teaching and
learning (DEECD 2009). These current partnerships provide a sound base upon which the Victorian
Government can build.
2011 DPC Graduate Learning Team Project
6
Case Study Profiles
HighWater Theatre – Who Owns me Today?
A ‘creatively led partnership’ that is successful, both as an early intervention program to address
anti-social behaviour and disengagement from formal education, and as a community education
tool.
The HighWater Theatre Rural Youth Program is an intensive, arts-based education program for
teenagers in Albury/Wodonga who have fallen out of the formal education system.
The
collaboration between Somebody’s Daughter Theatre Company, Gateway Community Health
(formally Upper Hume Community Health Service) and the Victorian Department of Education and
Early Childhood Development has been running since 2001.
Professional artists and post-release women (trainee artists) work with participants to produce high
quality theatre that gives voice to their stories. Original plays are devised and performed to a range
of schools, professional bodies and communities, in small rural towns as well as large cities.
HighWater’s latest play Who Owns me Today? dealt with issues including foster-care,
homelessness and bullying – key challenges in the lives of HighWater participants.
In addition to the intensive drama, art and music workshops, HighWater supports participants
through:

individual education plans

specialised sessions on health, wellbeing, nutrition and bullying

assistance in preparing for job interviews

social activities designed to develop practical independent living skills, and

pathways to support services, including referrals to housing services, drug and alcohol
counselling, doctors, dentists and sexual health clinics.
The impact of HighWater Theatre is manifold. For the young participants involved, there has been a
reduction in anti-social and offending behaviour, a reconnection with education and an improvement
in their health and well-being.
Often belonging to HighWater becomes the one strong, stable point in the lives of participants – the
one secure thing they can rely on.
2011 DPC Graduate Learning Team Project
7
For audiences, such as those who saw Who Owns me Today?, the experience of HighWater has
been overwhelmingly positive. Many people commented that the play broadened their knowledge
and motivated individual action, which HighWater regards as “the first steps towards broader
systemic change to improve services for at risk young people” (HighWater Theatre 2011, p29).
Significant outcomes –

re-engagement with education

reductions in anti-social behavior, and

improved community understanding.
Partner Organisations: Department of Education and Early Childhood Development, Gateway
Health, Somebody's Daughter Theatre.
2011 DPC Graduate Learning Team Project
8
Anti Racism Action Band (A.R.A.B.) – Northern Trax
Uses theatre, dance, and music to develop the social and artistic skills of young people and promote
cross-cultural understanding.
Anti-Racism Action Band (A.R.A.B.) was established as a creative outlet for Arabic young people in
Melbourne’s outer north. It aimed to challenge racial tensions and promote social inclusion while
imparting performance, event management, social and life skills and crucial employment pathways
for participants.
A.R.A.B. quickly opened its door to youth from all cultural backgrounds as a
proactive way to address racism. The area was lacking in opportunities for young people to engage
with the performing arts and local young people were really enthusiastic to get involved. A.R.A.B.
participants were given the opportunity to share positive representations of their culture and social
lives.
A.R.A.B.’s major production in 2010 was Northern Trax, a series of performance events in and
around Melbourne’s Flinders Street Station. Northern Trax was staged as part of the 2010
Melbourne International Arts Festival. The centre-piece was an original theatre piece performed in
Degraves St underpass that told the story of a contentious cross-cultural marriage. Northern Trax
also included a series of seemingly spontaneous 'flash mob' dance and music performances around
the northern train line platforms and concourses at Flinders Street Station.
“They’ve given me the chance to go places I never thought I would go, I’ve performed places I
never thought I’d perform. I was one of the trouble makers and now one of the stars of the
show”
(Northern Trax Participant)1
Northern Trax brought the stories of A.R.A.B. participants from the margins of Melbourne's ‘Zone 2’
into the heart of the CBD.
The show involved public rehearsals with 150 teenagers, representing 50 different cultural groups
and 40 different religious identities. The young performers were required to work together as a
group, and the interaction between participants from a wide range of cultural backgrounds was an
important outcome of the project.
“We’re all different people but when we’re together we love the same thing, you know, like
dance”
(Northern Trax Participant)2
An earlier evaluation of the A.R.A.B program found that participants reported they had a better
understanding of people from other cultures and backgrounds after being involved in A.R.A.B.
1
2
Northern Trax A Snapshot of Anti Racism Action Band, Available at http://vimeo.com/21630655
Northern Trax A Snapshot of Anti Racism Action Band, Available at http://vimeo.com/21630655
2011 DPC Graduate Learning Team Project
9
productions.3 One of the major successes of A.R.A.B initiative was found to be the noticeable
difference in levels of self-esteem and confidence among the participants, along with a new
understanding and tolerance of difference as reported by the staff at their schools, tutors, school
partners and the students themselves. 4
Significant outcomes –

educational partnerships

positive interactions between young people from diverse cultures, and

positive representations of young people.
Partner organisations: Arts Victoria, Department of Immigration and Citizenship, Moreland City
Council, City of Whittlesea, City of Darebin, City of Melbourne, Hume City Council, Platform Youth
Theatre, The Social Studio, Wick Studios, Jungle City Dancers, Melbourne International Arts
Festival and various Victorian Secondary Colleges.
3
Hallifax & Rodriguez (2006) A.R.A.B. Evaluation Research and Report, Available at: http://arab-vass.com/wpcontent/blogs.dir/18/files/2010/07/EvaluationDocument.pdf
4
Ibid, p 33
2011 DPC Graduate Learning Team Project
10
FReeZA - Youth Committees
FReeZA is a non-profit organisation that works with young Victorians to provide safe and affordable,
drug, alcohol and smoke free, all-ages music events.
FReeZA Youth Committees plan, organise and manage live music events, giving young people the
opportunity to develop transferable practical skills, while doing something that appeals to them.
Seventy-eight FReeZA Youth Committees operate across metropolitan, regional and rural Victoria
with events attracting over 140,000 young people annually.
In coordinating the events, members of FReeZA Youth Committees work with a local community
youth worker, professional artists and their managers. Key activities include booking bands and
performance spaces, managing a budget, event promotion and the operation of technical
equipment.
As Shane Wickens, Artistic Director of The Push (the peak body that supports the FReeZA
program) explained, “FReeZA events create a ‘buzz’ of excitement for committee members as
participants can see the results of their work, develop improved self confidence and skills that are
highly valued by the competitive music industry”.
FReeZA taps into young people’s understanding of what will appeal to other young people.
FReeZA Youth Committees aim to achieve a cross section of interests and skills, which, in turn,
promotes new social networks for participants and greater connection with the community. Many exFReeZA participants have maintained contact with their local FReeZA Committee. One participant
now mentors young people on Shepparton FReeZA Youth Committee, while another former
participant has started his own business managing young artists and bands and continues to
mentor his former Youth Committee in Bendigo.
The young people on FReeZA Committees are also given the opportunity to participate in the
annual Push FReeZA Summits, which in 2011 were held in Bendigo and Brunswick. The annual
event brings together young people from across Victoria. The participants have the opportunity to
meet other young people with similar interests, discuss their local music scenes and their
experiences of running live music events, and hear from influential Australians in the music industry.
Significant outcomes –



vocational training
promotion of healthy lifestyles, and
community connections.
Partner organisations: The Push, Department of Human Services (Office for Youth), many local
councils and community groups.
2011 DPC Graduate Learning Team Project
11
Scum Pups – We’re Afraid of the Daylight
An opportunity for young people to express their opinions and experiences about daily life in their
community through art.
Scum Pups uses photography, digital media and public art projects to engage young people in the
Upwey community. Under the guidance of Tiffaney Bishop, a local professional artist, the group runs
projects that deal with social and cultural issues in the local community. In 2008, Scum Pups ran a
project called We’re Afraid of the Daylight, which set out to challenge local perceptions about local
young people and safety within the community.
For twelve months the five young people engaged in the We’re Afraid of the Daylight project were
involved in weekly workshops held at Upwey train station. This was supplemented with weekend
workshops and time in the studio developing photographs and learning about the art form. By
engaging artistically with their surroundings and having their art professionally recognised,
participants found they connected in different ways with their peers and adults within the community.
The project helped participants to develop conceptual thinking and to communicate their feelings in
a constructive manner while inspiring a self-motivation, independence and commitment.
The
previously shy participants now give presentations on the project to other communities with the aim
of encouraging young people like themselves to speak up and get involved. Through this project
participants came to see that their opinions and concerns matter and that they, as young individuals,
are important.
This project served to build trust between teenagers and the local police.
Local police supported the project financially and attended the weekly art workshops, fostering
positive relationships and mutual understanding between the young people and local members of
Victoria Police. According to Leading Senior Constable Craig Lane of the Belgrave police;
A lot of the time, when police deal with kids or youth, it’s mainly because the young people
have got into trouble. We want to break those barriers down and this is the perfect way to do
it. They can use me as a source if they need to ask me about policing, or anything for that
matter. They appreciate me coming and I appreciate them being truthful and honest. That’s
the best thing about it. Leading Senior Constable Craig Lane
Partner Organisations: Victoria Police, Metro Trains, Burrinja (local art gallery), Shire of Yarra
Ranges, Bendigo Bank, Bell Real Estate and Foodworks.
Significant outcomes –



negative community perceptions challenged
reductions in anti-social behavior, and
positive relationships between young people and the police.
2011 DPC Graduate Learning Team Project
12
Artful Dodgers Studio – Out of My Head
The Artful Dodgers Studio provides innovative and creative spaces for young people whose lives
have been affected by difficult circumstances.
Artful Dodgers Studios (Dodgers) is an innovative program established in 1996 by Jesuit Social
Services for young people aged 15-27.
Participants work alongside professional artists and
musicians in a safe and vibrant arts space that encourages the development of artistic skills and
offers holistic support.
The Dodgers vision is to engage, transform, and strengthen young people through involvement in
the arts. This is facilitated through increasing social connection, self-esteem, positive mental health
as well as foundation and vocational skills.
The creative program helps to validate them as
important cultural contributors and the studios help them to explore artistic skills and identity beyond
the risk factors in their lives. Many participants face barriers to education and employment.
The Dodgers is all about art and music. Participants can choose how they will engage and this is
integral to their sense of empowerment as they maintain control over their own stories, artistic
output and solutions. Dodgers artists work with young people to encourage them to strive for artistic
excellence and participate in exhibitions and performances.
“We’re here to unlock the arts for young people who would not ordinarily be given access. It’s about
stimulating people through art, not placating them. The greatest thing we can offer is the opportunity
to locate their unique voice, validate their creative choices and share it with others.”
(Forest
Keegel, Community Cultural Development Artist )
In 2013 the Dodgers music studio helped foster a collaboration between young participants and exchild soldiers turned hip hop artists 'FLYBZ' and legendary Australian song writer Paul Kelly.
Producing, managing and releasing the track 'Child Soldier' the Dodgers were able to help the newly
arrived Fablice and Floreni fulfil their musical ambitions. This resulted in national media exposure,
airplay and paid performance opportunities for FLYBZ. They now use music to tell their stories to
school and community groups and have won an African Australian Award, a National Youth awards
and a Victorian Refugee award.
Rudder Exchange Visual Arts Mentoring Partnerships (REVAMP) is for young artists with
experience at the Dodgers and who wish to further their art practice. REVAMP matches established
visual artists with young people to exhibit together. Alumni of REVAMP have transitioned into
tertiary study and exhibiting their work professionally.
For example, a recent graduate won a
scholarship of $8000 for one year’s tuition at the Tom Bass Sculpture Studio School in NSW.
2011 DPC Graduate Learning Team Project
13
“Participating in REVAMP and working alongside my mentor and the other artists has made me
realise that I am just as able and just as entitled to express myself creatively as anybody else. I’ve
expanded my appreciation of the art world and feel freer to express myself without harsh selfcriticism. My confidence has grown phenomenally. You can see it in the way I carry myself and
interact with people. I feel so well. This is a wellness that the hospitals can’t give you. This is a
wellness that you can only get by being included back into society.” (REVAMP Participant)
Significant outcomes –

mentoring for ‘at-risk’ young people

building confidence and self-esteem, and

exploration of personal identity.
Major partner organisations: Victorian Departments of Human Services and Health, the City of
Melbourne, Jesuit Social Services.
2011 DPC Graduate Learning Team Project
14
Koorie Heritage Trust – Kooriez in da Hood
Kooriez in da Hood engaged young Indigenous people in an exploration of personal and cultural
identity.
Kooriez in da Hood was run by Koorie Heritage Trust in 2010. Fifteen Koorie youth from Melbourne
collaborated with leading Indigenous artists and mentors, Brook Andrew, Bindi Cole and Nikki
Ashby, to design and showcase a range of hoodies that represented Koorie culture, family and life.
Weekly workshops were run over three months to develop artistic concepts and stencil techniques.
The project culminated in a hip hop fashion parade, during which the young artists paraded their
wearable art in an eye-catching show choreographed by Kaurna/Narrunga woman, Nikki Ashby.
Following the fashion parade, the artwork was exhibited at the Koorie Heritage Trust, with some of
the limited edition hoodies available for sale.
Kooriez in da Hood developed the artistic and technical skills of participants through a project that
had relevance to their daily experiences.
The connections with Koorie culture were a major aspect of this project. Kooriez in da Hood
participant Grant Balcombe, a young Tjapukai/Western Yallangi man, commented:
Our Indigenous forefathers wore kangaroo and possum skin cloaks to represent
their origins and tribal affiliations, but recently the Koorie Heritage Trust have
encouraged young people…to get back in touch culturally by allowing us to create
our own hoodies with our own personal designs that represent us and our culture
through our eyes.
Subsequent Kooriez in da Hood programs are currently being planned, with the next one to be held
in Shepparton. The long term vision for the project includes a second stage where participants will
undertake product development and marketing workshops to assist them in marketing their artwork.
Significant outcomes –

exploration of cultural identity

opportunities for self-expression, and

positive role models for participants.
Lead Organisation: Koorie Heritage Trust. Project led by three Indigenous artists: Brook Andrew,
Bindi Cole and Nikki Ashby.
2011 DPC Graduate Learning Team Project
15
The Torch – Boon Wurrung Ngargee Sunset Ceremony
Dance was used to engage young Indigenous people to learn about local Indigenous history, culture
and law.
The Boon Wurrung Ngargee Sunset Ceremony Dance Revitalisation Project (the Sunset Ceremony)
was coordinated by the Torch, a cross-cultural arts organisation. It involved collaboration between
Indigenous artists, Indigenous elders and over 30 young Indigenous people.
The project drew on the guidance of Boon Wurrung Elder Aunty Carolyn Briggs and a collaborative
team of Indigenous artists led by Artistic Director Jacob Boehme. Participants conducted research
into traditional ceremonial practices such as body painting and participated in a week of intensive
studio-based creative development projects. This process resulted in the creation of eight new
dances and six new songs that drew upon the Boon Wurrung language. The participants and
mentors then honed the songs and dances through a series of workshops and rehearsals. The
ceremonial celebration of the project occurred in February 2011 before a crowd of more than 1000
people.
The Ceremony allowed Indigenous people to connect to their cultural heritage and increased
awareness of Indigenous culture amongst non-Indigenous participants.
The Sunset Ceremony celebrated the diversity of Melbourne’s Indigenous community by using the
traditional Boon Wurrung language in a contemporary manner. This led to the creation of
‘contemporary reinterpretations of important Boon Wurrung stories’, which added to Victoria’s
knowledge of Boon Wurrung culture and Indigenous dance. One of the participants explained,
“being a part of Boon Wurrung Ngargee made us feel we were connecting to our culture and
bringing this clan’s stories back to life” (The Torch 2011, p4). The Sunset Ceremony was positively
reviewed in the Autumn 2011 issue of Arts Yarn Up and on the Melbourne Museum website.
Significant outcomes –

exploration of Indigenous history, culture and law

Increased social cohesion and partnerships between different communities and
Indigenous tribes , and

Connecting with and celebrating Indigenous identity.
Partner organizations: Arts Victoria, Baluk Arts, Frankston Arts Centre, Victorian Aboriginal Child
Care Agency (VACCA), the VACCA Choir, Songlines, Melbourne Aboriginal Youth Services and
Recreation (MAYSAR), Footscray Community Arts Centre, Idja Dance Theatre, The Boon Wurrung
Foundation, City of Port Phillip Yalukit Willam Ngargee and the St Kilda Festival Team, Chunky
Move and the Brotherhood of St Lawrence.
2011 DPC Graduate Learning Team Project
16
Project Outcomes
The projects profiled in this report provided participants with artistic skills and experiences that had
great intrinsic value. Many of these projects also had significant positive instrumental outcomes. The
social impact of the arts has been studied extensively over the past two decades (White &
Rentschler 2005). Many studies have shown that creative activity can have positive outcomes for
young people, particularly those who have disengaged from formal education or suffer from socioeconomic disadvantage (Gibson & Anderson 2008). The outcomes of the profiled projects are
outlined below, grouped under the following headings: education; vocational training and career
pathways; health, wellbeing and reductions in anti-social behaviour; community engagement, and
identity and culture.
Education
Earlier research
There has been a large amount of research on the arts and education over the past decade,
particularly in the US and UK. This literature points to a wide range of positive educational outcomes
for students who participate in arts programs (Deasy 2002). Outcomes include increased
educational engagement, increased school attendance and retention, improved social skills, and the
development of cognitive skills that can be applied in other learning areas (Bamford 2006; Gibson &
Anderson 2008).
Arts education programs can provide flexible frameworks for learning which increase the chances of
successfully re-engaging young people in education (Hogan 2008). Arts programs can be
particularly beneficial for young people who have experienced difficulties with learning, as activities
such as dancing, singing and acting provide a starting point that does not require the use of reading
and writing skills (Bryce, et al 2004).
The arts are an effective outreach tool to engage young people. In particular, arts programs can
provide motivation to engage in school activities (Brice Heath 1999; Broadbent 2003). This was
reflected in an evaluation of government-funded artist residencies in Victorian schools, which found
positive effects including improved student engagement in education and development of
interpersonal and teamwork skills (DEECD 2009).
An evaluation of four school-based arts education programs across Australia similarly found that
involvement in arts programs had a positive impact on students’ engagement with learning,
improved their self-esteem and teamwork and led to improved attendance at school for students
from Indigenous Australian communities (Bryce, et al, 2004). The programs provided positive
learning opportunities for students who do not fit the conventional mould of institutional learning.
2011 DPC Graduate Learning Team Project
17
The findings of these evaluations indicate that students gained skills from the arts programs that
may be transferable to other areas of learning.
Case study observations
HighWater Theatre provides a strong example of the use of the arts as an effective method of
engaging young people in education. HighWater Theatre grew out of concern in the
Albury/Wodonga region for the increasing numbers of young people who were not attending school.
19.8 per cent of 15-19 year olds across the Hume Region, the region in which HighWater is based,
are currently not engaged in full time study, training or work (Osmotherly 2011, p4). However, the
establishment of youth art projects such as HighWater has generated positive educational outcomes
for those involved. A report produced by Osfield Consultants in 2011 found that 82 per cent of
HighWater participants had re-engaged in education, employment or training.
In addition to re-engaging with education, HighWater participants have come to recognise the
value of education and stated that the positive reinforcement they received through HighWater gave
them the confidence to continue their studies. As one 16 year old female participant described, "I
never thought you needed [an education] - I just thought I'd cruise along but now I realise how
important getting an education is. That's why I'm going back to school" (Osmotherly 2007, p72).
The Anti Racism Action Band (A.R.A.B.) has had positive educational outcomes in Melbourne's
northern suburbs. A.R.A.B.'s work is based in an economically disadvantaged area of Victoria,
where there is significant cultural diversity and a high proportion of recent arrivals to Australia,
including refugees. Partner schools have stated that cultural conflicts sometimes arise in this
environment, and that A.R.A.B. plays a valuable role by providing opportunities for positive
interactions between young people. Creative Producer Kate Gillick said that some participants
described A.R.A.B. programs as a major motivation to come to school, as these programs give them
something to look forward to and help them build relationships with classmates. In a previous
evaluation of A.R.A.B., participants also reported that they had a better understanding of people
from other cultures and backgrounds after being involved in A.R.A.B. productions (Hallifax &
Rodriguez 2006).
Vocational Training & Career Pathways
Earlier research
Research on youth arts programs has found that they can provide opportunities for young people to
develop leadership skills (Brice Heath 1999). Arts programs that include a structured professional
mentoring component can also provide young people with job skills and career pathways (Wright, et
al 2004).
2011 DPC Graduate Learning Team Project
18
Case study observations
The development pathways that A.R.A.B. provides for participants are a key feature of their work.
A.R.A.B. provides coaching and mentoring for program participants. These pathways have
supported participants who often become involved in A.R.A.B. programs through their school, to
develop skills to become senior performers, and then ‘graduate’ to work as coordinators and
mentors for newer participants. Maysa Abozeid’s experience at A.R.A.B. provides a strong example
of this. Maysa, a self-described ‘blind, Italian, Egyptian, Muslim female comedian’, became involved
in A.R.A.B. through a school program in 2005 as a shy and disconnected teenager. After getting to
know Maysa through this program, A.R.A.B. Creative Producer Kate Gillick suggested that Maysa
could try spoken word performances based around her life.
It became clear that Maysa had a natural talent for comedy, so Kate worked with her to develop a
stand-up comedy routine. Maysa was soon performing on Melbourne’s comedy circuit, with
assistance from A.R.A.B.’s Tawasal program. She travelled to New York to perform at the ArabAmerican Comedy Festival and her story was featured in an article in The Age in 2007. Maysa has
continued her involvement in A.R.A.B. programs, and was a senior solo performer in Northern Trax
in 2010. While discussing her role in this production, Maysa told the Northern Weekly newspaper
that A.R.A.B. had changed her life, commenting, “I was 16 when I joined, and it made me a
completely different person.”
Tawasal, which means ‘to connect’ in Arabic, is a program that assists young performers who have
developed advanced performance or technical skills to obtain paid work alongside professional
artists. In 2010, approximately 180 A.R.A.B. participants accessed paid work through Tawasal with
music, dance and comedy performances. Participants performed at events including festivals,
workshops and conferences for government, schools, community organisations and businesses.
Tawasal has now been operating for several years. A.R.A.B. Program Manager David Ralph sees
potential for its further development as a social enterprise that could sustain itself and support the
ongoing growth of the program. Through expansion of the program, more young people could
access the valuable career development opportunities that A.R.A.B. provides.
The annual Push FReeZA Summit connects FReeZA Youth Committee members with professionals
from the music industry who provide advice and mentor FReeZA participants. During these full day
summits a range of industry professionals run workshops on setting up technical equipment, moving
into a career in the music industry, social networking and online marketing tools. The summits also
feature live music performances from popular artists. This presents a rare opportunity for young
people to receive direct advice from professionals and to develop mentor relationships with
accomplished musicians.
2011 DPC Graduate Learning Team Project
19
The Artful Dodgers Studio also provides a mentoring program called Rudder, through which
established artists mentor young people who wish to develop their artistic skills. Four participants in
the Out of my Head exhibition now participate as mentees in Rudder. The mentees have displayed
their art at other exhibitions and have applied for residencies in various arts programs.
Health, Wellbeing and Reductions in Anti-Social Behaviour
Earlier research
Young people who participate in structured arts programs have demonstrated improvements in
mental health and self-confidence (VicHealth 2009), while also developing interpersonal and conflict
resolution skills (Wright, et al 2004). Arts programs that target young people who have had difficult
life experiences aim to provide positive reinforcement though the process of creative activity and
demonstrate that artistic activity can be a valuable way to reach ‘at risk’ young people, who may
have already fallen out of formal mentoring or treatment programs (Brown 2008).
Research conducted in Victorian youth justice facilities found that participants in theatre programs
had improved interpersonal skills and self-esteem (Coulter 2008). Similarly, an evaluation of a youth
theatre program in regional Australia found that participation provided the young people with the
opportunity to explore and analyse some of the difficult aspects of their lives (Kelman 2008).
Case study observations
Health and Wellbeing
For the young participants involved in HighWater, there were noticeable improvements in health and
wellbeing. The program provides an environment where young people feel free to share their
experiences, confident that other participants will be able to empathise and relate to the challenges
they face. A 2007 Osfield Consultants report found that 'all [participants] report that their use of
drugs and alcohol has either stopped or has substantially reduced’ (p15). Participants also report
improved self esteem and confidence, greater will to live, stronger commitment to school work, and
a greater sense of connection to others and belief that people care about them. One 15 year old
male participant explained, “I haven't been drinking as much and getting into fights. I guess you
could say I feel cared about. I actually want to get up in the morning and be on time for
HighWater. I have something to look forward to” (Osmotherly 2007, p19).
FReeZA has promoted their events for many years as drug, alcohol and smoke-free. The program
delivers positive messages about responsibilities and expectations around alcohol and drug use,
while providing opportunities for young people to experience live music in a safe environment. The
promotion of these health messages aims to influence young people's lives beyond the actual
events, by guarding against binge drinking and drug use becoming normalised in the context of
young people's entertainment.
2011 DPC Graduate Learning Team Project
20
Reductions in Anti-Social Behaviour
HighWater projects have reduced crime and anti-social behaviour among participants through
developing participants’ life skills, positive relationships and knowledge of support services.
HighWater also aims to improve the quality of agency and community responsiveness to the needs
of at-risk young people.
The Wodonga area has one of the highest instances of youth substance abuse in Victoria, is equal
highest in terms of anti-social behaviour, and has one of the highest instances of reported suicidal
behaviour in Australia. Nearly 80 per cent of participants enrolled in the HighWater Active Pilot
project had prior contact with the police as offenders and 85 per cent were known victims of
physical, sexual or emotional abuse (Osmotherly 2011, p27). Throughout their time in the program,
only two of the young people re-offended (Osmotherly 2011, p27). Even those who did re-offend
returned to HighWater after their release from juvenile detention, with one going on to complete
Year 12 and become an apprentice welder and the other maintaining a 100 per cent attendance
at HighWater (Osmotherly 2011, p27).
The ‘We’re Afraid of the Daylight’ Scum Pups exhibition challenged community misconceptions
about disruptive youth, while also discouraging anti-social behaviour among young people. The
long-standing reputation for youth violence and anti-social behaviour in Upwey had led to local
youths being referred to as “Upwey Scum”, a tag which created a negative identity and led to
stigmatisation. The project’s name, Scum Pups, was an attempt to reverse this stigma, to reclaim a
sense of dignity and respect by using the word Scum in a positive and empowering way.
Scum Pups challenged local perceptions about the level of safety within the community and enabled
participants to connect in meaningful ways with both their peers and adults. The stories the
participants told through their art resonated with other local young people, who congratulated Scum
Pups participants on speaking out. The participants are now positively engaged with the local
community and are less fearful of experiencing the type of bullying and violence that they once had,
believing they are more confident, empowered, supported, and equipped with new relationships of
understanding with their peers.
2011 DPC Graduate Learning Team Project
21
Community Engagement
Earlier Research
Studies in the US, UK, and Australia have found that arts programs can help to create stronger
social and cultural bonds within communities (Bamford 2006). The arts encourage intercultural
exchange and respect for differences and can provide a positive forum for understanding and
friendship between people from diverse backgrounds (Smyth & Stevenson 2005; Matarasso 1997).
An evaluation of two community arts programs in Victoria found that these programs improved
cultural awareness and understanding between community members. It found these programs were
effective tools for engaging hard to reach populations, particularly young people and socioeconomically disadvantaged groups (Pope & Doyle 2006). Another evaluation of community arts
projects in Victoria found that the projects helped to increase social connectedness by bringing
people together around a common purpose and helped to develop positive relationships between a
diverse range of community members (VicHealth 2003).
Case study observations
A.R.A.B. projects provide participants with the opportunity to share positive representations of their
cultural and social lives. Northern Trax brought the stories of participants from Melbourne’s northern
suburbs into the CBD, allowing them to challenge the perceptions of an audience that may not
otherwise have heard their stories. One audience member who witnessed a ‘flash mob’
performance at Flinders Street Station said “I saw all these teenagers hanging around en masse
and I was like “what are they all doing here?”…then this music started and they were all dancing in
the street. It was great” (Anti Racism Action Band 2010).
Who Owns me Today? was performed at several different locations, including as part of Mental
Health Week.
According to HighWater program partners, the impact of the play on audience
members, which included high school students, carers, teachers, and local community members,
was as significant as the personal outcomes for the HighWater participants. It served as a vehicle
for young people to share their stories with the broader community. The performances of Who
Owns me Today? changed community perceptions about the young people involved and
significantly increased understanding and awareness of the complex issues that lead to offending
youth behaviour and school disengagement (HighWater Theatre 2011).
HighWater’s work has also had a direct impact on the public servants who work with young people.
At the request of the Department of Human Services, Who Owns me Today? was performed to the
Department’s senior management and policy advisors in Melbourne, many of whom were
profoundly moved by the performance. One Senior Policy Advisor explained “I feel sad but
motivated and inspired. It gives me the reality and the personal stories to carry with me in my policy
work. A total reality check” (Osmotherly 2011, p27). Another Senior Program Advisor reflected that
2011 DPC Graduate Learning Team Project
22
the play was “a confronting but timely reminder of who we work for in our Collins Street offices”
(Osmotherly 2011, p27).
Identity & Culture
Earlier Research
The arts are a positive medium for the exploration and representation of culture and personal
identity. For instance, arts projects for young Indigenous Australians have provided a vehicle for
young people to connect with aspects of their cultural heritage (Donelan & O’Brien 2008). Similarly,
custodial programs for Maori offenders in New Zealand prisons have used arts and cultural activities
including carving, ceremonial dance and body tattoos as a way to teach inmates about their culture
and identity and create connections while they are imprisoned (Eames 2008).
Case Study Observations
The Sunset Ceremony project used dance to engage young Indigenous people in learning about
local Indigenous history, culture and law. It celebrated the diversity of Melbourne’s Indigenous
community by using the traditional Boon Wurrung language in a contemporary manner. It allowed
Indigenous youth to reclaim their language though new songs, rhythms and dances, and created a
connection with, and increased awareness of, their cultural background and heritage, in particular
the interconnections between land, law, culture, flora and fauna.
The art created in the Sunset Ceremony project was a ‘safe entry point’ that led to conversations
and discussions about social issues affecting Indigenous people, and particularly Indigenous youth.
As artistic coordinator Alison Brash explained, this project strengthened intergenerational bonds
between Indigenous elders and Indigenous youth and led to greater cultural connections between
parents, or foster parents, and the participants. The participation of approximately 200 people (both
Indigenous and non-Indigenous) in the final dance of the Sunset Ceremony promoted reconciliation
between Indigenous and non-Indigenous people, and enriched Victoria’s knowledge of Boon
Wurrung culture and Indigenous dance.
Like the Sunset Ceremony, Kooriez in da Hood engaged young Indigenous people in an exploration
and celebration of personal and cultural identity. As Andrea James, former Koorie Heritage Trust
community worker explained, “Hoodies are often associated with crime and hiding yourself - we
wanted to bust that open” (Stephens 2010). Through the project, participants were given the
opportunity and skills to create hoodies that depicted images and messages important to them. The
hoodies became an avenue for the exploration and expression of identity.
The Out of my Head exhibition similarly gave participants the opportunity to construct identities
through the creation of art. The artists at Artful Dodgers Studio assisted young people to create
2011 DPC Graduate Learning Team Project
23
positive identities, rather than being defined by issues they were experiencing such as mental
illness or drug and alcohol misuse.
2011 DPC Graduate Learning Team Project
24
Characteristics of successful projects
Based on these case studies, there are a number of key characteristics for Victorian Government
departments and agencies to consider when contemplating creative projects targeted at young
people. These relate to the involvement of professional artists, the use of high quality artistic
projects and performances, long-term engagement, and use of existing community resources and
networks.
Involvement of Professional Artists
The engagement of professional artists in youth art projects has several benefits, ranging from skills
transfer to ensuring a high standard of artistic output from the project. The projects that engaged
professional artists found that the artists’ professionalism and creative skills were a means to
educate and attract the interest of the young participants.
The Out of my Head exhibition by the Artful Dodgers Studio used professional artists prior to the
creative phase of the project, engaging them to run workshops with participants to determine which
artistic medium most inspired and best suited them.
This engagement gave participants an
opportunity to learn about various forms of art from experts respected for their knowledge in these
areas.
The involvement of professional artists also improved the quality of the art produced by each
program and in turn often inspired an interest and passion for the art form among participants. This
was demonstrated by Kooriez in da Hood where participants proudly wore the hoodies they
produced, as they were high quality products for which they often received complements. Similarly,
We’re Afraid of the Daylight participants reported feeling more inspired and passionate due to the
mentoring they received from the professional artist.
For projects such as HighWater and FReeZA, their reputation and local community attitude to the
programs has been enhanced as a result of the involvement of professional artists. The high quality
performances staged by HighWater have contributed to the significant community interest in the
plays and ongoing community goodwill towards the program.
Without such outputs, the local
community may have been less receptive to such a program targeted towards ‘at-risk’ youth, as it
was during the initial conception of HighWater. FReeZA participants’ experiences in dealing with
and learning from well-respected music artists, is often useful in job applications, given the esteem
in which the program is held by industry and broader community.
Each of the projects profiled allowed participants to learn from an adult outside of the traditional
education system and provided an alternative role model from whom they could learn practical and
relevant skills. Tiffaney Bishop from Scum Pups commented that high quality fine arts and
professional artists brought a level of sophistication to the project. This sophistication gave
2011 DPC Graduate Learning Team Project
25
participants an entry point into a world beyond their own, a world in which they could engage with
adults through intelligent conversations about art.
High Quality Artistic Products and Performances
The production of tangible artistic creations such as a performance or an exhibition allows
participants to see themselves as artists, rather than participants in an intervention program
(O’Brien & Donelan 2008). An evaluation of school-based arts education programs found that the
most successful programs provided positive reinforcement, worked toward a public presentation or
performance, and provided a safe environment where creative risk taking was encouraged (Bryce,
et al 2004).
These findings were echoed by program coordinators from the projects profiled in this report, all of
which culminated in the public performance or exhibition of art. A public display allows the
community to recognise youth art and provides personal rewards and affirmation for its creators.
The Scum Pups We’re Afraid of the Daylight project found the importance of professional and
community recognition highly rewarding for its participants. A public display of art also helped to
challenge the community perceptions of the participants. The youth who inhabit Upwey train station
each afternoon have a local reputation for being destructive, but the thought-provoking, intelligent,
high quality artwork presented the participants in a positive light.
The creative director from A.R.A.B. emphasised that participants are informed from the outset that
they are at rehearsals that will lead to a performance, not simply a one-off workshop. This ensures
that participants know that they are expected to commit to the process and that there will be a
tangible result at the end. Kate Gillick believes that “there can be nothing more vague than
developing skills that have no airing to an audience ...the performer/audience relationship can be
electric and transformative for the individual.” One participant in an A.R.A.B. performance said that
“the artists treat us like adults, like they see our potential and our limits but the expectation is high”
(Hallifax & Rodriguez 2004).
Similarly, the partners of the HighWater collaboration acknowledge that if HighWater was not
producing high quality plays such as Who Owns me Today?, and if participants were not regularly
engaged in the highly structured and disciplined workshops necessary to produce such
performances, the program would not succeed.
Long-term Engagement
Projects that involve long-term engagement with young people are likely to achieve better
outcomes. It can take several months for trusting and productive working relationships to develop
between adult facilitators and teenage participants (Jarrett, Sullivan & Watkins 2005). The young
2011 DPC Graduate Learning Team Project
26
participants in the projects profiled did not typically have positive relationships with adults, so it took
time to overcome their suspicion of authority figures.
The projects profiled in this report demonstrate that long-term engagement is important for a variety
of reasons. HighWater interviewed participants and concluded that, if an ‘at-risk’ young person has
a positive experience in a program and then the program ceased, the young people would likely feel
as though they have once again been let down.
HighWater therefore commits to long-term
engagement with participants, ensuring that throughout their time in the program they develop life
skills and the confidence to continue with their education. HighWater has found that this type of
engagement leads to enduring impacts and attitude changes for participants and the community
more broadly (Osmotherly 2011, p51).
While an on-going program is important, an essential
component of this long-term commitment is staffing consistency and commitment.
The We’re Afraid of the Daylight project also found that their long-term engagement with participants
projected a positive model of commitment and stability from respected adults, which many of the
young people had not previously experienced.
Similarly, The Torch found that their on-going
commitment to participants provided them with the confidence required to take on further education
and training such as the Certificate IV in Community Development run in partnership with RMIT
which has been specifically targeted at participants wanting to engage with formal education, who
would not otherwise have the opportunity.
Use of Existing Resources and Networks
Many of these projects drew upon and strengthened existing community networks and resources
and recognised the value of engaging community arts organisations. Often these projects also
worked with community organisations that did not have a specific arts focus such as local schools
and councils, who were still able to offer resources. In some instances, projects found that existing
groups could provide them with material resources. For example, the second phase of Kooriez in da
Hood will use a printing press and other technical equipment sourced from the local community.
Ongoing engagement with community networks has allowed organisations such as A.R.A.B. to
develop multi-year funding agreements with its philanthropic partners, providing certainty and the
ability to plan well into the future. Kate Gillick and David Ralph from A.R.A.B. stated that it took
them years to build up the necessary level of trust with teachers so that they would support
A.R.A.B.’s schools programs. Similarly, FReeZA has found that its community networks and links to
the music industry have allowed it to attract high profile bands and musicians, thus improving the
quality of the program.
2011 DPC Graduate Learning Team Project
27
Finally, and perhaps most importantly, the use of existing resources and networks demonstrates a
desire to work with the local community, rather than forcing a project on the local community. This is
likely to strengthen community support and ownership of a project.
2011 DPC Graduate Learning Team Project
28
Conclusion
The projects presented throughout this report exemplify the potential for arts projects to improve the
lives of young people, across a variety of areas including education, employment and training,
health and wellbeing, and engagement with community and culture. Highlights for participants
include provision of safe spaces to express themselves, greater connections to support services,
the formation of positive relationships with the community and government agencies, greater access
to pathways and new opportunities, skill development and personal growth.
While the case studies cover a range of locations, diversity of participants, art forms and methods
for engagement, there are shared characteristics that have contributed to these successful projects.
Each of the projects involved professional artists, aimed for high quality artistic products and
performances, and most were also long term and drew on existing resources and networks. These
are relevant considerations for government departments and agencies when planning and
implementing future projects.
This report highlights the continued importance of delivering high quality arts projects targeted at
young Victorians. It showcases recent examples that Arts Victoria can use when working with other
areas of Government to identify similar opportunities that will advance the goal of ensuring the
potential contribution of arts and culture is realised. Given the policy synergies between the
outcomes of these projects and the objectives of Victorian Government departments, these projects
have
the
potential
to
be
2011 DPC Graduate Learning Team Project
used
as
models
for
future
government
ventures.
29
Reference List
Antiracism Action Band 2010, Northern Trax Acquittal Report, Arts Victoria, Melbourne, Victoria.
Artful Dodgers Studio 2010, Out of My Head 2009, Artful Dodgers Studio, Collingwood, Victoria.
Arts Queensland 2002, Creative Queensland: The Queensland Government Cultural Policy, Arts
Queensland, Brisbane, Queensland.
Arts Queensland 2008, Arts Culture + Me: Children and Young People in the Arts Action Plan, Arts
Queensland, Brisbane, Queensland.
Bamford, A 2006, The Wow Factor: Global research compendium on the impact of the arts in
education, Waxmann, Münster, Germany.
Brice Heath, S 1999, ‘Imaginative Actuality: Learning in the arts during the non-school hours’, in
Fiske, EB (ed) Champions of Change: The impact of the arts on learning, Arts Educational
Partnership, Washington, DC, pp.19-34.
Broadbent, C 2003, ‘The Arts as a catalyst for improved learning outcomes for youth in detention’, in
Communities of learning: Communities of practice: proceedings of 43rd Annual National Conference
of Adult Learning Australia, Adult Learning Australia, University of Technology, Sydney, NSW.
Brown, M 2008, ‘The Road Less Travelled: Arts-based Programs in Youth Corrections’, in O’Brien,
A & Donelan, K (eds) The Arts and Youth at Risk: Global and Local Challenges, Cambridge
Scholars Publishing, Newcastle upon Tyne, UK p.51-69.
Bryce, J, Mendelovits, J, Beavis, A, McQueen, J & Adams, I 2004, Evaluation of School-Based Arts
Education Programmes in Australian Schools, Australian Council for Educational Research,
Canberra, ACT.
Coulter, K 2008, ‘”Through the Maze, Finding the Hook, Walking a Tightrope”: The Art of Positive
Work with Young Offenders in Custody’, in O’Brien, A & Donelan, K (eds) The Arts and Youth at
Risk: Global and Local Challenges, Cambridge Scholars Publishing, Newcastle upon Tyne, UK, pp.
70-92.
Craik, J 2007, Re-Visioning Arts and Cultural Policy: Current Impasses and Future Directions, ANU
E Press, Canberra, ACT.
Cultural Ministers’ Council 2005, Stage Two Report, Social impacts of participation in the arts and
cultural activities: Evidence, issues and recommendations, Department of Communications,
Technology and the Arts, Canberra, ACT.
Deasy, R (ed) 2002, Critical Links: Learning in the Arts and Student Academic and Social
Development, Arts Education Partnership, Washington, DC.
DEECD 2009, Partnerships between schools and the professional arts sector, Paper No. 19,
Department of Education and Early Childhood Development, Melbourne, Victoria.
2011 DPC Graduate Learning Team Project
30
Donelan, K & O’Brien, A 2008 Creative Interventions for Marginalised Youth: The Risky Business
Project, Drama Australia Monograph Number Six, Drama Australia, Queensland.
Eames, P 2008 ‘Doing Justice: How Arts in Prison Can Heal’, in Lewis, A and Doyle, D (eds)
Proving the Practice: Evidencing the effects of community arts programs on mental health, DADAA
Publishing, Fremantle, Western Australia, pp. 84-91.
FReeZA 2011, viewed August 2011
http://www.freeza.vic.gov.au/ViewPage.action?siteNodeId=1479&repositoryName=Freeza
Gibson, R & Anderson, M 2008, ‘Touching the Void: arts education research in Australia’ in Asia
Pacific Journal of Education, 28(1), pp. 103-112.
Hallifax, J & Rodriguez, F 2006, Anti-Racism Action Band Stage 1 Research and Evaluation Report,
Victorian Arabic Social Services, Broadmeadows, Victoria.
HighWater Theatre 2000, ‘HighWater Theatre: The Project’, viewed August 2011,
http://www.somebodysdaughtertheatre.com/highwater.html
HighWater Theatre 2011, HighWater Theatre Acquittal Report , Arts Victoria, Melbourne, Victoria.
Hogan, S 2008, ‘Arts Pathways: Building Bridges’, in O’Brien, A & Donelan, K (eds) The Arts and
Youth at Risk: Global and Local Challenges, Cambridge Scholars Publishing, Newcastle upon Tyne,
UK, pp. 123-138.
Jarrett, R, Sullivan, P & Watkins, N 2005 ‘Developing Social Capital Through Participation in
Organised Youth Programs: Qualitative insights from three programs’ Journal of Community
Psychology, 33(1), pp. 41-55.
Kelman, D 2008, ‘Narrative, Dialogue and Resistance: Making Meaning through Drama with Young
People “At Risk”’, in O’Brien, A & Donelan, K (eds) The Arts and Youth at Risk: Global and Local
Challenges, Cambridge Scholars Publishing, Newcastle upon Tyne, UK, pp. 93-107.
Koorie Heritage, ‘Trust Projects: Kooriez in da Hood’, viewed August 2011,
http://www.koorieheritagetrust.com/?CategoryID=171&ArticleID=123
Matarasso, F 1997, Use or ornament: The social impact of participation in the arts, Comedia,
Stroud, UK.
Neil, C 2009, ‘Scum Rises to the Top’ in Ferntree Gully Belgrave Mail, 25 August.
Neil, C 2010, ‘Police and Pups’ in Ferntree Gully Belgrave Mail, 9 March.
O’Brien, A & Donelan, K (eds) 2008, The Arts and Youth at Risk: Global and Local Challenges,
Cambridge Scholars Publishing, Newcastle upon Tyne, UK.
Office for the Arts 2011, National Cultural Policy Discussion Paper, Department of the Prime
Minister and Cabinet, Canberra, ACT.
2011 DPC Graduate Learning Team Project
31
Osmotherly, J 2011, HighWater Theatre Active Pilot: Evaluation Report, Osfield Consultants,
Wangaratta South, Victoria.
Osmotherly, J 2007, HighWater Theatre: The Partnership, Osfield Consultants, Wangaratta South,
Victoria.
Pope, J & Doyle, S 2006, Strengthening Local Communities: Arts in Community Settings – The
Evaluation of Two Community Support Funded Arts Programs, Department for Victorian
Communities, Melbourne, Victoria.
Smyth, L & Stevenson, L 2005, ‘You want to be part of everything’: The arts, community & learning,
Arts Education Partnership, Washington, DC.
Stephens, A 2010, ‘Hoodies in pride of race and place’, The Age Online, February 15, available at
http://www.theage.com.au/articles/2010/02/14/1266082214679.html
The Torch 2011, Boon Wurrung Ngargee - Acquittal Report, The Torch, Melbourne Victoria.
VicHealth 2003, Creative Connections: Promoting Mental Health and Wellbeing through Community
Arts Participation, VicHealth, Melbourne, Victoria.
VicHealth 2009, Evaluation of the Community Arts Development Scheme, VicHealth, Melbourne,
Victoria.
White, T & Rentschler, R 2005, ‘Toward a New Understanding of the Social Impact of the Arts’,
proceedings of the 8th International Conference on Arts and Cultural Management, Montreal,
Québec.
Wright, R, John, L, Offord, D & Rowe, W 2004, National Arts and Youth Demonstration Project,
symposium held in Montréal, Québec.
2011 DPC Graduate Learning Team Project
32