“Lehikoinen offers powerful insights into the ways in which socially engaged arts practice can challenge societal norms, foster connection, and generate a sense of shared purpose among individuals and communities. A form of prac- tice much-needed in these fractured times.” —Allan Owens, Emeritus Professor, University of Chester, UK; Honorary Fellow, University of Liverpool, UK; National Teaching Fellow, UK; and Visiting Professor, LUT University, Finland    https://taylorandfrancis.com/ This interdisciplinary book explores socially engaged art as a subject of study and its relevance in higher arts education institutions’ third mission—giving back to society and engaging with the community—to build a sustainable higher arts education for the future. Drawing on data from two large-scale EU-funded projects—supplemented by interviews, educational document analysis, and secondary data—this book explores emerging trends in the arts sector and the role of arts universities in cross-sector collaboration, innovation, and actions towards social and environmental responsibility. Chapters posit theoretical analysis, case studies and practically orientated examples from countries including the United States, Ghana, Indonesia, and from across Europe to explore the growing demands for the positive societal impact of higher arts education. Located at the interface between the sociology of higher arts education and community engagement, the book explores a richness of international contexts including activism, churches, refugee work, eldercare, gender politics, prisons and many others. This timely volume responds to the urgent need to investigate the full potential of socially engaged art in higher arts education. As such, it will appeal foremost to scholars, researchers, postgraduate students, and teachers in higher arts education and the sociology of education. Practitioners working in arts curriculum design, university-society partnerships, and those focused on creating inclusive and respectful spaces in higher arts education and research, will also find the volume of use. Kai Lehikoinen is a University Researcher at the University of the Arts Helsinki’s Research Institute, Finland, and a Representative Board Member of ELIA, a globally connected European network for higher arts education. Creativity, Society, and the Role of Socially Engaged Art in Higher Arts Education Routledge Research in Arts Education Books in the series include: Artist-Teacher Practice and the Expectation of an Aesthetic Life Creative Being in the Neoliberal Classroom Carol Wild Counternarratives from Asian American Art Educators Identities, Pedagogies, and Practice beyond the Western Paradigm Edited by Ryan Sin, Maria Lim, Oksun Lee, and Sandrine Han Children are Artists: Supporting Children’s Learning Identity as Artists Penny Hay Developing a Curriculum Model for Civically Engaged Art Education Engaging Youth through Artistic Research Sara Scott Shields and Rachel Fendler Cooperative Education, Politics, and Art Creative, Critical and Community Resistance to Corporate Higher Education Edited by Richard Hudson-Miles and Jackie Goodman Student Agency in Devised Theatre Education Creating Collaborative Theatre in Virtual and In-Person Classrooms Mike Poblete Exploring Aesthetic Approaches to Arts Integration Providing Opportunities for Productive, Holistic and Inclusive Learning in Early Childhood and Primary Education Marina Sotiropoulou-Zormpala Culturally Responsive Pedagogies for the Orchestra Untold Stories of Seating Oppression and the Uprise of Social Justice Tammy Sue Yi Creativity, Society, and the Role of Socially Engaged Art in Higher Arts Education Kai Lehikoinen Creativity, Society, and the Role of Socially Engaged Art in Higher Arts Education Kai Lehikoinen First published 2026 by Routledge 4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 605 Third Avenue, New York, NY 10158 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2026 Kai Lehikoinen The right of Kai Lehikoinen to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. The Open Access version of this book, available at www.taylorfrancis. com, has been made available under a Creative Commons Attribution- Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license. Any third party material in this book is not included in the OA Creative Commons license, unless indicated otherwise in a credit line to the material. Please direct any permissions enquiries to the original rightsholder. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data Names: Lehikoinen, Kai author Title: Creativity, society, and the role of socially engaged art in higher arts education / Kai Lehikoinen. Other titles: Routledge research in arts education Description: Abingdon, Oxon: Routledge, 2026. | Series: Routledge research in arts education | Includes bibliographical references and index. Identifiers: LCCN 2025012224 (print) | LCCN 2025012225 (ebook) | Subjects: LCSH: Arts–Study and teaching | Arts and society Classification: LCC NX280 .L44 2026 (print) | LCC NX280 (ebook) | DDC 700.71/04–dc23/eng/20250614 LC record available at https://lccn.loc.gov/2025012224 LC ebook record available at https://lccn.loc.gov/2025012225 ISBN: 978-1-032-69210-4 (hbk) ISBN: 978-1-032-70297-1 (pbk) ISBN: 978-1-032-70299-5 (ebk) DOI: 10.4324/9781032702995 Typeset in Galliard by Deanta Global Publishing Services, Chennai, India This book is available open access thanks to funding from the University of the Arts Helsinki. http://www.taylorfrancis.com, http://www.taylorfrancis.com, http://dx.doi.org/10.4324/9781032702995 List of tables viii List of figures ix Preface x Acknowledgements xii Introduction 1   1 Ten case studies: Addressing the “social turn” in the arts 9   2 Socially engaged art: Definitions, complexities, and cultural contexts 28   3 Participatory potential 43   4 Possibilities of learning 60   5 Transformative prospects 77   6 Socially engaged art in higher arts education 94   7 Towards an academic framework for socially engaged art 124   8 Socially engaged art as a subject of study 138   9 Political and social awareness in higher arts education 154 10 From safe spaces to polyphonic spaces 169 11 Socially engaged art and the futures of higher arts education 181 12 Coda: Reimagining the role of socially engaged arts in higher arts education 193 Index 199 Contents  2.1 � Characterising the different forms of socially engaged arts practices 36 6.1 � Overview of courses reviewed 96 Tables  Figures 1.1 � One of the installations produced as part of the Mynä- Mynä-Maa project in Mynämäki, Finland. Photograph by Jussi Virkkumaa 11 1.2 � A participatory moment in Dancing With Strangers: From Calais to England. Photograph by Mahvash Tariq 12 1.3 � Local residents Kerstin Gruber and Regina Stocker participating in the Female Heritage Project in Austria. Photograph by Ofer Mayer 13 1.4 � Exploring meanings in the church space: A priest participating in an artistic intervention at Kallio Church, Helsinki, Finland. Photograph by Miira Sippola 15 1.5 � An emergency ward employee participating in Malin Bellman’s 100 Hours project at Södra Sjukhuset hospital in Gothenburg, Sweden. Photograph by Anna Rehnberg 16 1.6 � Municipal councillor and member of the European Parliament Merja Kyllönen dancing with Pia Lindy in the socially engaged dance project Joku kohta tanssii [About to Dance]. Photograph by Suvi-Tuuli Kankaanpää 18 1.7 � Kai Mata performing to her audiences at Tehdas Teatteri’s Joki Studio in Turku, during her residency in Finland. Photograph by the author 20 1.8 � Data Drama: Participants co-creating future visions by painting with the Näkkitär character. Photograph by Lasse Kantola 23 5.1 � The LOVE fEAST at crazinisT artisT studiO in Kumasi, Ghana. Photographer unknown. Photograph courtesy of Va-Bene Elikem Fiatsi 86 8.1 � Central organising concepts in socially engaged art 141 10.1 �Dance ambassador Satu Hakamäki from the Regional Dance Centre of Western Finland facilitating a session for students in a supported teaching programme to build trust and foster language learning. Photograph by the author 173  In this book, I explore how socially engaged art, deeply intertwined with per- sonal and collective experience, offers critical insights into shaping the futures of higher arts education. Drawing from my two-decade-long journey in the arts and society, particularly in socially engaged arts, I examine the specificity of this practice as an academic subject and its potential to contribute to the “third mission” of higher arts education institutions. My aim is to offer per- spectives that can influence the development of higher arts education. While my background is in dance pedagogy and dance studies, my research and involvement have expanded into initiatives such as Kreativ personcentre- rad vårdkonst [Creative Person-Centred Care Art] (2021–2024), Artwork – A Better Future for All Through Creativity (2021–2023), Arts as Public Service: Strategic Steps towards Equality (ArtsEqual) (2015–2021), Training Artists for Innovation (TAFI) (2011–2013), and Quality of Life: Creative Pathways for Family Learning (2009–2013). These projects, spanning diverse contexts from eldercare to innovation, have deepened my understanding of how socially engaged art is transforming and expanding professional artistic practices. As a researcher, educator, and active participant in the evolving landscape of socially engaged arts practice, I have seen first-hand how artistic compe- tence transcends full-time professional practice, contributing meaningfully to a variety of sectors, even beyond the arts. This highlights the importance of educating arts professionals to develop the competencies needed to contribute in diverse roles—whether as practitioners, educators, or researchers. My engagement with ELIA, a globally connected European network of higher arts education institutions, has included active involvement in the EU-funded NXT Making a Living from the Arts project and the Careers in the Arts working group. These experiences have deepened my understanding of the intersection between socially engaged art and the futures of higher arts education. Additionally, my work within ELIA has reinforced my understand- ing of the politics of higher arts education and deepened my interest in how socially engaged art can enhance institutions’ third mission—contributing to society and fostering social innovations for a better life for all, including non- human species and the planet. Preface  Preface Preface In collaboration with the FAST45 project (2020–2023), which explored possible futures for higher arts education, I learned that future generations of artists will need to strengthen their relationship with society. Arts institutions will play an increasingly central role in addressing global challenges by foster- ing authentic community dialogues and cross-sector collaborations. This book thus reflects on how socially engaged art can reshape higher arts education and help institutions meet these growing demands. My personal journey—from teaching, making, and analysing dances to exploring the broader societal role of the arts—has deeply influenced my per- spective. For nearly four decades, I have witnessed the profound impact of the arts on individuals and communities, shaping my belief in the transformative power of creativity and critical reflection in artistic practices, as well as their potential to address complex societal challenges. Last year, during the EU’s Research & Innovation Week in Brussels, dis- cussions underscored the importance of collaborative efforts across research, education, and policy to foster societal resilience. Key takeaways included the need for forward-thinking strategies to address emerging social challenges, the value of interdisciplinary approaches, and the crucial role of SHAPE disciplines (social sciences, humanities, and the arts) in shaping sustainable and inclusive futures. Socially engaged arts in higher education are uniquely positioned to lever- age artistic thinking alongside SHAPE expertise to address critical issues such as inequality, migration, education, and the environment. However, long- term, theme-based transdisciplinary collaboration, paired with phenomenon- based R&I budgeting, is essential to prioritize partnerships, foster inclusive innovation, and ensure the sustainable development of these research areas. Equally important are sustainable partnerships with civil society organizations, which ground research and development in real-world community needs. In an age where a small number of individuals wield disproportionate power through vast concentrations of wealth, increasingly shaping political and economic decisions, it is vital to engage civil society in co-reflecting on challenges and imagining tangible solutions. Such efforts can foster meaning- ful initiatives, inclusivity, and strengthen democratic resilience, counteracting the narrowing of public discourse and ensuring that all voices are heard in shaping our collective future. I am deeply grateful to the many artists, practitioners, and scholars whose work and narratives have informed this book—thank you for your outstanding contributions. I extend special thanks to those with whom I directly engaged through interviews, email correspondence, or discussions: Pia Bartsch, Baptiste Bourgougnon, Edith Draxl, Va-Bene Elikem Fiatsi, Pia Lindy, Kai Mata, Rita Marcalo, Allan Owens, Jo Parkes, Ruth Pethybridge, Anne Pässilä, Charlotta Ruth, Miira Sippola, Erica Stanton, and Josh Slater. Your insights and gener- osity of time have been invaluable to shaping this work. Many thanks also go to Leena Kela and Pirre Naukkarinen at Kone Foundation’s Saari Residence for facilitating connections with some of the interviewees featured in this book. I would also like to acknowledge the broader community of artists and scholars whose work I have drawn upon through literature, websites, and other secondary sources. Though I have not interacted with you personally, your contributions to the field have significantly influenced my thinking and the content of this book. Thank you for your dedication and vision. My research has been under the auspices of Uniarts Helsinki’s Research Institute and its cERAda is a research centre established in 2013, now oper- ating as a network. At cERAda, our research focuses on art education and pedagogy, higher education in the arts, and professionalism within the artistic fields. I would like to thank all my colleagues for support. Special thanks to Jaana Erkkilä-Hill, who encouraged me to undertake this book project, and to my friend and colleague Anne Makkonen, who kindly reviewed the manu- script and provided thoughtful suggestions for its improvement. Warm thanks to Eeva Siljamäki for her invaluable enthusiasm and col- laboration in identifying competences relevant to socially engaged arts and co-creating introductory training units on socially engaged arts practice for a MOOC course as part of the Artwork project. I would also like to thank Tino Boubaris, Edith Draxl, Anke Egblomassé, Kullie Hanse, Margit Helle Thomsen, Nana Lind, Mari Peetsalu, and Ludwig Zeier, who made signifi- cant contributions to the project. Similarly, many thanks to my colleagues in the FAST45 project—Kobe Ardui, Marcel Bückner, Samuel Chagnard, Kieran Corcoran, Ingwio D’Hespeel, Sandrine Desmurs, Maarin Ektermann, Lars Ebert, Stefan Gies, Lena Gieseke, Roberto Gómez De La Iglesia, Maria Acknowledgements  Acknowledgements Hansen, Marea Hildebrand, Koenraad Hinnekint, Glenn Loughran, Conor McGarrigle, Lea Minow, Anna Pinotti Blanch, Derville Quigley, Barbara Revelli, Nicolas Sidoroff, and Satu Tuittila—whose collaboration in integrat- ing participatory arts-based approaches into futures workshop methodologies and developing futures scenarios for higher arts education in Europe has been ground-breaking. Many of the insights that emerged from those projects, both of which were co-funded by the EU’s Erasmus+ programme, have meaning- fully shaped the writing of this book. Last but not least, I would like to give my warm thanks to my partner Mikko Helin and our dog Hugo for their patience and companionship throughout this process. Kai Lehikoinen, University Researcher, Research Institute, The University of the Arts Helsinki https://taylorandfrancis.com/ Socially engaged art has been the subject of scholarly exploration across multi- ple disciplines. Scholars such as Claire Bishop (2012), Tom Finkelpearl (2013), Grant Kester (2011), Miwon Kwon (2004), and Shannon Jackson (2011) have examined its various practices in addressing social challenges. Recent anthologies offer diverse case studies of socially engaged creative practices aimed at fostering social change (e.g., Kárpáti, 2024; Moriarty & Aughterson, 2024). Some scholars, including Susan Cipolle (2010) and Amanda Alexander and Ross Schlemmer (2017), recognise the transformative potential of inte- grating socially engaged art with education. Building on this, Alexander and Schlemmer (2017) and Schlemmer (2017) advocate for reimagining arts edu- cation by introducing socially engaged art education that promotes commu- nity-based practices centred on relational aesthetics, participatory pedagogy, and socially engaged art. This approach underscores a socially responsible and ethically grounded framework that transcends aesthetic quality to enhance the quality of life. However, much of the existing work overlooks socially engaged art as an autonomous field of study and its contribution to the broader societal role of higher arts education. Ann Lyons (2020) highlights a gap in understanding socially engaged art, emphasising the need to situate it within its historical context and establish its legitimacy. In this book, Creativity, Society, and the Role of Socially Engaged Art in Higher Arts Education, I strive to help fill that gap by investigating socially engaged art as both an academic discipline and a future asset for institutions of higher arts education. It invites readers to con- sider the field from a broader educational perspective than is often explored. Recent research (Lehikoinen & Siljamäki, 2023) highlights the relatively marginal position of socially engaged arts within higher arts education institu- tions, underscoring the need to argue for its inclusion alongside traditional dis- ciplines such as dance, design, music, theatre, and visual arts. Acknowledging the expanding professionalism in the arts (Gaunt & Westerlund, 2021) and the societal significance of artistic thinking and creativity, this book makes the case for recognising socially engaged art as an autonomous field of study in higher education. Achieving this recognition requires rigorous research and critical inquiry to cultivate a deep understanding of socially engaged art—its Introduction DOI:  10.4324/9781032702995-1 This chapter has been made available under a CC-BY-NC-ND 4.0 license. 10.4324/9781032702995-1 http://dx.doi.org/10.4324/9781032702995-1 2  Creativity, society, and the role of socially engaged art capacity to engage communities in collaborative reflection, and its potential to foster co-creativity and knowledge production within higher arts education. The book approaches “socially engaged art” and “socially engaged arts” as interchangeable umbrella concepts for a wide range of artistic practices, encompassing distinct terminology, interests, and principles, and demanding from its practitioners a complex set of competences. Drawing on examples from a range of contexts, including Europe, the United States, Ghana, and Indonesia, it explores the cross-cultural principles and adaptability of socially engaged art. While rooted in a Western framework, this book underscores the need for contextualised understandings and respects the definitions of non- Western artists by incorporating their perspectives directly into the discourse. Going beyond explicating the historical developments and discursive underpinnings of socially engaged art, this book asks: What is the value of socially engaged art in knowledge production, professional training, and soci- etal engagement within higher arts education? It argues that socially engaged art is beneficial for preparing artists to navigate the expanding scope of their professionalism. Additionally, it highlights the importance of socially engaged art for the futures of higher education institutions as they adapt to rapidly changing operational landscapes and respond to growing stakeholder demands for a more active role in addressing both local and global challenges, includ- ing identity politics, social exclusion, poverty, climate crises, biodiversity loss, political polarisation, and both natural and humanitarian disasters. Responding to these challenges requires the active engagement of diverse demographic groups, fostering interdisciplinarity, and breaking down occu- pational silos—areas where the arts, artistic thinking, and creativity can play a pivotal role in driving collaboration and innovation. Socially engaged art’s potential to create “third spaces” for dialogue and collaboration further under- scores its relevance for higher education. These hybrid spaces, where diverse perspectives and cultural understandings intersect, can provide unique oppor- tunities to generate fresh insights that drive social innovation and foster social cohesion (Hulme et al., 2009). By engaging communities in co-creation and reflection, socially engaged art can meaningfully contribute not only to human development but also to planetary well-being. On methodology This book is informed by Donna Haraway’s concept of “situated knowledges” (1988, p. 581), which asserts that all narratives are inherently partial and shaped by the specific social, historical, and cultural contexts of their crea- tors. In this light, I acknowledge that my interpretation of socially engaged art is influenced by my positionality as a Western-educated scholar and by the intentional decisions made regarding the inclusion and exclusion of certain perspectives. Thus, this work represents a partial exploration, shaped by my own experiences and viewpoints, while striving to present a range of diverse perspectives. Introduction  3 Utilising “purposive sampling” (Merriam, 1998, p. 61), my methodology integrates semi-structured interviews (N = 9) with practitioners, programme documents (N = 24), personal reflections from my nineteen years of involve- ment in socially engaged arts, and secondary literature. Relevant literature was gathered through online searches on Google Scholar, using the keyword “socially engaged art” and related terms such as “applied theatre” and “com- munity arts.” Additional sources were identified by reviewing the references cited in key texts. Nine semi-structured interviews, each lasting 1–1.5 hours, were conducted with practitioners and educators from a diverse range of artistic disciplines, including dance, drama, music, and visual arts. The inter- views—six conducted in English and three in Finnish—were recorded, tran- scribed verbatim, and translated into English when necessary. In this book, I aim primarily to introduce perspectives that demonstrate the qualities of socially engaged arts, argue for its legitimacy as a subject of study in higher arts education, and explore its potential to contribute meaning- fully to the “Third Mission” of higher arts education institutions. The book incorporates case examples from diverse cultural contexts, framed through my Nordic perspective, to demonstrate how socially engaged art adapts to vary- ing cultural settings. Rather than making universal claims, I seek to inspire further exploration and documentation of professional practices in the field while acknowledging the book’s inability to fully capture the breadth or pro- vide detailed contextualisation of every example. In doing so, I recognise the book’s limitations in scope while striving to contribute to the field through this focused approach. Building upon and extending the recent competence analysis by Eeva Siljamäki and myself (2023), which reviewed 13 curricula in socially engaged arts programmes, this study explores the current landscape of socially engaged arts in higher arts education. I broaden our earlier investigation by analys- ing 24 educational programmes, including BA, MA, and MFA levels, as well as postgraduate specialisation programmes, short courses, and massive open online courses (MOOCs) across regions such as Asia, Europe, the UK, North America, and Oceania. An abductive qualitative approach (Tavory & Timmermans, 2014) was employed, combining pre-existing concepts from Pring (1976) with emergent themes from the data. This hybrid approach facilitated a nuanced understand- ing of socially engaged art, encompassing its central interests, concepts, prin- ciples of practice, and success criteria. The data were further analysed using constant comparison (Mills et al., 2006) and reflexive thematic analysis (Braun & Clarke, 2012). To enhance validity, interviewees were invited to review and provide feedback on the findings concerning the analysis of their accounts. The final manuscript was also reviewed by an experienced scholar, whose com- ments and insights were taken into consideration when finalising the text. By combining these elements, I aim to explore the historical trajectories, contemporary relevance, and future potential of socially engaged art in higher 4  Creativity, society, and the role of socially engaged art arts education. This multidisciplinary approach underscores the importance of socially engaged art not only within artistic practice but also as a subject of study in higher arts education, where it can foster meaningful interactions with society and contribute to social transformation. As I developed the book, I expanded my focus from socially engaged art to activism within higher arts education contexts in order to address—in Chapters 9 and 10—the complexi- ties and considerations relevant to introducing socially engaged practices in these settings. In this book, individuals are typically referred to by their last names after their full names are introduced. However, Kai Mata, one of the interviewees, is referred to by her full stage name throughout, in accordance with her pref- erence and public identity as an artist. This reflects a broader commitment to respecting participants’ chosen modes of identification and public engage- ment, as most interviewees preferred open disclosure of their names and iden- tities given their public-facing roles as socially engaged artists. The examples and interviewee accounts underscore the diversity, richness, and variability of socially engaged arts practices, revealing how facilitation, par- ticipation, creativity, art, critical reflection, learning, and transformation take shape across various contexts. As an introduction, they invite deeper and more systematic inquiry. While this analysis incorporates concepts rooted in Western understandings of socially engaged arts—terms with which the non-Western interviewees were comfortable—it does not attempt to critically interrogate hegemonic structures of knowledge production. Such an inquiry—including the application of a (self-)critical multicultural lens to scrutinise power rela- tions and dismantle hegemonic knowledge structures—is essential for address- ing social and cultural phenomena beyond Nordic and Western contexts. However, such an approach lies beyond the scope of this book and would require a different methodological framework. Central to this inquiry is the concept of subject position,—how individu- als define themselves or are defined within specific social practices. This lens foregrounds the power dynamics and social inequalities that shape knowledge production. By recognising the multiplicity of perspectives and the limitations of any single viewpoint, the book seeks to enrich discourse within higher arts education and foster a global dialogue that situates socially engaged art within diverse cultural and institutional frameworks. The research underpinning this book adhered to the ethical guidelines of the University of the Arts Helsinki, Finland. No prior ethical review was required for the research design. Informed consent was obtained from all par- ticipants, who were fully briefed on the study’s purpose, their voluntary par- ticipation, their right to withdraw at any time without consequence, and the privacy notice detailing the processing of personal data. Given the nature of the study, which benefits from contextualising practitioners in socially engaged arts—particularly those with activist interests related to identity politics—par- ticipants preferred to have their names and identities openly disclosed, as they typically share their identities publicly when engaging as artists with society. Introduction  5 Building on the exploration of subject positions and cultural contexts, I have faced challenges in maintaining a balance between presenting ideas from diverse perspectives and remaining mindful of the broader implications of these views. For instance, in Chapters 9 and 10, which address the intersec- tions of activism, freedom of speech, artistic freedom, academic freedom, and safer spaces, I navigate my support for activism and social change alongside a firm belief in the essential role of free expression and inquiry in democratic societies. While I advocate for activism that seeks to create a safer, more sus- tainable world for all, including non-human species, I also argue that true progress in art, science, and democracy requires engaging with diverse and sometimes conflicting values. This process is difficult but crucial for intellec- tual and social evolution. Through this lens, this book seeks to deepen our understanding of socially engaged art’s potential to transform higher arts education and help institu- tions of higher arts education to contribute meaningfully towards societal change. By fostering a dialogue that acknowledges the cultural specificities of this practice, it aims to move beyond a singular cultural perspective and enrich the collective appreciation of socially engaged art. The organisation of the book The book begins with Chapter 1, presenting a diverse range of case studies exploring the growing significance of socially engaged art. These case stud- ies showcase how artists worldwide are using the arts to address pressing social issues, from LGBTIQ+ advocacy in Indonesia to ecological education in Finland. By adopting various methodologies such as theatre, participa- tory narratives, and urban games, these examples highlight the evolving role of artists not just as creators but as facilitators of dialogue and community empowerment, shifting the focus from individual expression to collaborative transformation. Building on this foundation, Chapter 2 delves into the complexities of socially engaged art. It explores the challenges of defining and understanding this dynamic field, considering its conceptual intricacies and cultural specific- ity. Drawing from case studies, the chapter situates socially engaged art within broader socially engaged practices, suggesting it as an umbrella concept that encompasses diverse approaches. It argues that, while such practices share common features—art, social engagement, creativity, and transformative aspi- rations—they evolve in a decentralised, adaptable manner that responds to the unique needs of each cultural context. The exploration continues in Chapter 3, which focuses on participation, a central theme in socially engaged art. This chapter emphasises the vital role that participation plays in fostering democratic ideals and collective agency. Through practitioner narratives and sociological analysis, it reveals how par- ticipatory practices challenge traditional hierarchies, empower marginalised voices, and promote inclusivity. The integration of theoretical perspectives, 6  Creativity, society, and the role of socially engaged art such as Freirean pedagogy and feminist theory, illustrates how participatory art practices facilitate co-constructed knowledge and respectful dialogue, deepen- ing emotional connections and fostering solidarity for social change. Next, Chapter 4 introduces new case studies while periodically revisit- ing interviewee narratives, deepening the exploration of how these concepts manifest in practice and focusing on the possibilities for learning within socially engaged arts. It also examines how socially engaged art fosters critical awareness and social empowerment. Drawing from emancipatory and criti- cal pedagogy, this chapter highlights how participatory, co-creative processes in socially engaged art create transformative learning environments. In these spaces, participants challenge societal norms, engage in collective meaning- making, and develop the agency necessary to drive social change. This sets the stage for understanding how these practices facilitate broader social transfor- mation, which is further explored in the subsequent chapter. In Chapter 5, the transformative potential of socially engaged art is exam- ined, highlighting its capacity to catalyse social change and empower com- munities. By contrasting socially engaged art with the commodified art world, this chapter underscores how art can function as a means of reclaiming iden- tity, resisting oppression, and cultivating critical consciousness. Drawing on critical theories, such as Marxism and Freirean pedagogy, it explores the role of socially engaged art in fostering collective action and societal transforma- tion, while also examining additional case studies to illustrate these concepts in action. Shifting to the academic landscape, Chapter 6 examines the growing inte- gration of socially engaged art within higher education in different parts of the world. It highlights the diversity of educational programmes, from BA to postgraduate courses, as well as short-term and online programmes, that prepare students to tackle complex global challenges. These initiatives cel- ebrate interdisciplinary learning and the development of critical, analytical, and reflective skills. The chapter also discusses the gaps in research-oriented education, underscoring the need for systematic studies to further establish socially engaged art as an academic field. Numerous case examples and discussions in this book demonstrate the com- plexity of how socially engaged art exists in diverse settings and its relational ties to concepts and phenomena such as participation, learning, and trans- formation. This relational ontology not only informs how socially engaged art operates in practice but also underpins the unique ways of knowing and investigating such practices. These epistemologies and methodologies high- light the interplay between artistic creation and social transformation, empha- sising the dynamic and context-sensitive nature of knowledge production in socially engaged art. Thus, in Chapter 7, the discussion turns to the unique epistemologies and methodologies that define socially engaged art. This chap- ter argues for the recognition of socially engaged art as a distinct subject of study in higher arts education, requiring a comprehensive and interdisciplinary Introduction  7 approach. By advocating for the development of specific academic criteria, it aims to legitimise socially engaged art’s contributions to both artistic practice and societal transformation, positioning it as a key area for further academic inquiry. Chapter 8 applies Richard Pring’s framework to validate socially engaged art as an academic discipline, focusing on its core concepts, principles, criteria for success, and required competencies. Themes like social justice and commu- nity empowerment guide its methodology and impact, while shared concerns serve as a structuring framework. The chapter highlights the balance between structured norms and adaptability, emphasising ethical rigour, collaboration, and transformative outcomes, reinforcing socially engaged art’s significance within higher education. Turning to the intersection of activism and socially engaged art, Chapter 9 examines how these practices intersect with political, social, and identity-based movements. Drawing on case studies from student movements across Europe and North America, the chapter explores how activism within higher arts edu- cation fosters critical dialogue, inclusivity, and creativity. It also addresses the challenges of polarisation and cancel culture, advocating for an approach that values diversity and individual expression while maintaining academic freedom. Chapter 10 examines the role of socially engaged art in addressing societal inequities, emphasising the need for inclusive spaces where diverse perspec- tives can engage in meaningful dialogue. It draws on feminist epistemologies to challenge dominant narratives and enrich understanding of complex issues. The chapter advocates for a balanced approach to activism, arguing that while social justice and activism are crucial, higher arts education institutions must also preserve intellectual rigour and open inquiry to maintain their transforma- tive potential. Looking ahead, Chapter 11 envisions the possible futures of socially engaged art within higher education. Building on recent scenarios, it addresses how these practices can inspire transformative action, foster collaboration, and drive positive social and environmental change in educational contexts. By considering the evolving political, economic, and technological landscapes, the chapter stresses the urgency of integrating socially engaged art into higher education, positioning it as a powerful means for fulfilling institutions’ societal missions and adapting to an uncertain future. Finally, the coda in Chapter 12 weaves together the key insights from previ- ous chapters, underscoring the transformative potential of socially engaged art in higher education. It highlights how these practices support institutions in fulfilling their “Third Mission” of societal contribution, fostering collabora- tion, empathy, and interdisciplinary dialogue to address global challenges. The chapter emphasises socially engaged art’s ability to inspire human develop- ment, planetary well-being, and a more inclusive, resilient society, positioning higher arts education as a dynamic force for positive transformation. 8  Creativity, society, and the role of socially engaged art References Alexander, A., & Schlemmer, R. H. (2017). The convergence of critical pedagogy with arts-based service-learning. In R. Shin (Ed.), Convergence of contemporary art, visual culture, and global civic engagement (pp. 1–23). IGI Global. Bishop, C. (2012). Artificial hells: Participatory art and the politics of spectatorship. Verso. Braun, V., & Clarke, V. (2012). Thematic analysis. American Psychological Association. Cipolle, S. B. (2010). Service-learning and social justice: Engaging students in social change. Rowman & Littlefield. Finkelpearl, T. (2013). What we made: Conversations on art and social cooperation. Duke University Press. Gaunt, H., & Westerlund, H. (2021). Invitation. In H. Westerlund & H. Gaunt (Eds.), Expanding professionalism in music and higher music education - A changing game (pp. X–xxxiii). Routledge. Haraway, D. (1988). Situated knowledges: The science question in feminism and the privilege of partial perspective. Feminist Studies, 14(3), 575–599. https://doi​.org​ /10​.2307​/3178066 Hulme, R., Cracknell, D., & Owens, A. (2009). Learning in third spaces: Developing trans-professional understanding through practitioner enquiry. Educational Action Research, 17(4), 537–550. https://doi​.org​/10​.1080​/09650790903309391 Jackson, S. (2011). Social works: Performing art, supporting publics. Routledge. Kárpáti, A. (Ed.). (2024). Arts-based interventions and social change in Europe. Routledge. Kester, G. H. (2011). The one and the many: Contemporary collaborative art in a global context. Duke University Press. Kwon, M. (2004). One place after another: Site-specific art and locational identity. The MIT Press. Lehikoinen, K., & Siljamäki, E. (2023). Socially engaged arts (SEA) practices: Key skills and capabilities. Research in Arts and Education, 2023(3), 7–26. https://doi​ .org​/10​.54916​/rae​.130211 Lyons, A. (2020). Educating for socially engaged art in Irish higher education (EdD thesis). University of Sheffield. Merriam, S. B. (1998). Qualitative research and case study applications in education. Jossey-Bass. Mills, J., Bonner, A., & Francis, K. (2006). The development of constructivist grounded theory. International Journal of Qualitative Methods, 5(1), 25–35. https://doi​.org​ /10​.1177​/160940690600500103 Moriarty, J., & Aughterson, K. (Eds.). (2024). Socially engaged creative practice: Contemporary case studies. Intellect. Pring, R. (1976). Knowledge and schooling. Open Books. Schlemmer, R. H. (2017). Socially engaged art education: Defining and defending the practice. In L. Hersey & B. Bobick (Eds.), Handbook of research on the facilitation of civic engagement through community art (pp. 1–20). IGI Global. https://doi​.org​ /10​.4018​/978​-1​-5225​-1727​-6​.ch001 Tavory, I., & Timmermans, S. (2014). Abductive analysis: Theorizing qualitative research. The University of Chicago Press. https://doi.org/10.2307/3178066 https://doi.org/10.2307/3178066 https://doi.org/10.1080/09650790903309391 https://doi.org/10.54916/rae.130211 https://doi.org/10.54916/rae.130211 https://doi.org/10.1177/160940690600500103 https://doi.org/10.1177/160940690600500103 https://doi.org/10.4018/978-1-5225-1727-6.ch001 https://doi.org/10.4018/978-1-5225-1727-6.ch001 1 Socially engaged art manifests in diverse forms and fulfils various functions across cultures and communities, adapting to different contexts. In this chap- ter, I introduce practitioners from a range of cultural contexts applying arts- based participatory approaches in working with different communities and collaborating with individuals with different expertise. Their work involves socially engaged arts practices, but their aims vary: Fostering collective crea- tivity and community cohesion; humanising the refugee crisis and foster- ing empathy; exploring under-researched local female heritage; fighting for LGBTIQ+ rights; challenging liturgical practices; cultivating empathy and ethical care; breaking down social barriers and fostering inclusion; challenging cultural stereotypes and provoking critical reflection; and fostering environ- mental awareness and personal connections to nature. Socially engaged art is a multiply defined concept, and some of these defini- tions are discussed in-depth in Chapter 2. Here, it suffices to introduce one definition that captures much of what this strand of artistic practice entails. Jo Parkes, a British dance artist, facilitator, and educator—whose perspectives on socially engaged art in higher arts education will be discussed in Chapter 6— describes socially engaged art as a process aimed at building sustainable social structures that address specific challenges or questions within a group. She notes that socially engaged art facilitates collective problem-solving through creative processes, ultimately co-creating “knowledge about how to live better together” (J. Parkes, personal communication, December 18, 2024). Ten case studies In this chapter, I present ten case studies that highlight the rich diversity of socially engaged art practices, illustrating how artists engage with communities to address pressing social issues. These approaches range from community arts and artistic interventions in organisations to music and performance in activ- ism, arts-based environmental education, and urban gaming. Through these case studies, my aim is to demonstrate the unique approaches employed by each artist and to examine how their practices reflect the cultural landscapes and specific needs of the communities they work with. 1 Ten case studies Addressing the “social turn” in the arts This chapter has been made available under a CC-BY-NC-ND 4.0 license. DOI:  10.4324/9781032702995-2 10.4324/9781032702995-2 http://dx.doi.org/10.4324/9781032702995-2 10  Creativity, society, and the role of socially engaged art These examples not only underscore the evolving role of the artist as a facil- itator of dialogue and transformation but also contribute to a broader under- standing of the “social turn” in the arts. By analysing these varied approaches, we can gain insight into how socially engaged art fosters collective empower- ment and encourages critical reflection on societal constructs. Fostering collective creativity: Community engagement at Saari Residence Pia Bartsch has served as a committed community artist at the Kone Foundation’s Saari Residence in Mietoinen, Finland, since 2012.1 Over the course of her 12-year tenure, she has collaborated with a wide range of indi- viduals and groups, working on projects that vary from small-scale initiatives to extensive, long-term partnerships. Her primary goal is to seamlessly integrate art and culture into the local community, ensuring that the Saari Residence remains an active, vibrant part of the rural area, rather than a remote artis- tic enclave. Bartsch’s work includes organising workshops, performances, and creating open spaces where community members can actively engage in artistic activities. She emphasises fostering sustainability and building mutual trust through long-term relationships within the community (P. Bartsch, personal communication, April 2, 2024). Bartsch views socially engaged art as a practice grounded in collective col- laboration rather than individual involvement. As she puts it, “community is the focus, not the individual” (P. Bartsch, personal communication, April 2, 2024), signalling her commitment to fostering group dynamics and co- creation within a community context. Her approach echoes the ethos of the English-speaking community art movement of the 1960s and 70s, which pri- oritised collective artistic engagement, distinguishing it from more recent par- ticipatory art practices that centre on individual contributions. Mynä-Mynä-Maa [Mynä-Mynä-Land] (2022–2023) is a project that exem- plifies Bartsch’s work at the Saari Residence. Created in collaboration with the municipality of Mynämäki, Finland, it brought together over 250 partici- pants to transform a former care facility, slated for demolition, into a vibrant community art installation. The project featured 72 artworks, including sculp- tures, wall paintings, and installations, mostly made from recycled materials (see Figure 1.1 for an example). It spanned a journey through time, from the age of dinosaurs to the year 2100 (Kone Foundation, 2025). By underscoring equal collaboration, Bartsch ensured that participants, many of whom had no formal artistic training, were actively engaged as “creators.” The project fos- tered a strong sense of community, attracting over 10,000 visitors and leaving a lasting impact on local residents who embraced the work as their own (P. Bartsch, personal communication, April 2, 2024). Bartsch’s work at the Saari Residence exemplifies the transformative power of socially engaged art in creating lasting connections between artists and local communities, emphasising the value of collective action and shared cultural Ten case studies  11 expression. This collaborative and inclusive approach reflects Bartsch’s com- mitment to socially engaged art as a collective process. Dancing across borders: Embodied narratives of asylum seekers from Calais In 2016, the artistic collective Instant Dissidence, led by choreographer Rita Marcalo, filmmaker Lucy Barker, and a humanitarian worker Ifty Patel, part- nered with The People’s Street Kitchen to create an art intervention in The Jungle, a refugee camp near Calais, as the camp was being demolished by French authorities. Many of the 6,400 persons seeking asylum in the camp hoped to reach the UK. Over ten days, Instant Dissidence offered free group dance workshops for the camp’s residents, providing a rare opportunity for creative expression amidst the trauma of displacement (Marcalo, n.d.). A smaller group of four residents—Yodite Melku from Eritrea, Abdul Rehman from Afghanistan, Johnoy Miller from Pakistan, and Addisu Tariku from Ethiopia—participated in individual sessions, developing physical duets and audio stories that explored their identities, journeys to Calais, and hopes for the future. This collaboration resulted in Dancing With Strangers: From Calais to England, a performance project designed to amplify refugee voices and offer audiences an embodied understanding of migrants’ experiences (Marcalo, n.d.). In public spaces across England and at a conference in Finland, Marcalo invited bystanders to dance with her, acting as a proxy for the persons seeking Figure 1.1  �One of the installations produced as part of the Mynä-Mynä-Maa project in Mynämäki, Finland. Photograph by Jussi Virkkumaa. 12  Creativity, society, and the role of socially engaged art asylum, each of whom had choreographed movements for the duets (see Figure 1.2). Wearing a t-shirt that read “Dance With Me,” she extended her arms, inviting participants to perform these duets while listening to the asy- lum seekers’ stories through headphones. The performances were filmed and shared with the original participants, creating a two-way exchange (Marcalo, n.d.). This initiative bridged physical and emotional distances, allowing the participants in England and Finland to connect intimately with the asylum seekers’ narratives and fostering empathy through movement and storytelling across borders. By facilitating these personal interactions, Instant Dissidence highlighted the power of socially engaged art to humanise the refugee crisis, enabling deeper, more empathetic engagement with the global displacement issue. Exploring female heritage in Austria Edith Draxl is a theatre director and advocate for socially engaged art based in Graz, Austria. With degrees in German Studies, Psychology, and Theology, she founded the uniT in 2000: “a cultural initiative for the promotion of young art and young artists, innovative positions and programmes” (uniT, 2024). The organisation now hosts two initiatives, the Drama Forum to pro- mote the development of contemporary Austrian playwrights and Kunstlabor Figure 1.2  �A participatory moment in Dancing With Strangers: From Calais to England. Photograph by Mahvash Tariq. Courtesy of Rita Marcalo. Ten case studies  13 Graz that focuses on community involvement and collaborative projects that engage marginalised groups. As Kunstlabor’s artistic director, Draxl believes in the transformative power of participatory practices, emphasising art as a means of communication and a catalyst for social change through authentic relationships and collective storytelling (E. Draxl, personal communication, November 27, 2023). Draxl’s recent project on female heritage takes place in Bad Ischl and Ramsau, in the rural inner Alpine region of Salzkammergut in Austria, desig- nated as the European Capital of Culture 2024. This collaborative initiative with director Neda Sokolovska, explores and documents the stories of women in a culturally rich yet often overlooked region comprising several smaller vil- lages with distinct histories and cultural narratives (see Figure 1.3). Draxl’s project engages local women, particularly younger generations, to reflect on their perspectives on the heritage passed down to them, addressing the influ- ence of traditional roles in shaping women’s identities (E. Draxl, personal communication, November 27, 2023). Employing an ethnographic approach, Draxl and her team conduct field research to identify key figures within the community. Conversations with local residents, including curators from village museums, help uncover sto- ries and connect with individuals willing to share their experiences. This step- by-step process builds trust and broadens participation through a snowball effect, where one interaction leads to another. Draxl emphasises creating a space for meaningful exchanges and actively listening to women’s stories to ensure their voices are integral to the project. By involving younger women, Figure 1.3  �Local residents Kerstin Gruber and Regina Stocker participating in the Female Heritage Project in Austria. Photograph by Ofer Mayer. 14  Creativity, society, and the role of socially engaged art the initiative seeks to bridge generational gaps and underscore the evolving nature of female heritage in the region (E. Draxl, personal communication, November 27, 2023). Central to the project is a culminating performance that employs the tech- nique of Verbatim Theatre. This method involves editing recorded interviews without altering their content and presenting them through performers who listen to the recordings via in-ear technology and repeat them verbatim. This approach amplifies the participants’ stories while maintaining their privacy. Draxl notes that the performance was warmly received, highlighting the importance of addressing the future of women’s lives in the region. This suc- cess has led to the continuation of the project (E. Draxl, personal communica- tion, December 15, 2024). Though still in its early stages, when Draxl was first interviewed for this book, the project strives to document the rich tapestry of female experi- ences in Salzkammergut while helping the participants empower themselves to reclaim and celebrate their heritage. The collaborative nature of the ini- tiative ensures that the final presentation—whether an installation, perfor- mance, or another medium—reflects the collective input and creativity of the community. This project on female heritage exemplifies how socially engaged art can foster dialogue, strengthen community connections, and promote social awareness. By prioritising participation and inclusivity, Draxl and her team not only enrich the artistic landscape of the Salzkammergut region but also contribute to its cultural narrative, ensuring that women’s voices are both heard and valued. Christlike activism: Fighting for queer rights in Ghana Va-Bene Elikem Fiatsi, known as crazinisT artisT, is a Ghanaian multidisci- plinary artist, transgender woman, former priest, and founder of perfocraZe International Artists Residency (pIAR). Her work blends performance art with LGBTIQ+ activism, creating a collaborative space for artists, activists, researchers, and curators. In Ghana’s conservative, often anti-gay context, her art confronts societal norms and sparks dialogue about marginalised commu- nities. As Fiatsi explains, her activism often feels “Christlike,” standing in stark contrast to the “Christianity that … promotes hate and violence towards mar- ginalised people” (V.-B. E. Fiatsi, personal communication, April 13, 2024). In a country where homosexuality faces intense stigma and the influence of American fundamentalist Christian groups has led to the formal criminalisa- tion of queer identities, Fiatsi’s platform serves as a powerful advocacy tool. The introduction of Ghana’s anti-LGBTIQ+ bill in 2021 marked an escalation of anti-queer sentiment, yet Fiatsi continues to push back with performance happenings and communal events such as the LOVE fEAST (see Chapter 5). With her activism, Fiatsi fosters compassion and understanding, challeng- ing prevailing anti-gay narratives. Her performances highlight the struggles Ten case studies  15 of marginalised individuals and encourage critical reflection on identity and acceptance. Theatre meets theology: Reimagining of the Lutheran Mass In Finland, theatre director Miira Sippola, drawing on her background in the- ology and theatre, led an innovative artistic intervention at Kallio Church in Helsinki that exemplifies both socially engaged art within a religious institu- tional setting and professional competence development through arts-based learning. Exploring meanings in the church space together with priests and deacons (see Figure 1.4 for an example), Sippola reimagined the Lutheran Mass as a performative and embodied experience, merging theatre and the- ology to enhance its spiritual depth. Recognising the inherent dramatic ele- ments of the Mass—such as the priest’s role, congregational participation, and symbolic gestures—she collaborated with Kallio parish to treat the Mass as a structured drama, focusing on liturgical performance while fostering profes- sional growth for those involved in the project (Sippola, 2016). Through collaborative sessions with clergy, she applied theatre techniques to improve their physical presence, timing, and engagement, culminating in a collective Mass delivered in unison. This synchronised performance deepened the ritual’s connection with the congregation and demonstrated how socially Figure 1.4  �Exploring meanings in the church space: A priest participating in an artistic intervention at Kallio Church, Helsinki, Finland. Photograph by Miira Sippola. 16  Creativity, society, and the role of socially engaged art engaged art can transform organisational practices by fostering new perspec- tives and participatory experiences (Sippola, 2016). Cultivating empathy and ethical care through artistic intervention in Sweden In 2009, Swedish conceptual artist Malin Bellman was invited to lead an inno- vative artistic intervention at Östra Sjukhuset hospital in Gothenburg. Unlike conventional art projects that prioritise the artist’s vision, this year-long ini- tiative focused on reshaping the emergency ward employees’ perspectives on their work, aiming to enhance their ethical attitudes towards patient care. Titled 100 Hours, the project involved a series of workshops where employees immersed themselves in the patient experience (Tafi & ArtLab, 2013). Each participant spent one hour lying on a stretcher in the hospital hallway, observing the daily operations from a patient’s perspective (see Figure 1.5). Over the course of 100 Hours, participants recorded their insights in a log- book, which later served as a foundation for suggesting improvements to hos- pital procedures and workflows (Hederberg, 2010). This experiential learning process offered the employees profound insights into how hospital routines affected patients, fostering empathy and an ethically attuned approach to their professional roles. By inviting staff to momentarily inhabit the patient’s world, 100 Hours dem- onstrated the potential of socially engaged art to instil a deeper understanding Figure 1.5  �An emergency ward employee participating in Malin Bellman’s 100 Hours project at Södra Sjukhuset hospital in Gothenburg, Sweden. Photograph by Anna Rehnberg. Ten case studies  17 of healthcare environments, leading to more compassionate and ethically mindful practices. Dancing with the public Pia Lindy is a contemporary dance artist and educator in Finland known for her innovative approach to socially engaged art. Drawing on her background in sociology, she explores how art can intersect with community engagement and social consciousness. Lindy’s work emphasises inclusivity, accessibility, and the role of art in fostering dialogue around pressing social and environmental issues. Her projects are deeply rooted in the contexts in which she works, aim- ing to break down barriers and bring dance into everyday spaces. Throughout her career, she has remained committed to creating sustainable projects that have a lasting impact, encouraging active participation and reflection. One of Lindy’s most notable projects is Joku Kohta Tanssii [About to Dance], which she began in 2001. This project exemplifies Lindy’s commit- ment to making dance accessible to a broader audience and creating a dia- logue between the artist and the public. In Joku Kohta Tanssii, Lindy and her collaborators conducted street interviews, asking participants to express their thoughts on life and dance through movement. Filmed in various public set- tings across Finland and other countries, this approach highlighted that dance can be an accessible form of expression, open to people from all backgrounds, not just professionals. The project documented participants’ movements and personal stories, blending performance with community-driven narratives and creating an archive of everyday people’s contributions to dance (P. Lindy, personal communication, March 26, 2024). Joku Kohta Tanssii expanded into About to Dance—Connecting between 2011 and 2016, further exploring with different collaborators the relationship between art, care, and society. This phase of the project questioned the role of art and artists in mediating care and fostering connections. It also exam- ined how art could communicate messages from individuals to politicians and officials, exploring the potential for art to serve as a bridge in social discourse (see Figure 1.6). The project took various forms, including work-in-progress showings, site-specific actions, installations, open dance workshops, and dis- cussions, all of which focused on creating space for dialogue and collaboration (P. Lindy, personal communication, March 26, 2024). A significant part of About to Dance—Connecting was the 3 Duets About Care project, which brought together professional dancers and individuals with little or no background in dance to explore themes of care. Through this process-based work, Lindy highlighted the importance of the evolving relationships between participants, emphasising that the collaborative journey was as valuable as the final performance. These encounters blended dance, photography, sound, and dialogue, offering multiple ways to engage with the theme of care and create a shared understanding of the artistic process (P. Lindy, personal communication, March 26, 2024). 18  Creativity, society, and the role of socially engaged art Lindy’s Joku Kohta Tanssii exemplifies her belief in socially engaged art as a tool for fostering meaningful connections and reflection on social themes. By inviting public participation and encouraging dialogue through movement, she challenged conventional ideas about who can engage in art, showing that even everyday encounters can become moments of artistic expression. In transforming public spaces into stages for shared experiences, Lindy expanded the boundaries of dance, demonstrating that it can connect people, address social issues, and promote inclusivity while engaging with the complexities of care and community. Music for LGBTIQ+ rights and environmental justice in Indonesia Kai Mata, an Indonesian singer-songwriter, and activist has emerged as a prominent figure in the fight for LGBTIQ+ rights and environmental advo- cacy in her home country. As one of the few openly LGBTIQ+ musicians in a country where queer identities face significant social stigma, she uses her platform to challenge discrimination through her art. Kai Mata’s work merges personal narratives with collective experiences, creating powerful themes of queer liberation, pride, and resistance. Her music fosters empathy, empower- ing individuals to engage with and advocate for LGBTIQ+ rights. Kai Mata is not only a leading voice for queer rights but also integrates envi- ronmental concerns into her artistic practice. She collaborates with initiatives Figure 1.6  �Municipal councillor and member of the European Parliament Merja Kyllönen dancing with Pia Lindy in the socially engaged dance project Joku kohta tanssii [About to Dance]. Photograph by Suvi-Tuuli Kankaanpää. Ten case studies  19 like Music Declares Emergency, which encourages artists to adopt sustainable practices and raise awareness about pressing environmental issues. By perform- ing at protests and community events, Kai Mata demonstrates how socially engaged music can galvanise support for both human rights and ecological sustainability. Her slogan, “No music on a dead planet” (K. Mata, personal communication, 12.4.2024), encapsulates her commitment to integrating environmental consciousness into her advocacy. Through her activism, Kai Mata sparks crucial conversations that inspire action and bridge the gap between marginalised communities and the wider public. Her artistic work embodies themes such as “pride as protest [and] cel- ebration as rebellion” (K. Mata, personal communication, 12.4.2024), utilis- ing music and storytelling to promote inclusivity and challenge societal norms. With a rich collaboration history that includes Grammy-winning artist Kipper Eldridge and performances across three continents, she continually uplifts LGBTIQ+ narratives. Recently honoured with the 2024–2025 Joint Engaged Artivist Award, Kai Mata has solidified her role as a key figure in Indonesia’s queer liberation movement, particularly after her vocal opposition to a 2020 bill advocating conversion therapy for LGBTIQ+ individuals. This act of defi- ance, coupled with her powerful song Her, has enabled Kai Mata to speak and perform on global platforms, transforming negative commentary into celebra- tory anthems that weave together Indonesia’s queer history and contemporary discrimination (see Figure 1.7). Kai Mata’s artistic work is deeply rooted in Indonesia’s cultural context, incorporating local narratives and histories that resonate with her audience. She actively participates in community events, such as women’s marches, where she engages with audiences to raise awareness and inspire collective action. Through her work, she connects with her listeners by underscoring the importance of personal storytelling, stating, “creating personal narrative is one of the strongest ways we can immediately establish a bridge of empathy and connection to an audience” (personal communication, 12.4.2024). Kai Mata’s multifaceted approach exemplifies socially engaged arts, showcasing how music can serve as a powerful medium for advocacy and change. By inter- twining themes of environmental and queer liberation, she effectively raises awareness, fosters community engagement, and inspires action, making sig- nificant contributions to the realm of socially conscious art in Indonesia. Urban game: Exploring migration and identity in Vienna’s public spaces Charlotta Ruth, a Vienna-based artist and researcher with a PhD in Arts from the University of Applied Arts Vienna (Die Angewandte), specialises in perfor- mance art, choreographic systems, and socially engaged practices. Her work explores themes such as asynchronous communication, performance documen- tation, and the interplay between digital and physical spaces. Ruth’s contribu- tions span stage performances, public interventions, institutional projects, and online platforms. She currently holds a working grant from the City of Vienna 20  Creativity, society, and the role of socially engaged art for her project Choreografische Spuren & Kettenkreationen [Choreographic Traces & Chain Creations] and is involved in the Angewandte Performance Laboratory. Her research and artistic contributions have been presented inter- nationally, where she continues to influence discussions on participatory art and its social impact (C. Ruth, personal communication, February 15, 2024). In September 2019, Ruth collaborated with City Games Vienna—Austria’s first urban game design studio, founded by Tamer Aslan, Philipp Ehmann, and Simon Schwaighofer—to create the scratch-card-based game, Good Turk. Aslan, one of the founders, brought his Turkish heritage to the project, Figure 1.7  �Kai Mata performing to her audiences at Tehdas Teatteri’s Joki Studio in Turku, during her residency in Finland. Photograph by the author. Ten case studies  21 contributing a personal perspective to the game’s concept. City Games Vienna specialises in producing interactive urban games that encourage players to engage with cityscapes in innovative ways. Blending historical narratives with contemporary urban experiences, the studio uses public spaces as platforms for exploring culture, identity, and social dynamics. Their games merge tradi- tional production techniques with new technologies, offering both analogue and digital experiences that guide players through hidden stories embedded in the city. Notably, the studio also devised the title Good Turk (C. Ruth, per- sonal communication, February 15, 2024). Commissioned as the game designer for Good Turk, Ruth developed a public space game aimed at revealing the historical influence of Turkish cul- ture on Vienna’s landscape. Her design process involved scouting locations, choreographing the journey through the city, and weaving the narrative into the physical spaces. The narrative, which she co-authored with a writer, care- fully balanced historical storytelling with player engagement. Building on the scratch-card mechanics of earlier City Games releases like 1918 and Paradise Lost, Good Turk focused on uncovering Ottoman influences within the city’s cultural identity. The game spanned two contrasting districts—Ottakring (16th district) and Währing (18th district)—connected by tram line nine. Ottakring is known for its vibrant cultural diversity, with Yppenplatz and the Brunnenmarkt merging immigrant traditions, local markets, and a strong community spirit. Währing, in contrast, is a more affluent area with historical ties to the Ottoman siege of Vienna in 1683, including Türkenschantzpark, a former military fortification that underscores the city’s Ottoman history (Ruth, 2024). Good Turk invited players to challenge stereotypes surrounding Turkish influence in Vienna by exploring these public spaces and solving puzzles. The game highlighted Turkish contributions to Vienna’s cultural fabric, from cui- sine to architecture, while dismantling binary notions of “friend” and “foe” in Ottoman-Viennese relations. By blending moments of everyday magic with historical facts, Ruth encouraged participants to reflect on how migration and intercultural exchange have shaped the city’s identity. As a socially engaged art practice, Good Turk went beyond entertainment, aiming to provoke critical reflection on national identity and cultural integra- tion. Players were encouraged to engage physically and emotionally with the city, using the game as a platform to learn about the past and become more aware of present-day cultural dynamics. This aligns with Ruth’s broader com- mitment to socially engaged art, which emphasises collaboration, participa- tion, and mutual learning between artists and communities (C. Ruth, personal communication, February 15, 2024). Ruth’s work on Good Turk exemplifies how urban games can serve as a medium for socially engaged art. By transforming public spaces into a canvas for historical exploration and social dialogue, the game invited participants to reconsider their understanding of Vienna’s cultural evolution through migration. Rooted in participation, collaboration, and social reflection, Ruth’s 22  Creativity, society, and the role of socially engaged art approach demonstrates the power of art to engage people in critical conversa- tions about history and its enduring influence on contemporary society. Embodied ecology: Arts-based environmental education in Finland Anne Pässilä, a Senior Researcher at Lappeenranta-Lahti University of Technology LUT in Finland, specialises in applied theatre, drama, and arts-based transformative processes. With a background in arts and cultural studies, her work focuses on enhancing human potential, especially within organisational contexts. Her research, particularly her doctoral dissertation on research-based theatre (Pässilä, 2012), provides a foundation for her inno- vative approaches in socially engaged arts practices. Pässilä’s current projects target sustainable service design, social engagement, and transprofessional col- laboration, combining socio-cultural systems, equality mechanisms, and arts- based methodologies. In her recent work, Pässilä led a participatory educational project under the European Union’s Horizon 2020 research programme, Participatory Communication of Science (ParCos). The LUT-led case study in Finland focused on engaging youth in understanding water quality through data com- ics and data drama, using the story of Vesijärvi, a lake in Lahti. As part of this effort, the Veden Armoilla [At the Water’s Mercy] data drama event brought together local high school and vocational students, teach- ers, art educators, and ParCos researchers. This event, blending arts-based framing with data comics, provided an immersive experience that helped the participants quickly grasp complex information while fostering collaboration and ideation. The case study highlights the effectiveness of data comics and data drama in engaging non-experts, underscoring the potential of ParCos tools in participatory science storytelling (A. Pässilä, personal communication, December 5, 2024). Further, the project introduced vocational students as peer facilitators, training them to lead participatory processes for high school students. The vocational students acted as assistant facilitators in arts-based workshops that featured high schoolers and young people interested in visual arts, with some social service students and teachers joining to observe and contribute. A key element of Pässilä’s approach involved using artistic and theatrical ele- ments to deepen participants’ connections to nature and their environments. One activity around data drama featured the Näkkitär character, a reimagined version of Näkki from Finnish mythology, as a prompt to explore nature-related themes. Näkki, a water spirit associated with lakes and the mystery of nature, tra- ditionally appears as a cautionary figure luring people to the water. By feminising the name to Näkkitär, the project highlights nurturing, socially assumed female qualities of the myth, using this character to invite reflection on nature and human connections. In the activity, participants imagined themselves as more- than-human organisms—such as water, lakes, shores, air, plants, and animals— or mythological creatures. They drew these entities, shared facts about them, Ten case studies  23 and role-played as their chosen characters, fostering a deeper connection to the natural surroundings (A. Pässilä, personal communication, December 5, 2024). The silent, mystical portrayal of Näkkitär by young amateur actress Pihla Karhu, under arts educator from SDO Theatrum Olga Lasse Kantola’s direc- tion, helped set an immersive tone for the workshop (see Figure 1.8). By removing spoken lines, Pässilä and her team fostered a cohesive, uninterrupted atmosphere, allowing participants to fully engage with the setting. Pässilä often uses theatre techniques such as sound, light, and narrative elements to move beyond conventional science education classroom environments, creat- ing immersive spaces that prompt self-reflection, imagination, and collective engagement (A. Pässilä, personal communication, December 5, 2024). Pässilä’s work thus exemplifies an innovative, socially engaged educational practice, where students collaboratively explore personal and environmental connections. This blend of experiential learning and creative engagement not only fosters deeper understanding but also underscores each participant’s expertise in their own lived experience, bridging art, science, mythology, and education through a transformative, participatory approach. Paradigm shift in the arts The ten case examples above demonstrate a rich diversity of socially engaged art, showcasing various contexts, practices, modes of engagement, and Figure 1.8  �Data Drama: Participants co-creating future visions by painting with the Näkkitär character. Photograph by Lasse Kantola. 24  Creativity, society, and the role of socially engaged art functions that artists employ to address pressing social issues. From Kai Mata’s advocacy for LGBTIQ+ rights and environmental justice in Indonesia to Draxl’s focus on underexplored female heritage in Austria, each artist employs unique methodologies that reflect their cultural landscapes and the specific communities they engage with. Thomas Kuhn’s concept of a paradigm shift describes how established frameworks in scientific fields undergo revolutionary changes when anoma- lies arise, prompting a re-evaluation of existing norms (Kuhn, 2012/1962). Similarly, in the realm of contemporary art, the evolution of socially engaged art exemplifies a paradigm shift, where traditional understandings of artistic practice are disrupted. As the case studies in this book demonstrate, socially engaged art challenges long-standing notions of art, highlighting collective empowerment and social responsibility over individual expression. This shift redefines the artist’s role, moving from one of personal self-expression—a con- cept central to the Western tradition of art—to that of a facilitator who nur- tures and gives form to participants’ expressions, addressing social, political, or ecological concerns. Claire Bishop identifies this shift as “the social turn in contemporary art” (2007, p. 61), which redefines art’s purpose and its relationship with society. Socially engaged art transcends the boundaries of the artistic and non-artistic realms, thriving on genuine social interaction and real-world connections, as noted by Helguera (2011). This form of art emphasises collaborative dia- logue with communities, reinforcing democratic principles and fostering civic participation (Cartiere & Zebracki, 2016; Burrough & Walgren, 2022). For instance, the diverse practices highlighted in the case studies illustrate the adaptability of socially engaged art to meet specific community needs while addressing pressing social issues. Beverly Naidus (2009) argues that the essence of socially engaged art lies in its diversity and its ability to spark meaningful dialogue. The adaptabil- ity of methodologies, such as workshops and community events, emphasises the inclusive nature of socially engaged art and its role in fostering collective empowerment and social responsibility. Central to this evolution is the concept of embodied experience, which highlights the interconnectedness of art and social dynamics. Suzi Gablik (1992) argues that vision is not solely a matter of cognitive or aesthetic percep- tion; rather, it functions as a social practice. This perspective, highlighting the interconnectedness of sensing with societal interactions and cultural contexts, is reinforced by the work of artists like Lindy and Marcalo, who employ dance as a means of social engagement, creating spaces for dialogue and interaction that emphasise physical presence and shared experiences. Their dance-based practices invite participants to engage in the bodily dynamics of movement, enabling them to explore social relationships and challenge prevailing narra- tives through embodied expression. Bellman’s bodily experiment with the stretcher further exemplifies this notion of embodied experience. By encouraging participants to physically Ten case studies  25 recline on the stretcher placed in the emergency ward’s hallway as a medium, Bellman creates a participatory environment that emphasises the relational aspects of not only artmaking but also sense-making. This practice under- scores how our understanding of the world is socially constructed, as noted by Maurice Merleau-Ponty (2005), Peter Berger and Thomas Luckmann (1991), and Michel Foucault (1972). Through these participatory practices, artists and participants engage in co-reflecting and co-creating social realities, enabling individuals to identify, critically reflect on, and reimagine the social constructs that shape their lives. In this evolving landscape, artists view their practice as a vocation (Bishop, 2012), recognising their potential to drive social change beyond traditional institutions (Biesta, 2017; Dewey, 2005; Eisner, 2002; Greene, 1995). The democratisation of art blurs the boundaries between artist and audience, chal- lenging long-standing hierarchies and redefining the artist’s identity. This evo- lution invites a shift from the liberal humanist conception of the artist as a solitary genius to a model centred on community experiences and co-creation. Moreover, the concept of the “dialogical self” (Lehikoinen et al., 2021, p. 77) emphasises that the artist’s professional identity is dynamic, socially embedded, and discursively constructed rather than stable or coherent.2 Through interactions with community members, artists’ identities are shaped by evolving narratives and spatial positioning among multiple voices. This rec- ognition reinforces the notion that socially engaged art is not merely a genre but a transformative practice that cultivates dialogue, fosters social responsibil- ity, and empowers communities. Chapter reflections To sum up this chapter, the case studies vividly illustrate a paradigm shift in the arts, where socially engaged practices redefine the roles of artists and the function of art within society. These practices reveal their transformative potential, enriching the discourse surrounding artistic practice and confront- ing urgent social issues, fostering a more democratic and participatory society. These insights advocate for a reimagined understanding of art’s potential, urg- ing both artists and communities to embrace their roles in co-creating a more just and inclusive world. By emphasising the dynamic relationship between theory and real-world application, the next chapter reflects on these case stud- ies to address conceptual complexities in socially engaged arts practices. Notes 1 Established in 1956, Kone Foundation, one of the largest private foundations in Finland, is an independent organisation working to improve the world by support- ing free science and art. In 2024, it awarded grants, prizes, and donations total- ling over 56 million euros. The Foundation also runs the Saari Residence, which, since 2008, has provided a peaceful, ecologically sustainable retreat for artists and 26  researchers. Located in a rural area near Turku in Southwest Finland, the residence encourages slow-paced, insightful work and collaboration (Kone Foundation, 2025). 2 For dialogical self, see also Hermans (2001, p. 243). References Berger, P. L., & Luckmann, T. (1991). The social construction of reality: A treatise in the sociology of knowledge. Penguin Books. (Original work published 1966). Biesta, G. (2017). Letting Art Teach. ArtEZPress. Bishop, C. (2007). The social turn: Collaboration and its discontents. In M. Schavermaker & M. Rakier (Eds.), Right about now: Art and theory since the 1990s (pp. 58–68). Valiz. (Original work published 2006). Bishop, C. (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. Verso. burrough, x., & Walgren, J. (2022). Introduction. In x. burrough & J. Walgren (Eds.), Art as social practice: Technologies for change (pp. 1–14). Routledge. Cartiere, C., & Zebracki, M. (2016). The everyday practice of public art: Art, space, and social inclusion. Routledge. Dewey, J. (2005). Art as experience. TarcherPerigee. (Original work published 1934). Eisner, E. W. (2002). What can education learn from the arts about the practice of education? Journal of Curriculum and Supervision, 18(1), 4–16. Foucault, M. (1972). The archaeology of knowledge and the discourse on language (A. M. Sheridan Smith, Trans.). Pantheon Books. (Original work published 1971). Gablik, S. (1992). The reenchantment of art. Thames & Hudson. Greene, M. (1995). Releasing the imagination: Essays on education, the arts, and social change. Jossey-Bass. Hederberg, L. (2010, March 1). AIRIS en del i vägen från motgång till framgång. ArbetsLUST, 8–11. Helguera, P. (2011). Education for Socially Engaged art. Jorge Pinto Books. Hermans, H. J. M. (2001). The dialogical self: Toward a theory of personal and cultural positioning. Culture & Psychology, 7(3), 243–281. https://doi​.org​/10​ .1177​/1354067X0173001 Kone Foundation. (2025). About us. Kone Foundation. https://koneensaatio​.fi​/en/ Kuhn, T. (2012). The structure of scientific revolutions (50th anniversary ed., 4th ed.). The University of Chicago Press. (Original work published 1962). Lehikoinen, K., Pässilä, A., & Owens, A. (2021). Conflicting professional identities for artists in transprofessional contexts: Insights from a pilot programme initiating artistic interventions in organisations. In H. Westerlund & H. Gaunt (Eds.), Expanding professionalism in music and higher music education: A changing game (pp. 74–88). Routledge. Marcalo, R. (n.d.). Dancing with strangers: From Calais to England: A choreographic act of border transgression. Tumblr. https://dws​from​cala​isto​england​.tumblr​.com/ Merleau-Ponty, M. (2005). Phenomenology of perception (C. Smith, Trans.). Routledge. (Original work published 1945). Naidus, B. (2009). Arts for Change: Teaching Outside the Frame. New Village Press. Pässilä, A. (2012). Reflective facilitation in the development of innovation capabilities in organizations (Doctoral dissertation, University of Eastern Finland). https://doi.org/10.1177/1354067X0173001 https://doi.org/10.1177/1354067X0173001 https://koneensaatio.fi/en/ https://dwsfromcalaistoengland.tumblr.com/ Ten case studies  27 Ruth, C. (2024). Charlotta Ruth. Website. https://charlottaruth​.com​/live​/city​ -games Sippola, M. (2016). Teatteriohjaajan interventio kirkossa (The director’s intervention in the church). In K. Lehikoinen, A. Pässilä, M. Martin, & M. Pulkki (Eds.), Taiteilija kehittäjänä: Taiteelliset interventiot työssä (The artist as developer: Artistic interventions in work) (pp. 105–121). Taideyliopiston Teatterikorkeakoulu. Tafi, & ArtLab. (2013, February 4). Konstnären Malin Bellman’s projekt på Östra Sjukhuset [Video]. YouTube. https://www​.youtube​.com​/watch​?v​=j7P4CSEsj04 uniT. (2024). Kunst ins Leben – Leben in die Kunst. uniT website. https://www​.uni​ -t​.org​/web https://charlottaruth.com/live/city-games https://charlottaruth.com/live/city-games https://www.youtube.com/watch?v=j7P4CSEsj04 https://www.uni-t.org/web https://www.uni-t.org/web 2 In this chapter, I delve into the multifaceted realm of socially engaged art, beginning with a review of the case studies introduced in the previous chapter, which illustrate its various manifestations. These case studies provide a lens through which I aim to show how artists navigate complex social landscapes, addressing societal issues and fostering community engagement through their creative practices. The discourse surrounding socially engaged art is further enriched by an investigation into its conceptual complexity. This chapter explores a range of frameworks—such as applied theatre, artistic activism, artistic interventions in organisations, community art, dialogical aesthetics, participatory art, public art, and relational art—each rooted in distinct historical, cultural, and political conditions, and offering a uniqueness through which socially engaged art is practiced and understood. Finally, I briefly address the cultural contexts that shape socially engaged art. Understanding these contexts is vital for appreciating the nuanced ways in which artists and communities interact, as well as for recognising the impor- tance of cultural specificity in defining the goals and outcomes of socially engaged initiatives. By weaving together insights from practice, conceptual frameworks, and cultural considerations, this chapter aims to present a com- prehensive understanding of socially engaged art as a dynamic and context- sensitive field. Reflecting on the case studies The socially engaged arts practices illustrated by the case studies in Chapter 1 underscore the remarkable capacity of art to foster social transformation across diverse cultural and institutional landscapes. Moving beyond the tra- ditional notion of the artist as a solitary creator, these practices prioritise col- laboration, participation, and shared experience, transforming perceptions of identity, community, and social justice. Addressing issues as wide-ranging as human rights, environmental sustainability, and institutional reform, socially engaged art creates spaces where individuals and communities can examine 2 Socially engaged art Definitions, complexities, and cultural contexts This chapter has been made available under a CC-BY-NC-ND 4.0 license. DOI:  10.4324/9781032702995-3 10.4324/9781032702995-3 http://dx.doi.org/10.4324/9781032702995-3 Socially engaged art  29 and challenge deeply embedded societal structures, inviting new forms of engagement and awareness. The cases of Kai Mata’s advocacy in Indonesia and Va-Bene Elikem Fiatsi’s work in Ghana demonstrate how socially engaged artists actively contest sys- tems of oppression by initiating dialogues and promoting empathy within envi- ronments often hostile to marginalised groups. Both artists explore themes of identity, with Kai Mata addressing the intersections of queer liberation and environmental activism through her music, and Fiatsi challenging anti-LGB- TIQ+ legislation through radical performances and communal feasts. Each art- ist uses their creative platform to dismantle barriers, foster self-expression, and mobilise collective action, encouraging audiences to re-examine societal preju- dices and consider alternative, inclusive viewpoints. Similarly, Rita Marcalo’s Dancing with Strangers humanises the refugee experience by involving partici- pants in embodied, empathetic practices that reflect the emotional and physi- cal realities of displacement. These projects demonstrate socially engaged art’s potential to evoke deep emotional connections, allowing audiences to engage with complex social issues on a more personal, experiential level. Several case studies also illustrate how socially engaged art can reshape traditional institutions by introducing an artistic lens to professions that often operate within strict procedural frameworks. Miira Sippola’s reimagin- ing of the Lutheran Mass through participatory theatre practices and Malin Bellman’s artistic intervention in a Swedish hospital both invite profession- als—clergy members in one case and healthcare workers in the other—to criti- cally reflect on their roles within the community, enhancing their ethical and relational engagement. Similarly, Pia Bartsch’s long-term community project at the Saari Residence reveals how sustained, collective creativity can establish enduring cultural practices that benefit both the artistic and local communi- ties. Such initiatives highlight the transformative potential of socially engaged art to inspire professionals in institutional contexts to view their roles as more interconnected with the needs and identities of their communities. These case studies, taken together, showcase the diversity of socially engaged art’s impact, illustrating how it can not only address pressing social issues but also foster empathy, confront societal norms, and achieve lasting social influ- ence through creative collaboration and collective action. This bridging of artistic and social divides is increasingly critical in a polarised world, demon- strating how socially engaged arts hold the potential to cultivate dialogue, promote mutual understanding, and empower communities. A key theme that emerges across these case studies is the contextual sensi- tivity of socially engaged arts practices, revealing a landscape shaped by each artist’s unique cultural and social environment. For example, Kai Mata’s activ- ism within Indonesia’s socio-political climate addresses the intersecting issues of LGBTIQ+ rights and environmental justice, advocating for social equity and ecological responsibility within her community. In Ghana, Fiatsi’s per- formance work challenges anti-queer narratives in a predominantly conserva- tive society, utilising performance art to provoke critical discussion around 30  Creativity, society, and the role of socially engaged art LGBTIQ+ rights. These projects underscore how socially engaged art prac- titioners carefully navigate their local contexts, adapting their approaches to resonate with community values and social realities. The functions of socially engaged art are as varied as the contexts in which they emerge. For some artists, it is a means of advocacy and awareness-raising. Kai Mata and Fiatsi, for instance, use their platforms to amplify the voices of marginalised communities—Kai Mata’s music serves as both celebration and protest, while Fiatsi’s performances confront societal norms, sparking dia- logue on anti-LGBTIQ+ discrimination. The practice also facilitates collec- tive empowerment and community cohesion, as seen in Bartsch’s work at the Saari Residence, where she cultivates long-term relationships with residents, fostering a sense of belonging and mutual support. Similarly, Edith Draxl’s project on female heritage engages local women in preserving their narratives, strengthening community ties, and promoting intergenerational dialogue. The therapeutic potential of socially engaged art emerges as another note- worthy function. Marcalo’s dance workshops in Calais, for example, offer people seeking for asylum a creative outlet to process and articulate their expe- riences, promoting emotional resilience and shared expression within a sup- portive setting. The power of socially engaged art to facilitate healing and restore agency to marginalised voices is a recurring theme across these case studies, illustrating its significance in contexts of trauma and displacement. In addition to these functions, socially engaged art opens pathways for criti- cal reflection, education, and recreation. Projects like Charlotta Ruth’s Good Turk game in Vienna invite participants to explore cultural history, identity, and migration by challenging stereotypes and engaging players in the city’s cultural narrative in a reflective, interactive way. Such initiatives enrich public understanding of complex social issues, creating opportunities for participants to explore and discuss cultural identities and the forces that shape them. Finally, socially engaged art offers a platform for celebration and resist- ance, reimagining negative narratives as sources of empowerment. Kai Mata’s music, for example, embodies themes of pride and liberation, reframing stig- matised identities as expressions of resilience. Fiatsi’s annual feast of queer solidarity transforms communal dining into an act of protest, using collective celebration as a form of resistance against intolerance. Through these diverse applications, socially engaged art reinforces the agency of both the artist and community, challenging the boundaries of traditional art forms and bridging cultural divides. In summary, these case studies illustrate the transformative potential of socially engaged art, showing how artists effectively navigate cultural, politi- cal, and social challenges to promote healing, social justice, and community involvement. Through their innovative approaches, they not only address immediate social issues but also catalyse broader conversations around iden- tity, resilience, and collective empowerment. These reflections on the diver- sity of socially engaged art practices create a bridge to the next section in this chapter, which will explore the conceptual complexity inherent in these Socially engaged art  31 practices, addressing socially engaged art’s evolving role within higher arts education. Later chapters will discuss socially engaged art as an autonomous field of study, suggesting how higher arts institutions might engage with soci- ety through socially engaged art, fulfilling their third mission of societal out- reach and service. Defining socially engaged art: Insights from practice The case studies, introduced in Chapter 1, exemplify the diverse approaches to socially engaged art, each shaped by specific cultural contexts and objectives. This plurality, encompassing concepts such as applied art, art activism, social practice, artistic interventions in organisations, community art, dialogical aes- thetics, participatory art, relational aesthetics, and public art, highlights the complexity of the field. These varied practices challenge the notion of socially engaged art as a cohesive discipline, emphasising its multifaceted and context- dependent nature. The interviewed practitioners offer a range of insights into what socially engaged art entails, highlighting its core principles, processes, and ethical considerations. While each interviewee provides a unique perspective, several common themes emerge, painting a cohesive picture of how socially engaged art is understood and practised. Central to their definitions are the notions of participation, social consciousness, collaboration, participant agency, ethical responsibility, community engagement, and the primacy of the creative pro- cess over the final product. Social consciousness emerges as a defining theme in the interviewees’ under- standings of socially engaged art. It reflects a deep awareness of social, cultural, and historical contexts, shaping how artists engage with participants, commu- nities, and the societal issues their art seeks to address. This consciousness is approached through various interrelated themes, including collaboration, par- ticipant agency and empowerment, community and cultural resonance, pro- cess over product, and ethics and responsibility. Together, these themes reflect a practice that is attuned to the needs and experiences of the people it engages, aiming to foster mutual learning, ethical reflection, and empowerment. Collaboration at the core Collaboration stands as the foundation of socially engaged art, where the crea- tive process is shared with people, rather than imposed upon them. The inter- viewees underline the importance of engaging people directly in the process,