Objective:
Digital storytelling and other methods of self-expression and autobiography have become an increasingly important tool for those working with young people, including those from migrant, refugee or other 'culturally diverse' backgrounds. A structured scoping review was undertaken to better understand the potential value and challenges of using digital stories to promote the health and well-being of these diverse groups of young people and to identify key knowledge gaps.
Design:
The review process comprised a systematic search of the literature and strategic consultations with professionals working with young people in the area of sexual and reproductive health promotion and care. A descriptive-analytic method was used to collate and synthesise the literature and apply narrative and thematic analyses.
Results:
In total, 28 papers were deemed eligible for inclusion. Findings are presented as two analyses: what is known from the literature and key knowledge gaps. Identified themes included the use of digital stories as social activism and as research intervention, recognition of digital stories as complex terrain and recommendations for good practice. Three key gaps of particular relevance to our research aims were identified. These were (1) the lack of digital stories on sexual health and relationships by 'culturally diverse' young people in Australia, (2) the need for discussion of the ethical considerations of using digital storytelling and related methods in sexual health fields and (3) the value of exploring opportunities to employ digital methods as self-representation and autobiography to generate new knowledge and build organisational capacity.
Conclusion:
As confirmed in discussions with professionals working in the youth, migrant and sexual health sectors, the literature highlighted the many potential applications of digital storytelling to promoting the sexual health and well-being of young people from diverse backgrounds. Additional research is required to understand the particular ethical and contextual issues shaping, and at times constraining, this engagement in specific cultural contexts.


Amid robust debates about the impact of music on the lives of young people, empirically validated measures of music engagement are absent. The present study builds on the construction of the Individual and Community Empowerment (ICE) inventory, a measure to capture different types of empowerment and different types of risk potential from rap music engagement. The scientific intent of the scale development and the present validation study was to test the simultaneous presence of empowerment and risk associated with music engagement and its application to the individual and community. A unique sample existed for the present study in comparison to the original, with the bulk of respondents being first-year college students and White. Results of the present study suggest that the ICE inventory is an effective and comparative measure of risk and empowerment. Major findings about the instrument' utility were replicated, but results were divergent from original research on certain demographic trends with respect to gender, age, and race/ethnicity. Empowering and risky music engagement scale means were higher among male and younger respondents. White respondents had significantly lower mean scores than all other groups on empowerment scales, and African Americans had lower scores on the individual risk scale than other groups. Each result suggests the need for additional research. The validation of the ICE inventory offers promise for helping to collect, organize, and interpret new data on associations between music engagement and desirable health and well-being outcomes.


The COVID-19 pandemic has had a significant impact on youth, including through increased isolation, the transition to online schooling, decreased access to arts and sports programming, exposure to illness, and anxiety. The pandemic has also affected the delivery of therapeutic services at a time when youth have needed more help building coping skills and reducing stress. Creative arts and movement therapies promote creativity and adaptability to better develop cognitive flexibility1 while enhancing self-regulation and self-direction, adaptive skills that are protective in the face of stress.2 Creative arts and movement-based group therapies delivered through community settings—such as resettlement agencies, schools, and community recreation centers—are feasible, cost-effective, and increase accessibility, especially for populations often underrepresented in the therapeutic space.3 Offering such interventions at the group level benefits both those who are experiencing significant stress and anxiety4,5 and those who are not experiencing such symptoms, as they still reap the long-term benefits of building stress-relaxation and emotion regulation skills. Having previously demonstrated the efficacy of art therapy (AT) and dance/movement therapy (DMT) in improving posttraumatic stress and anxiety symptoms for youth,4,5 our laboratory—the Stress, Trauma, and Anxiety Research Clinic—shifted programming to virtual formats, in partnerships with local resettlement agencies and schools.


Purpose: The purpose of this work was to review scientific publications related to the use of visual arts in pediatric hospitals.

Background: Visual arts, particularly painting, have historically played an important role in the design and atmosphere of healthcare spaces, especially hospitals.

Methods: From 2000 to 2019, 79 publications located in relevant databases and manual searches were identified and analyzed.

Results: Sixty of these publications include empirical studies and 19 theoretical models, comments, or reflections on the use of art in children's hospitals. Their analysis allows us to differentiate four groups of works: (a) "environmental" includes works whose purpose is to know how visual artistic interventions in the hospital can affect the people who see them, mainly pediatric patients, families, and health workers; (b) "participatory" includes studies aimed at knowing the effect of developing visual arts activities in the hospital; (c) "exploratory" includes works whose purpose was to know more about the children's perspective using their artistic expressions; and (d) "diagnostic" includes those that use children's drawings as a tool to diagnose diverse processes related to the pediatric patients' experience.

Conclusions: Taken together, the works we analyzed in our study support the use of visual arts in hospitals as a resource to enhance the well-being of children and families and their experience in the hospital. We indicate two particularly relevant aspects in this sense: the importance of the visual arts in improving the symbolic quality of hospitalization settings and the communication processes that occur in these environments.


Over the past two decades, there has been a major increase in research into the effects of the arts on health and well-being, alongside developments in practice and policy activities in different countries across the WHO European Region and further afield. This report synthesizes the global evidence on the role of the arts in improving health and well-being, with a specific focus on the WHO European Region. Results from over 3000 studies identified a major role for the arts in the prevention of ill health, promotion of health, and management and treatment of illness across the lifespan. The reviewed evidence included study designs such as uncontrolled pilot studies, case studies, small-scale cross-sectional surveys, nationally representative longitudinal cohort studies, community-wide ethnographies and randomized controlled trials from diverse disciplines. The beneficial impact of the arts could be furthered through acknowledging and acting on the growing evidence base; promoting arts engagement at the individual, local and national levels; and supporting cross-sectoral collaboration.


Introduction: Adolescence and young adulthood are especially critical times to learn about mental health, given that 75% of mental health issues are developed by the age of 24. Animations have great potential to effectively deliver mental health information to young people. A series of five short animated films to promote mental health literacy were created with and for young people in partnership with the multi-award-winning independent animation studio, Aardman Animations. The aim of this study was to explore young people's perceptions of the cocreated animated films.

Methods: Seven Youth Juries were conducted to capture young people's opinions and recommendations about the content related to mental health literacy and presentation style of the cocreated animated films. Thematic analysis was used to analyse the audio transcripts.

Results: Many participants reported a view that the animated films had the potential to promote mental health literacy, especially for understanding mental health and reducing stigma. Some recommendations were provided to improve the films, such as including subtitles and having a better transition to the companion website.

Conclusion: Cocreated animations have great potential to promote the mental health literacy of young people. We hope that the findings from the present study will inform future media development to make them as effective as possible.

Patient or public contribution: Young people were actively involved in the development, production, implementation and evaluation (up to the time before data analysis) of the animated films.


Background Engaging in the arts is a health-related behavior that may be influenced by social inequalities. While it is generally accepted that there is a social gradient in traditional arts and cultural activities, such as attending classical music performances and museums, previous studies of arts engagement in the US have not adequately investigated whether similar demographic and socioeconomic factors are related to other forms of arts engagement.
Methods
Using cross-sectional data from the General Social Survey (GSS) in the US, we examined which demographic, socioeconomic, residential, and health factors were associated with attendance at arts events, participation in arts activities, membership of creative groups, and being interested in (but not attending) arts events. We combined data from 1993 to 2016 in four analytical samples with a sample size of 8684 for arts events, 4372 for arts activities, 4268 for creative groups, and 2061 for interested non-attendees. Data were analysed using logistic regression.
Results
More education was associated with increased levels of all types of arts engagement. Parental education demonstrated a similar association. Being female, compared to male, was also consistently associated with higher levels of engagement. Attendance at arts events was lower in participants with lower income and social class, poorer health, and those living in less urban areas. However, these factors were not associated with participation in arts activities or creative groups or being an interested non-attendee.
Conclusions
Overall, we found evidence for a social gradient in attendance at arts events, which was not as pronounced in participation in arts activities or creative groups or interest in arts events. Given the many benefits of engagement in the arts for education, health, and wider welfare, our findings demonstrate the importance of identifying factors to reduce barriers to participation in the arts across all groups in society.


Using data from the 2012 Survey of Public Participation in the Arts, I investigate whether education' influence on the likelihood of visual and performing arts attendance in the USA varies by race-ethnicity. The results reveal that education increases the odds of attendance for both Whites and non-Whites, but it has a stronger impact upon the former than the latter. Unlike Whites, education' effect on attending visual and performing arts activities for non-Whites is insignificant for high school diploma recipients when compared to their counterparts with some college education.
These findings suggest a racial-ethnic bias in visual and performing arts attendance net of education that connects to the European roots of “legitimate” art in modern western society and the history of US racial discrimination. European Americans have dominated the USA' social institutions for centuries and have held prejudices against minorities' artistic capabilities since the colonial era. Consequentially, they could determine which arts genres provide valuable cultural capital. Conversely, minority art communities have only recently acquired the resources for self-sustainability. This likely limited their ability to develop formal institutions within their own communities to support the arts.


This participatory insight analysis aims to synthesise available evidence on the effects of arts engagement for youth with depression & anxiety. It co-produces knowledge with lived experience experts through multi-modal arts workshops that culminate in the creation of an artistic showcase of individual and collective experiences of navigating the ill-health - wellness trajectory.


This review synthesizes previous research findings regarding the benefits of arts education, particularly in the visual arts, to suggest future educational directions in the United States. It recognizes the current trend in public education emphasizing accountability, which has resulted in diminishing attention to arts education. Participation in arts education may not directly result in improved achievement on standardized tests; however, arts education benefits students in several critical ways, improving students' mental health, self-confidence, and life skills. Arts education also helps foster creativity, and sustains the natural creativity of young children. Suggestions for future research directions in education are discussed.


The visual art programme was an approach used to facilitate students' discovery of personal knowledge of empathy. The research programme constituted the first phase of an existing theory course in empathy. It involved a visual-verbal-writing process in which a reproduction of Edvard Munch's The Sick Child was studied and interpreted with a focus on personal knowledge of empathy. Data were collected from two university colleges of health sciences in Sweden during a period of 4 years (1995-1998). Student nurses (n = 428) in the undergraduate programme served as the study population. In the first stage, the students worked alone on written reports. Then, in small-groups, they discussed whether the picture facilitated the discovery of a personal knowledge of empathy. The results showed that the visual art programme stimulated the students to discuss and write about empathy. The ambiguity in the painting and the relaxed study situation was favourable to the students' discovery of their personal knowledge of empathy.


Enriching our culture and engaging diverse and underserved communities, small arts organizations pop up, flourish, and sometimes flounder, mostly under the philanthropic radar. They often foster artistic expressions not adequately served by larger organizations. From Alliance for California Traditional Arts' (ACTA) intermediary work in the Community Leadership Project 1 and our joint field research on small organizations for the James Irvine Foundation-funded report California' Arts and Cultural Ecology (2011), we've learned how small arts nonprofits are undercounted, how broad ranging, sustainable, and valuable they are, and how they differ from larger organizations. Sharing ways that funders can better work with smaller arts nonprofits to further their missions, we urge philanthropy to nurture a fuller range of artistic expression in our contemporary world.


This paper enters the increasingly complicated literature examining art' relationship with neighborhood change, adding to it a specific look at the peculiarly information and communication technology-based artistic genre, media arts, vis-a-vis community media arts organizations (MAOs). Using the National Alliance for Media Arts and Culture' (NAMAC) 2010 Mapping the Field Arts survey, we conduct a mixed methods research design, encompassing qualitative and quantitative analysis, with GISrecovered Census and American Community Survey data in support, to determine what relationship, if any, exists between an MAO and its surrounding community, and to what extent an MAO' organizational mission affects this relation. In service of these questions, we address two gaps we perceive in the literature. First, rather than rely on arbitrary and potentially misleading timeframes, we identified the exact move-in year for each of the project' 114 arts organizations to calculate discrete neighborhood changes in the five years before and after an MAO' arrival in a neighborhood. Second, we hypothesize that in addition to art form and industrial sector, organizational mission has directive and predictive power over an MAO' community outreach and effect on/attitude towards neighborhood change. Our evidence suggests media arts organizations do not directly contribute to neighborhood change; more likely they either follow or reinforce development processes already underway. However, we do find not all media arts organizations are the same: organizational missions often predict the distinctive relations media arts organizations will share with their surrounding communities, reminding us of the great consequence initiating institutional agenda and convention can have on urban development.


Youth development organizations have a common commitment to young people' physical, emotional, and educational growth and development. A youth-centered atmosphere where young people feel supported and empowered by the community distinguishes successful programs from others that approach programming without considering young people the most important stakeholders. Programs serve youth best when the environments in which they function are intentionally inclusive, multicultural, and systematically nondiscriminatory. A safe and supportive place in which to develop an identity and confront the tough issues and extraordinary pressures of growing up is at the core of youth development environments that make a real difference. Some of the best youth development programs also make the successful link between volunteerism and positive mental health and support the concept that community service is an important component of subsequent civic engagement.


Based on multiple interviews and observations in St Petersburg, Russia 2016-2021, this article suggests using the theory of sustainable well-being to describe the nexus of sticker art as youth cultural engagement and working life. We assume that this theoretical toolkit is applicable to the analysis of the dynamic relationships between various spheres of young people's lives and tensions caused by diverse societal structures. Our scrutiny reveals that engagement with sticker art may be involved in the quest for well-being and filling voids that working life has failed to fill at the material and ontological levels. The article approaches the post-Fordist work ethic critically, likewise the excessive encroachment of work on young people's lives. The paper challenges the assumptions of the primacy of work in meeting young people's basic needs and analyses how young people acquire personal value through their engagements in DIY youth culture.


This article describes the development and evaluation of an after-school curriculum designed to prepare adolescents to prevent violence through community change. This curriculum, part of the Youth Empowerment Solutions for Peaceful Communities (YES) program, is guided by empowerment and ecological theories within a positive youth development context. YES is designed to enhance the capacity of adolescents and adults to work together to plan and implement community change projects. The youth curriculum is organized around six themed units: (a) Youth as Leaders, (b) Learning about Our Community, (c) Improving Our Community, (d) Building Intergenerational Partnerships, (e) Planning for Change, and (f) Action and Reflection. The curriculum was developed through an iterative process. Initially, program staff members documented their activities with youth. These outlines were formalized as curriculum sessions. Each session was reviewed by the program and research staff and revised based on underlying theory and practical application. The curriculum process evaluation includes staff and youth feedback. This theoretically based, field-tested curriculum is designed to be easily adapted and implemented in a diverse range of communities.


This article takes a look at 624 neighborhood maps, drawn by students aged 8 to 18 years from 24 countries, between 2017 and 2018. The maps were made as part of an online cultural exchange program called Out of Eden Learn, developed at Project Zero at the Harvard Graduate School of Education. In honor of Dr. Ellen Winner, a preliminary analysis of the maps is offered using The Studio Thinking framework as a lens. Developed by Winner and her colleagues, the Studio Thinking framework identifies eight habits of mind—sometimes called thinking dispositions—that are characteristic of high-quality thinking in the arts and elsewhere. The article focuses on three of these dispositions in particular: Envision, Observe, and Express. With a twist, it also says a few words about a fourth, Understanding Art World.


Coming of age in an urban setting presents both opportunities and challenges for development and learning. In this paper, I illustrate the importance of understanding the ways in which marginalized young people respond to, resist, and are shaped by complex traumas stemming from structural oppression as a result of ongoing colonial and racial violence. I offer “youthspaces” as a framework that centers those with direct experiences of oppression as trauma as experts and cultural producers to envision a more socially just future-world and imagine things as though they could be otherwise. Five guiding principles and a living curriculum are offered for co-creating humanizing spaces with youth grounded in radical imagining, belonging, and collective creative inquiry. This work provides researchers, youth workers, young people, community organizers, activists, and educators a toolkit for conceptualizing, designing, and implementing praxis for critical consciousness and more effective, culturally sustaining programming, services and policies.


There is an array of youth participatory approaches relevant to health equity efforts in community psychology, adolescent health, youth development, and education. While they share some commonalities, they also reflect important distinctions regarding key processes and intended level of impact. Here, we consider the following: (a) youth-led participatory action research (YPAR), (b) youth organizing (YO), (c) youth-led planning, (d) human-centered design, (e) participatory arts, and (f) youth advisory boards. Informed by community psychology theories on empowerment and levels of change and social epidemiology frameworks that focus on the social determinants of health inequities, we aim to promote greater clarity in the conceptualization, implementation, and evaluation of youth participatory approaches; frame the “landscape” of youth participatory approaches and their similarities and differences; present an integrative review of the evidence regarding the impact of youth participatory approaches; and describe several illustrative cases so as to consider more deeply how some youth participatory approaches aim to influence the social determinants of health that lead to the physical embodiment of health inequities. We conclude by identifying areas of future policy- and practice-relevant research for advancing youth participation and health equity.


Entertainment-education approaches to health promotion and disease prevention are a popular method for many interventions that target adolescents and young adults. This article documents how this approach is used to educate and influence young people about HIV/AIDS, other sexually transmitted diseases (STDs), and other health issues in the United States. A review of the literature is followed by a two-phase descriptive study of American youth performing arts entertainment-education programs. First, a quantitative survey was conducted among youth performing arts participants who were attending a national conference on the subject. This was followed by a qualitative survey among adult and youth conference attendees from established HIV/AIDS prevention youth performing arts programs. These two approaches provided detailed insight into the characteristics, approaches, and frameworks used to create, implement, and evaluate these entertainment-education efforts. Nine domains that define the effects and effectiveness of youth HIV prevention entertainment-education interventions are identified and described, including those related to performances, intervention management, and audiences. Given the importance of evaluation for the success and effectiveness of intervention programs, these domains are used to construct a framework for entertainment-education research and evaluation efforts.


There have recently been a series of high-profile media controversies around inappropriate selfies taken by young self-portraitists at trauma memorial sites. Popular media critiques propose that the selfie is a self-centred and disrespectful response to traumatic histories. In this article, I consider such selfies in light of cultural shifts in second-person witnessing. I propose that these selfies prompt a rethink for theorists of witnessing. What can we learn from these selfies regarding the ways that young people, mobile technologies and social media are impacting the way people may respond to communal traumas?