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Community arts practice gives voice to a younger generation, who must be studied as part of the development process from commencement, to accomplish building sustainable destination development in the direction of future prosperity for the rural community.

This paper challenges a relatively weak critical practice of the community-based tourism (CBT) by introducing community arts methodologies as a research approach in the context of tourism, the opportunity is created to give voice to a younger generation that must also be included in the development aims of the CBT to achieve sustainable community tourism development.

The CBT aims to support access to quality participation in the development process. However, investment in education and building tourism entrepreneurs is not inclusive of the future generations beyond the original generation. Consideration of the desires and imaginations of the future generations must be part of the CBT project for tourism development sustainability. Building awareness of the fragility and value of tourist attractions and resources, in a younger generation that never experienced the original attractions of the traditional village, is critical to achieving the objectives of the CBT.

The paper is not yet attempting to examine the empirical data of this research. Rather, it challenges current CBT research processes as having a narrow reach into a community.

Tourism developers and local communities should include an understanding of what directions and what opportunities the next and future generations will have to continue sustainable development. Including children’s imaginations into a community’s tourism development plans will benefit awareness of the present context and assist locals in forecasting the next stage of village development. The present tourism planners would then have a holistic vision for a design strategy sustaining rural livelihoods that acknowledge the limits of nature-based resources and cultural resources.

Community arts research offers the possibility of inclusive participation of community members. Arts methodology attempts to articulate ideas in visual form, for the aim of discussion, reflection and realization of the desires and concerns of the community in terms of lifestyle, environment and cultural heritage, in preparation for the future generation taking control of tourism development. The process aims to impact future decisions effecting the course of tourism development in rural Thailand.

The paper discusses the potential contribution of community arts practice as a complementary tool by taking into account different aspects of sustainable tourism into CBT concept. The paper evaluates what has been missing in advancing our understanding of sustainable rural tourism development in Thailand. It fills the gaps with a methodological approach that gives voice to the local community. The purpose of this paper is to rethinking the ideology and approach of CBT to be inclusive of all demographics of society for the goal of achieving sustainable tourism and sustainable community development in Thailand context.

This chapter analyzes a specific form of contemporary art, the one that is created and exhibited in the community, conceived and visualized outside of the art market and independent of the agenda of creative industries and art galleries. The motivation, purpose and meaning of such art practices, for both the artists and the community, are discussed and examples of community art projects are analyzed in order to understand how art became, in this first quarter of the twenty-first century, such a valued collective asset, so accessible and present in the daily life of the common man. Two Portuguese case studies have been chosen as illustrations: the first one is a funding programme of projects focussed on artistic practices for inclusion (the PARTIS programme, by the Calouste Gulbenkian Foundation) and the second is a self-financed and self-curated artistic collective, Pescada n^º 5.

The arts and health agenda has experienced considerable expansion in the UK in recent years, against a backdrop of increasing social inequality and rising incidence of mental health problems. This paper explores the role of community arts in combating social and mental health inequalities as exemplified by one particular project, Art in Mind, in Nottingham, which is funded by England's New Deal for Communities programme and is designed to promote mental health. In describing Art in Mind's conceptualisation and implementation, attention is given to the importance of developing community networks that are designed to build social capital for participating groups and individuals, in order to combat health and social inequalities.

The purpose of this paper is to present an evaluation of a community arts for health programme in the UK involving the delivery of three separate projects targeted at disadvantaged areas.

Evaluation plans were drawn up for each project, which linked long‐term goals, objectives, indicators of success and data collection methods. Evidence was collected during the projects. In addition, 16 semi‐structured interviews were conducted with individuals involved in the programme.

The projects used a range of creative methods, which were found to be accessible and relevant. A number of short‐term health and social outcomes were demonstrated. The programme also had wider impact through strengthening partnership working and the development of knowledge and skills.

This was a small‐scale study with limited in‐depth data from participants. Long‐term outcomes were not assessed. There is scope for more studies investigating the impact of arts activity on health and social care organisations and the training needs of staff.

A number of implications for practice emerged from the findings, including the importance of building local ownership and involvement, and the development of sustainable activity through partnership working.

This evaluation contributes to the small evidence base for arts for health interventions. It identifies outcomes from the activities and discusses issues relating to the development and implementation of community‐based arts for health projects.

The purpose of this paper is to consider the potential use of creative, arts-based methods to address child sexual exploitation (CSE) through connecting with and supporting young people affected by CSE; and engaging the wider community through awareness-raising and education to help keep young people safe. The use of the arts in building understanding, promoting agency, educating and countering negative portrayals of those affected by CSE are also explored.

A literature review identified that there is currently a limited evidence-base surrounding the use of arts in addressing the negative outcomes for young people affected by CSE and promoting the inclusion and safety of young people in the community. To explore the potential use of the arts in engaging young people and the communities they inhabit, this paper draws from research with other “hard to engage” and stigmatised groups, and learning from efforts to tackle other sensitive and challenging issues that impact on communities.

The paper suggests that despite the relatively young evidence base concerning the role of creative, arts-based methods to tackle CSE, there is relevant transferable learning that suggests that there is potential in utilising the arts to help prevent CSE and promote community safety.

There is a clear need to consider the ethical implications of this work and to further examine how the arts may be utilised to tackle CSE and bring about positive outcomes for both individuals and for the wider community.

The paper brings together bodies of literature from other fields to explore the potential use of creative arts-based methods to tackle a significant contemporary issue of community safety.

This paper aims to explore the capacity of Australian silo art from a creative placemaking perspective. The paper also takes up this case as fertile ground for probing into the complexity of creative placemaking.

The case study approach is exploratory, drawing on public documents and media sources to thematically (i.e. qualitatively) analyse the factors, actors and processes that pertain to how Australian silo art can contribute towards empowering communities, activating everyday spaces and, ultimately, making socially connected and resilient places.

Each theme encapsulates a particular interplay: (1) physical space – social place, (2) past – present – future place, (3) bottom-up – top-down energies, (4) residents – tourists, (5) urban – nonurban place and (6) material – digital place.

Rather than proffering conclusions about the current impact of silo art on local communities, the paper illuminates the practical workings of silo art as a potential form of creative placemaking. Additionally, thinking of creative placemaking in terms of ongoing interplays could stimulate and expand knowledge and practice in this domain.

This paper initiates and charts a course for a rigorous and critical investigation into silo art as a substantive cultural and artistic phenomenon and a meaningful chapter in regional arts and creative placemaking in Australia. The interplays distinguished provide an additional basis for probing further into the many layers and overall complexity of creative placemaking.

This chapter examines the impact and influence of the visual and performing arts in sustaining thriving communities and highlights the essential role of libraries in providing access to arts and cultural programming and services. Creative and artistic intervention has become the imperative of our time. Creativity is required not only in design studios and workshops, but in all areas of work and life, both professional and personal. Places of artistic and cultural production are strongly correlated with strong local economies and sustainable communities. Libraries are public spaces that promote and maintain community, not only civic institutions. As such, the library plays a key role as incubator for the arts. Libraries advocate freedom: of ideas, communication, and information. Arts programming in libraries provides an avenue for people to communicate ideas and feelings through visual, auditory, or kinesthetic forms. But more than that, libraries are also about education, safe and welcoming spaces, community, and entertainment. Libraries support and promote the value of multiple perspectives and voices. Libraries can shape patronage of the arts and engage future generations by addressing social diversity and inciting inclusive participation in the arts. Many libraries are participating in the creation of new forms of understanding through arts programming, services, and resources. In an age where many of society’s most important challenges are related to our relationship with information, it is vitally important to include visual and performing arts professionals in the intersection between artistic practice and critical engagement with information.

The purpose of this study is to examine how young residents in two Indonesian kampungs (urban informal settlements) participate in two grassroots art festivals and to what extent their participation affects their capacity and network.

This study uses a qualitative method. The data collection were done in 2017 and took the form of in-depth semi-structured interviews with 15 respondents in two kampungs, Kampung Dago Pojok, Bandung, and Kampung Bustaman, Semarang.

The results show that the grassroots festival can empower youth throughout its process while also influencing their networks. The festival could act as the catalyst for youth to gain event management skills and exchange cultural knowledge. This study also found that there are two sides the art festivals can bring to the youth regarding their network: while the festival was able to develop their internal and external network, it also led to social division within the community.

The originality of this paper lies in the context of the research where it contributes to understanding the implications of community-based art festivals in the developing context, particularly in the low-income informal settlements. The paper’s content also provides insights that festivals can also be understood as more than place marketing or branding but as collections of steps and efforts of the community to provide meaningful actions for their place and people.

The purpose of this paper is to examine the literature on the information behavior of practicing visual artists to determine if a consistent model emerges and what further research is necessary.

Works dealing with the information needs and uses relevant to the creative activities of visual artists are discussed in the paper. These works are assessed for their contributions toward understanding of the specific information behaviors of practicing artists.

The results show that a consistent model of artists' information behavior emerges. However, nearly all of the literature focuses on art students, academic art faculty, or librarians, and so any claim that practicing artists fit the model is largely unsupported by research. There have been no published studies of communities of practicing visual artists. The implications of defining artists as communities of practice are discussed.

Research is proposed that studies the information behavior of communities of practicing visual artists in order to confirm or amend the existing model.

Practitioners will have their attention drawn to an underserved user population whose information needs and behaviors have not been directly targeted for research. They will recognize the need for study of their own artist communities and the development of services for them.

This paper directs the discussion of artists' information behavior away from the art‐library‐specific literature, where it has largely resided, as a means of adjusting the focus of research onto the largely unstudied and underserved communities of practicing artists.