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This review article seeks to draw on experience in the UK to describe the different forms that arts in health activity can take and to examine the challenges for research in this field.

A case study is used to describe the kind of arts in health project that intends to enhance the social capital of its community and to show how difficult it is to measure the effects of this work using conventional measures of health improvement. However, those who are responsible for providing funding for arts in health are increasingly demanding results that indicate a measurable health gain from the projects.

A literature review of the evaluation of arts in health projects in the UK has shown that few aim at direct health improvement but rather at intermediate indicators of health gain, such as raising awareness of health issues and social activity and participation. This suggests that artists instinctively locate their work as having value within a social model of health where improvements in social inclusion and social cohesion are the important indicators which may go on to lead to long‐term improvements to the health of the community in which they are working.

Understanding the nature of this work has implications for the kind of research appropriate to measure its effect and the timescale required for such research.

This article considers how an evidence base may be found for the effectiveness of using arts in mental health care services. It looks at what arts in health work brings to the promotion of social inclusion and summarises current issues in the field. It calls for arts in health workers to share their practice and undertake research as a preliminary to evaluation. It outlines the contextual factors that appear to have a bearing on the successful development of arts in mental health services.

Now in its third year, The Scottish Mental Health Arts and Film Festival is fast becoming a significant cultural annual event, which aims to achieve social change through the arts. Through innovative programming of arts events, the Festival explores the relationship between mental health and creativity, celebrates the artistic achievements of people with experience of mental health issues, and promotes positive mental health and well‐being. It aims to promote the rights and recovery of people who experience mental ill health, while exploring mental health and inequalities that affect us all. The multi‐arts Festival focuses on audiences' existing interests in film, theatre, comedy, music, literature and visual arts to tackle stigma and engage people.

There is a long association between the arts and mental well‐being, but this can also be an area of contest and debate. In this commentary on the issues raised by the papers in this special arts and mental well‐being issue of the journal, James Oliver and Paul Murray question the attempt to impose scientific measures of outcome on arts participation, and ask if we should not, instead, regard access to opportunities for creative expression as a legal right and moral duty owing to those whom we, as a society, have excluded from the mainstream through incarceration or labelling.

This article considers how participatory arts programmes within mental health services can contribute to the challenging agenda of improving both individuals' well‐being and helping a community to flourish. Health services and other statutory bodies supporting this work, however, need to understand the potential of the arts to be a transformational force and not just an instrumental tool for therapeutic diversion. Patient demand for creative activity as an integral part of care plans can help this pioneering field of arts practice to develop influentially within mainstream services, however, we need to think beyond an individual therapy model to one of social integration in which everyone can feel ‘at home’.

The purpose of this paper is to relate the growing body of evidence about the impact of creative arts on the health and well-being of older people to the debate about active ageing, prevention and demographic change.

It draws on a range of researched examples in order to illustrate the impact of three different art forms – singing, dance and visual arts – on health and well-being.

The evidence exists in increasing volume and diversity that creative arts not only improve personal feelings of well-being but also key physiological measures. The arts are increasingly recognised as playing a major potential role in the delivery of health and social care interventions. Greater recognition and action are needed from policy makers, commissioners and care providers in health and social care that the arts are not a marginal and elitist avenue but a mainstream tool supporting older people to remain active, healthy and independent. Importantly, they represent a powerful source of motivation, agency and confidence.

It argues that creative arts should become an integral and more prominent part of ageing policy. The evidence exists in increasing volume and diversity that creative arts not only improve personal feelings of well-being but also key physiological measures. The arts are increasingly recognised as playing a major potential role in the delivery of health and social care interventions. Greater recognition and action are needed from policy makers, commissioners and care providers in health and social care that the arts are not a marginal and elitist avenue but a mainstream tool supporting older people to remain active, healthy and independent. Importantly, they represent a powerful source of motivation, agency and confidence.

An important research challenge remains, namely to plot cause (arts intervention) and effect (reduced demand on health and care services), if the creative arts are to occupy a central place in commissioning investment at a time of acute financial stringency in the public sector.

The purpose of this paper is to explore how participation in creative arts activity can enhance public mental health and wellbeing. It is informed by both the author’s clinical practice with service users and carers and by research.

The approach taken is to draw selectively on research in the field of creativity, creative arts and wellbeing, focusing in particular on the use of music and creative writing, and to incorporate learning from clinical experience to explore what is understood about the health and wellbeing benefits of creative arts activity.

There is evidence that creative arts activity is beneficial to mental health and wellbeing. Arts activities that involve active participation appear to offer the greatest benefits. Creative arts participation can help people with diagnosed mental health difficulties to recover from mental illness. Moreover, creative arts activities can also promote wellbeing in the general population.

The paper does not provide a comprehensive review of the literature in this field.

The paper suggests that if nurses and other mental health professionals are to play a full role in facilitating flourishing then they will need to learn more about using creative arts in practice and will need to become involved and encourage others to do so.

The paper suggests it is important that creative arts activities should be participatory, so they become a vehicle not only for self-expression but also for participation in groups and communities, increasing connectedness and social inclusion.

This paper fulfils a need for a wider understanding of the health and wellbeing benefits of creative arts activity.

Empowerment has been described as the ‘holy grail’ of health promotion. This article describes an evaluation of arts participation for people with mental health needs that both measured empowerment outcomes and explored the processes by which positive outcomes were achieved, through six qualitative case studies. For the outcomes study, 62 arts and mental health project participants returned a questionnaire, including a measure of empowerment, soon after joining their project and again six months later. The follow‐up questionnaire asked participants to rate the impact of their arts involvement on the issues addressed in the measure. Six diverse arts and mental health projects took part in the case studies. Interviews with project participants explored what they saw as the benefits of arts involvement and how these came about. Results from the outcomes study showed significant improvements in empowerment and were suggestive of a strong causal link with arts participation. Analysis of the case study interviews revealed five processes through which benefits relating to empowerment were brought about. We argue that psychological empowerment is in itself important for people with mental health needs. In addition, our case studies indicate that some arts and mental health projects do empower participants at a social as well as individual level.

Arts and cultural activities have been illustrated to be beneficial for mental health service users. The purpose of this paper is to explore the benefits of museum visits and engage in arts activities for mental health service users.

Semi-structured interviews were conducted with 17 mental health service users in Denmark. A thematic approach was used to analyse the data and theoretical lens of sociological theories of institutional logics was employed to explore the findings.

These benefits are perceived to include empowerment and meaning in life, which are two of the core principles of recovery; arts engagement can, therefore, be a useful tool in recovery. The findings also show that the experience of visiting a museum was not always positive and depended upon the interaction with the museum educators.

The service users identified arts engagement as creating meaning in life and empowerment, which are two element in the conceptual framework, CHIME (an acronym for: Connectedness, Hope and optimism, Identity, Meaning in life and Empowerment), that describes the human process of recovery. The findings also highlighted that if museums want to engage positively with people with mental health problems and contribute to their recovery then the training of staff and the improvement of institutional approaches to support working with vulnerable people are essential.