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Whilst the link between young people's well‐being and the creative arts is strengthening, there is a lack of research which focuses on the roles that artists play to help teachers and parents engage young people in the creative arts. This paper explores the benefits of and barriers to artists working in education in six European countries (England, Iceland, Germany, Greece, Italy and Austria). Using the '5A's model of creativity' and a view of professional development taking place within 'landscapes of practice', the data were analysed in order to explain how creativity is operationalised in the different contexts. Our study highlights the need for policy at a national and transnational level to value the creative arts in order to help teachers cross boundaries and utilise the full potential of the creative arts in schools. Our study also highlights that further research is needed into how artists shape teaching and curriculum and how schools engage parents in the creative arts in order to build an evidence‐base relating to young people's positive mental health that can affect policy at these levels. [ABSTRACT FROM AUTHOR]

Richard Du Bourg (1738-1826) was one of the first artists in Europe to make cork models of the classical buildings and ruins of the Roman Empire. His London exhibitions spanned almost half a century and attracted a diverse audience, including nobility and gentry, neoclassical architects, tourists from the provinces or overseas, intending Grand Tourists about to embark on a trip to France and Italy, groups of students with their tutors, and parents with their children. In addition to bringing the new technique of cork modelling to England, and developing his own distinctive modelling style, he drew on the latest theatrical innovations to create multimedia spectacles that would instruct and amaze his audiences. Du Bourg was himself a performer, a familiar and personable storyteller, as integral to the exhibition as his models and multimedia. This paper corrects a prevailing view that Du Bourg was little more than a commercial showman. [ABSTRACT FROM AUTHOR]

This paper analyses how cultural production and artistic activities can explain the social (de)construction of borders. The study looks at the soft, cultural aspects of bordering, encounters between the immigrants and their host societies, and the conscious and unintentional ways of altering their mental frames. The analysis focuses on the World Village Festival organised annually in Helsinki, and a young literary project titled “Sidelight – is this Finnish literature?” Based on these two case studies, associations between the concepts of bordering, liminality and translation are developed to enable a deeper understanding of the encounters between immigrant cultures and their host societies. [ABSTRACT FROM PUBLISHER]

The article illustrates the potential of engaged arts-based pedagogies in higher education with respect to integration interventions for young refugees in Europe. It discusses the conception and implementation of the collaborative initiative "Find Refuge in Art", which was part of the research Project PRESS at the Hellenic Open University. This example shows how artistic synergy may become an integral part of research design, framing both awareness raising and open education in the backdrop of intercultural exchange. The initiative encouraged the co-production of artistic work from pairs of artists with refugee and non-refugee background and culminated in an exhibition with over 75 participating artists. Challenging the victimizing conceptualizations of refugee art as a primarily trauma-centered representation of displacement, the article invites us to consider questions of agency and inclusion in terms of mutual recognition and to widen participation as a means of fostering transformative intercultural learning and epistemic justice in universities. [ABSTRACT FROM AUTHOR]

The author focuses on violence in warfare which inflicts pain and sufferings faced by Europeans in First World War and mentions re-examination of structure and elements of arts done by several European artists. Topics discussed include poem "In Parenthesis" by David Jones that has not found place in literature, drawings of landscape of war made by Jones and assonance and cadences present in the poem.

The neural underpinning of art creation can be gleaned following brain injury in professional artists. Any alteration to their artistic productivity, creativity, skills, talent, and genre can help understand the neural underpinning of art expression. Here, two world-renown and influential artists who sustained brain injury inWorldWar I are the focus, namely the French artist Georges Braque and the Austrian artist Oskar Kokoschka. Braque is particularly associated with Cubism, and Kokoschka with Expressionism. Before enlisting, they were already well-known and highly regarded. Both were wounded in the battlefield where they lost consciousness and treated in European hospitals. Braque's injury was in the left hemisphere while Kokoschka's was in the right hemisphere. After the injury, Braque did not paint again for nearly a whole year while Kokoschka commenced his artistic works when still undergoing hospital treatment. Their post-injury art retained the same genre as their pre-injury period, and their artistic skills, talent, creativity, and productivity remained unchanged. The quality of their post-injury artworks remained highly regarded and influential. These neurological cases suggest widely distributed and diffuse neural control by the brain in the creation of art. [ABSTRACT FROM AUTHOR]