List of Illustrations Foreword Acknowledgements Chapter 1 Situating Inclusive Arts: aesthetics, politics, encounters Introduction What is Inclusive Arts? Why use the term Inclusive Arts? What sorts of inclusions occur through Inclusive Arts Practice? Learning disabilities, intellectual disabilities or learning difficulty? Some notes on terminology What contribution does Inclusive Art make to Contemporary Art? What are the potential aesthetic effects of Inclusive Arts? Is this Outsider art? How should work be labelled? If at all. How does this work relate to the everyday lives of people with learning disabilities? What are the transformative potentials of Inclusive Arts? So what is the difference between an Inclusive Artist and a community worker? Audience encounters 1: What can be achieved when audiences experience this work? Audience encounters 2: How does this work intervene in regimes of disabled visuality? Audience encounters 3: What can audiences take away from this work? How does Inclusive Arts differ from Disability Art? How does Inclusive Arts differ from art therapy and occupational therapy? What are the characteristics of good quality Inclusive Arts? What is in the rest of the book? A note from the authors. Paradox A note on editing interviews in Chapters Three and Four Accessible Summary Chapter 2 Curation, biography and audience encounter.41 Introduction Diversity, encounter and exchange in the cultural sphere Alice Fox on Inclusive Curation: Putting on the ''Side by Side'' exhibition at the Southbank Art and inclusion: what is shared with other artists and curators who are placed at ''the margins''? Jude Kelly, Artistic Director of the Southbank Centre, London Anna Cutler, Director of Learning at Tate Catherine Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, NY. Conclusions: productive difference, performative interpretation and an emphasis on unknowability Chapter 3 How do we practice Inclusive Arts? .85 Introduction Frameworks, foundations, timetables and starting points Choice and Freedom Time Trust Risk and Uncertainty An openness to all the languages we communicate in An embodied ethic of encounter Becoming a self aware practitioner The answers are in the room Interviews with the Rockets Rocket artists: a conversation about the Wedding Cloaks Jane Fox, Louella Forest and Alice Fox Conclusions Chapter 4 Interviews with the artists.115 Dean Rodney and Mark Williams, Heart and Soul, London Declan Byrne and Andrew Pike, The Kilkenny Collective for Arts Talent (KCAT), Ireland Kate Adams, Project Art Works Charlotte Hollinshead, Action Space, London Bethan Kendrick and Jacobus Flynn, Corali Dance Company, London Chapter 5 Inclusive Arts Research.

159 Introduction Inclusive Arts Practice as a form of research: making meaning through artistic forms of inquiry Research terminology Who or what is the subject of Inclusive Arts Research? What constitutes a literature review in Inclusive Arts research? What are the methods of Inclusive Arts research? Being a reflexive (self-aware) research practitioner What are the possible findings of Inclusive Arts Research? Research on Inclusive Arts: interpretation, definition and classification Evaluating the success of your project Thinking about social impact and cultural value A few starting points for Inclusive Arts research Research Project Ethics Context Informed Consent Free from Coercion Your research ''outputs'' and intended audiences Chapter 6 The Future of Inclusive Arts: building a global movement.195 Introduction What would you hope for the future of Inclusive Arts? What is the future for learning disabled arts education? How can learning disabled artists go professional? What is the significance of Inclusive Arts for all and how can support worker ''buy in'' be ensured? How can Inclusive Art help advance the human rights of people with learning disabilities and achieve social justice? The Central Human Capabilities (Adapted from Nussbaum 2003) How can Inclusive Art work explore themes such as sex, sexuality, nudity and death? Chapter 7 The making of this book.224 Who made this book and why? How was this book made? Afterword als of Inclusive Arts? So what is the difference between an Inclusive Artist and a community worker? Audience encounters 1: What can be achieved when audiences experience this work? Audience encounters 2: How does this work intervene in regimes of disabled visuality? Audience encounters 3: What can audiences take away from this work? How does Inclusive Arts differ from Disability Art? How does Inclusive Arts differ from art therapy and occupational therapy? What are the characteristics of good quality Inclusive Arts? What is in the rest of the book? A note from the authors. Paradox A note on editing interviews in Chapters Three and Four Accessible Summary Chapter 2 Curation, biography and audience encounter.41 Introduction Diversity, encounter and exchange in the cultural sphere Alice Fox on Inclusive Curation: Putting on the ''Side by Side'' exhibition at the Southbank Art and inclusion: what is shared with other artists and curators who are placed at ''the margins''? Jude Kelly, Artistic Director of the Southbank Centre, London Anna Cutler, Director of Learning at Tate Catherine Morris, Sackler Family Curator for the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum, NY. Conclusions: productive difference, performative interpretation and an emphasis on unknowability Chapter 3 How do we practice Inclusive Arts? .85 Introduction Frameworks, foundations, timetables and starting points Choice and Freedom Time Trust Risk and Uncertainty An openness to all the languages we communicate in An embodied ethic of encounter Becoming a self aware practitioner The answers are in the room Interviews with the Rockets Rocket artists: a conversation about the Wedding Cloaks Jane Fox, Louella Forest and Alice Fox Conclusions Chapter 4 Interviews with the artists.

115 Dean Rodney and Mark Williams, Heart and Soul, London Declan Byrne and Andrew Pike, The Kilkenny Collective for Arts Talent (KCAT), Ireland Kate Adams, Project Art Works Charlotte Hollinshead, Action Space, London Bethan Kendrick and Jacobus Flynn, Corali Dance Company, London Chapter 5 Inclusive Arts Research.159 Introduction Inclusive Arts Practice as a form of research: making meaning through artistic forms of inquiry Research terminology Who or what is the subject of Inclusive Arts Research? What constitutes a literature review in Inclusive Arts research? What are the methods of Inclusive Arts research? Being a reflexive (self-aware) research practitioner What are the possible findings of Inclusive Arts Research? Research on Inclusive Arts: interpretation, definition and classification Evaluating the success of your project Thinking about social impact and cultural value A few starting points for Inclusive Arts research Research Project Ethics Context Informed Consent Free from Coercion Your research ''outputs'' and intended audiences Chapter 6 The Future of Inclusive Arts: building a global movement.195 Introduction.