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To understand the philosophy of
the Basement one must first be familiar with an understanding of good youth arts work
practice. We wish to demonstrate through our work that Artistic and Youth Work goals are
not mutually exclusive, but inextricably linked.. That process and pace are as important
as product, and that the context of the projects delivery can be as beneficial as its
content.,
It is also important that we locate our philosophy within the current Youth Arts debate. Recent publications and reports have heightened the issue of Youth Arts funding. Traditional post war arts funding has focused on certain forms of cultural expression and particular institutions. Still a significant part of the public purse is spent on theatre, art galleries, classical music, dance and Opera houses. The Community Arts movement which emerged in the sixties, initially challenged but was subsequently absorbed by the traditional custodians of Art, thereby giving the establishment a new found credibility. Meanwhile, young people and consequently youth culture was not being significantly influenced by or attracted to the community Arts movement but by the relatively new and highly commercial cultural industries (music, fashion, film, television etc...) 'It is evident that most of the common cultural experience of young people takes place through provided commercial forms ... the cultural industries provide products (songs, clothes, films, programmes) in order to appeal in any and every possible way, and thereby to sell, rather than to improve or educate'. (Willis - 1990) Some people, though, recognising the importance of the cultural industries on youth culture, feel that young people, or at least a certain marginalised young people, are being manipulated and oppressed by the attraction of commercial culture. However, it is felt by others that the cultural industries should be understood as providing the symbolic resources - within and out of which youth experience, identity and expression are creatively fashioned. " It is ... the market ... which they are taking over, transforming and turning into real youth art." (Willis 1990) Whether you fully accept the notion of ‘creative consumption’ (Willis) by young people it is not the real issue. The issue is to recognise the power and influence of the cultural industries over Youth Culture and synthesis this understanding into Youth Arts practice and provision. "Basically, youth arts work is youth work that uses the arts as a vehicle for experiential education. It is concerned with processes which contribute to the social, personal and political development of young people and which encourage self-confidence and self esteem ... It should recognise and validate young people’s own cultural interests and experiences ... (Kaleidoscope) We need urgently to challenge the negativity of the nineties and work with young people to move away from the model of them as ‘passive consumers’ and towards one where they are 'critical creators’ . |
 "If you're working with young people, you've got to be where they are. Music is a brillliant way to establish relationships with them and informally provide them with skills and information so they can make informed choices" Jane,Youth Worker |
