In this episode of the ArtWorks Alliance podcast, Rob Watson is joined by Anna Taylor, co-director at In-Situ Arts, to explore the values, practices, and tensions that shape a long-standing commitment to socially engaged art in Pendle, Lancashire. Their conversation moves beyond familiar labels—community arts, participatory arts, socially engaged practice—to reflect on how creative work unfolds when the emphasis is placed not on definitions, but on attentiveness, process, and the shared experience of place.
Anna begins by describing her own journey into In-Situ, a process marked by a shift from communications work to what she now sees as a more reflective practice of “holding space.” This concept becomes a recurring touchstone throughout the conversation. Rather than directing outcomes or designing projects to fit institutional frameworks, Anna speaks of creating space in which others can bring themselves fully into a process. That space, she explains, is not neutral—it carries the tension of different values, expectations, and lived experiences—but it offers a way of working that invites something meaningful to emerge.
The idea of emergence runs deeply through In-Situ’s practice. Drawing on metaphors of scattering seeds or cultivating soil, Anna talks about making room for the unknown, and recognising that not all growth is predictable or harmonious. The organisation’s embedded approach is not about parachuting in with solutions, nor about producing cultural outputs to meet external agendas. It is grounded instead in long-term presence, reciprocity, and dialogue with the people who live and work in Pendle. For In-Situ, place is not simply a backdrop, but an active participant in shaping what is possible.
This orientation extends to how In-Situ defines itself as an organisation. Eschewing traditional hierarchies, the team describes itself as a group of co-directors with a fluid structure and consensus-based decision-making. Anna reflects on the importance of this approach in ensuring that the work remains connected to the people and context it serves. It also demands a high degree of self-awareness, particularly around power, voice, and representation. In-Situ’s code of ethics, developed early in its history, remains a vital reference point for navigating these complexities.
Rob and Anna also discuss how socially engaged art can resist the dominant narratives of the creative industries. In-Situ’s work is not driven by metrics of success, spectacle, or exportable cultural products. Instead, it values the quiet, sometimes invisible labour of relationships, the incremental shifts in confidence or connection, and the shared acts of making, talking, and thinking together. This includes work with groups like Mums to Mums, a longstanding collective of local women who have come to see their everyday creativity—through food, home-making, and care—as part of a broader artistic life.
Rather than offering a model to be replicated elsewhere, Anna suggests that the work of In-Situ points to the value of unique responses in unique contexts. What might be transferable, however, is the spirit of inquiry, the refusal to settle for easy categories, and the emphasis on cultural democracy as a lived, negotiated process. The conversation often returns to the idea of not knowing—of making space for difference and dissonance without needing to resolve it.
Throughout, Anna resists simplifications. Whether discussing the role of artists, the language of participation, or the legacy of Pendle’s history—including its association with the persecution of women during the witch trials—she brings a nuanced and grounded perspective to how creative practice can both reflect and shape the cultural life of a place.

In this conversation, Rob Watson speaks with cultural policy thinker and writer Justin O’Connor about the ideas behind his book Culture is Not an Industry, and what they mean for artists, policymakers and communities engaged in participatory and community-based practice.
They begin by locating the personal and political moment from which the book emerged. Justin is Professor of Cultural Economy at the University of South Australia. Justin reflects on his early experiences in Manchester’s music and cultural scenes in the 1980s and 1990s, and how what once seemed like a hopeful model for urban renewal and creative regeneration slowly became absorbed into a more instrumental, economised framework—one that often sidelined the very cultural values and community aspirations it was supposed to promote.
As Rob notes, the book resonates because it feels like a reckoning with a story many of us have lived through: the promise that culture could transform lives and places, followed by a sense that this promise was hollowed out by managerialism, short-termism and the shift towards “creative industries” as a catch-all policy tool. Justin and Rob discuss what are the consequences of treating culture as a sector rather than a shared space of meaning-making? How did the language of economic growth and innovation come to dominate the ways we talk about and support cultural work?
Throughout the conversation, there’s an insistence on slowing down and paying attention to the terms we use. Justin talks about the disappearance of the word “art” in cultural policy documents, replaced by more marketable language like “creative” or “innovation.” What gets lost in that substitution? Who benefits when symbolic and expressive practices are reframed as drivers of economic productivity? And how do these shifts affect the conditions in which participatory and community artists are expected to work?
Rob shares his own experience of cultural education and media production, noting the tensions between artistic expression and technical skill, and the way institutional boundaries often reinforce unhelpful distinctions. In thinking through these tensions, the discussion returns to the need to recognise artistic practice as something distinct—not because it is elite or rarefied, but because it speaks to human meaning, ritual, imagination, and collective life. Why do we continue to undervalue this, particularly when it comes to participatory forms of practice that emerge from people’s everyday lives and experiences?
There’s a shared frustration with the instrumentalisation of art as a tool for solving social problems that originate elsewhere in society. The pressure to prove impact—to deliver measurable outcomes—risks displacing the deeper, slower processes through which culture supports social connection, identity, and reflection. What does it mean to create spaces where people can explore, make, and share cultural expression without the expectation of economic return or social improvement? Can we reimagine cultural policy not as an investment strategy, but as a form of care?
Justin introduces the idea of the foundational economy as a way of rethinking the role of culture in society—not as an industry, but as part of the everyday infrastructure of life, alongside education, health and housing. Culture, in this framing, is a shared resource that needs maintenance, support, and access for all. If we approached cultural provision in this way, what would it look like? How might this affect how we fund, organise, and talk about participatory and community-based work?
The conversation doesn’t shy away from the structural challenges—...

What makes a story resonate? How do we communicate the value of participatory arts in ways that build public understanding and policy support? These were some of the key questions explored in the latest ArtWorks Alliance podcast, featuring a conversation between Rob Watson and Kate Stanley of FrameWorks UK.
Kate, Director of FrameWorks UK, introduced the organisation’s work in evidence-based communication strategies. Unlike traditional approaches that rely on intuition, FrameWorks UK applies rigorous research to understand how people think about social issues and how different narratives can shape attitudes, policies, and action. The conversation delved into why framing matters, particularly for participatory and community arts.
The Power of Framing: Moving Beyond Intuition
One of the central insights Kate shared was the importance of treating communication as a science rather than a gut-driven exercise. Using examples from previous research, she illustrated how changing the way we discuss issues can shift public perceptions. For instance, FrameWorks UK’s work on childhood obesity revealed that the phrase itself triggered blame-focused narratives about poor parenting. However, reframing the discussion around children’s health and food helped to centre the conversation on systemic solutions rather than individual responsibility.
For participatory arts practitioners and advocates, this insight is particularly relevant. Too often, the arts are framed in economic terms, with policymakers and funders asking about financial returns rather than social and cultural impact. Kate emphasised the need to lead with values—whether it’s about the importance of human potential, community well-being, or creativity as a public good—before getting into specifics about individual projects or funding.
A New Approach to Arts Advocacy
Rob and Kate explored how these framing strategies could be applied to participatory arts. Too often, community arts are positioned as a secondary or ‘nice-to-have’ aspect of cultural policy, rather than being recognised as essential to social cohesion, public health, and democratic engagement. If we want to shift this perception, we need to rethink how we communicate about the role of the arts in everyday life.
Kate highlighted how narratives that focus solely on individual creativity or personal well-being can sometimes backfire, making participatory arts seem like a luxury rather than a necessity. Instead, framing participatory arts as a collective and structural necessity—one that benefits public life in the same way as education or healthcare—can help strengthen the case for long-term support and investment.
Building Consistent and Unified Messaging
Another key takeaway from the conversation was the importance of consistency in messaging. Too often, the participatory arts sector is fragmented, with organisations using different languages to make similar arguments. Kate advised that a stronger and more unified approach—one that consistently reinforces the same values—would help amplify the impact of advocacy efforts.
Rob noted that one of the challenges participatory arts faces is that it doesn’t fit neatly into existing policy frameworks. Unlike the creative industries, which are well-defined in economic terms, community-led and participatory arts operate in a more decentralised and diverse way. The challenge, then, is to frame this diversity as a strength rather than a weakness, reinforcing its role in fostering social connection, civic engagement, and collective creativity.
What’s Next?
The conversation between Rob and Kate highlighted the urgent need for a reframed approach to advocacy in participatory arts. By shifting the narrative, focusing on values, and maintaining consistency in messaging, we can build stronger public and policy support for p...

Trauma-informed practice is crucial for participatory arts, as it ensures that art projects are safe, inclusive, and supportive spaces for all participants, especially those who have experienced trauma. It aligns with the broader goals of participatory arts to empower communities, promote cultural democracy, and facilitate personal and social transformation through creative expression. The insights shared by the guests highlight the importance of sensitivity, ethical considerations, and ongoing professional development in achieving these aims.
In this episode of the ArtWorks Alliance Podcast, Rob Watson talks with Catherine Cartwright, Katie Smith, and Theresa Easton, who are all experienced in community arts practice. The central topic of discussion is trauma-informed community arts practice.
Catherine Cartwright has recently submitted a PhD thesis on trauma-informed community arts practice and has extensive experience as a community artist working with women affected by gender-based violence. Katie Smith is a retired social practice artist and trained psychotherapist, with experience working in challenging settings and integrating therapy with social arts practice. Theresa Easton is a community artist and academic, with experience in working on projects during austerity cuts and focusing on cultural democracy through arts.
The podcast begins with an exploration of what trauma is and what being trauma-informed means. The term “trauma-informed” originates from public health and involves understanding trauma’s impact on individuals’ ability to self-regulate and engage in social interactions. Trauma is discussed not only as individual incidents but also as structural and cultural phenomena, such as poverty, racism, and misogyny, which create chronic stress and impact well-being.
The guests share their experiences working with different communities, highlighting the importance of understanding trauma to avoid harm and foster healing. For example, Catherine talks about her work with women affected by violence, while Katie discusses her transition to psychotherapy to better support her practice. They emphasise the necessity of self-awareness and professional support for practitioners to handle the emotional demands of trauma-informed work.
The discussion includes the challenges of working within funding constraints and the need for time and reflection in trauma-informed practices. The guests highlight the tension between funders’ expectations for measurable outcomes and the nuanced, often intangible, successes in community arts projects. Also discussed are the ethical implications of ensuring that practitioners are adequately trained to handle trauma without re-traumatising participants are stressed.
Despite the challenges, the guests express the joy they find in their work, particularly when they see participants form lasting connections and communities through their engagement in the arts. They note that true success often lies in small, significant moments, such as participants returning to sessions or forming supportive relationships, which indicate healing and empowerment.
The podcast concludes with a discussion on how to expand trauma-informed practices within the arts, advocating for broader recognition of the value of these approaches and the need for professional support and training for artists.
Catherine provides a video presenting a summary and key points from her research. The video discusses the importance of feeling connected and cared for as central to recovering from trauma. It emphasises the roles that organisations and arti...

Welcome to the latest episode of the ArtWorks Alliance Podcast, hosted by Rob Watson. In this conversation, Rob is joined by Anita Holford and Sarah Longfield, two professionals with extensive experience in participatory and community arts.
Anita Holford is a freelance communications practitioner, copywriter, and editor dedicated to making music and the arts more accessible. She collaborates with organisations focused on social, educational, or wellbeing purposes, helping them communicate their value and impact effectively. Sarah Longfield, a theatre director, social entrepreneur, and coach, has a background in participatory arts and a history of working with young people and community groups to foster creativity and social engagement.
In this episode, the discussion covers several key topics. Anita and Sarah share their perspectives on the essence of participatory arts, emphasising the importance of creativity, inclusion, and social impact. They explore the complexities of cultural belonging, personal identity, and how heritage and place shape individual and community identities. Both guests reflect on their professional journeys and how their experiences have influenced their approach to community arts and engagement.
The conversation also addresses the challenges of measuring and funding participatory arts, the professionalisation of arts administration, and the need for flexibility in supporting diverse communities. Anita and Sarah offer personal reflections on their sense of cultural belonging and the role of arts in their lives, highlighting the transformative power of creative expression.
This episode provides valuable insights into the value of participatory arts and the dynamic nature of cultural identity. It is particularly relevant for practitioners, supporters, and enthusiasts of community arts, offering inspiration and practical insights for fostering creativity and social connection.

In this episode of the ArtWorks Alliance podcast, host Adrian Sinclair welcomes three visionary members of the Resolve Collective—Melissa Haniff, Akil Scafe-Smith, and Seth Scafe-Smith—for a compelling discussion on the theme of “crossing boundaries.” This conversation delves into the heart of Resolve Collective’s interdisciplinary design practice and their innovative approach to community engagement.
Listeners will gain insights into how Melissa Haniff explains the convergence of diverse backgrounds in architecture, urban design, and creative arts within Resolve Collective to tackle social challenges in the built environment. The episode explores the significance of incorporating varied perspectives to enhance community engagement and drive meaningful change.
Akil Scafe-Smith recounts the organic beginnings of Resolve Collective, highlighting their reactionary approach to addressing the adverse effects of gentrification and displacement in South London. This narrative underscores the importance of fluidity and responsiveness to local contexts in community-focused work.
Seth Scafe-Smith outlines the collective’s strategic pillars, including “Nurturing Ecologies,” “Material Store,” “Starting from the Ends,” and “Thinking Through Making.” These frameworks highlight their commitment to supporting marginalised communities, redistributing resources, and fostering alternative pedagogies.
The episode features in-depth discussions on notable projects such as the Liverpool initiative with Tate and the engagement project in Whitechapel’s Angel Alley. These examples illustrate Resolve Collective’s emphasis on collaboration, material reuse, and creating spaces that reflect the needs and narratives of local communities.
The conversation extends to the broader implications of Resolve Collective’s methodologies for participatory arts. Adrian and the Resolve team discuss the value of co-operative work, the necessity of redefining project briefs, and the challenges of maintaining a commitment to inclusive, community-led design practices.
This episode is a must-listen for anyone interested in the intersections of art, design, and social justice, offering valuable perspectives on how interdisciplinary and collaborative approaches can transform participatory arts and community engagement practices.
Keywords: ArtWorks Alliance podcast, Resolve Collective, interdisciplinary design, community engagement, participatory arts, social challenges, built environment, gentrification, marginalised communities, collaborative projects, material reuse, alternative pedagogy.

In this episode of the ArtWorks Alliance podcast, Rob Watson chats with David Richmond, the key figure behind Arts in Development. Dave provides an overview of Arts in Development, an initiative focused on nurturing and empowering artists through community-based practices. He highlights the importance of creating supportive environments where artists can thrive.
A central theme in Dave’s work is the concept of walking, both as a metaphor and a practical activity. He explains how walking alongside artists helps in processing experiences, sparking creativity, and fostering personal development. The physical act of walking encourages a natural flow of ideas and a deeper connection with the environment. David draws inspiration from historical figures like Coleridge and Wordsworth, who valued walking as a means of creative and philosophical exploration. He also references thinkers such as Nietzsche, emphasising the importance of engaging with the natural world to gain insights and foster creativity.
The conversation delves into the developmental aspects of David’s approach. Unlike traditional consultancy, his method is active and engaged, focusing on the journey and shared experiences rather than passive reflection. This approach helps artists and individuals develop a deeper understanding of themselves and their work. Dave discusses the need for sustainable social change through the arts. He critiques the short-term nature of many art projects and emphasises the importance of creating lasting impact by integrating meaningful personal and community development into artistic practices.
The episode touches on the challenges faced by artists, including issues of validation and recognition. Dave shares how his approach helps artists navigate these challenges by fostering a supportive community where their work is valued, and their creative journeys are respected. Looking ahead, David envisions expanding the reach of Arts in Development, building more robust networks of support for artists, and continuing to explore innovative ways to integrate art into community development.
This episode provides a rich exploration of David Richmond’s philosophy and practice in arts development, offering valuable insights into how walking and community engagement can transform artistic practice and personal growth.

Louise Bretland-Treharne grew up in a small village called Cribyn near Lampeter in Ceredigion. Louise now lives in Johnstown on the outskirts of Carmarthen town. She is a writer, storyteller and poet living with Ataxia and other medical conditions which involve cognitive changes. Louise is also in recovery from womb cancer.  
Louise’s writing is based on many themes, such as raising awareness of disabilities, motherhood, animals and nature, grief and loss, landscape, humour, health and social care. Louise has published a memoir, and her short stories and poems have been published in magazines, newspapers and on digital platforms on the national and international scene using the languages of Welsh and English.
Louise spoke with ArtWorks Alliance about the benefits of creative practice, both as a therapeutic activity, and also as a way of realising the creative self that is often inhibited through social pressures.
Thanks to Bill Taylor-Beales for soundtrack extracts.

Today’s conversation at the ArtWorks Alliance member’s online drop-in focussed on Participative Arts and Inclusion for People with Disabilities. Taking part in the conversation were Rebecca Manson-Jones, Amanda Castro, Rob Watson, Bill Taylor-Beales, Emma Long, Sarah-Jane Mason and Rob Watson. We discussed the need to recognise support, facilitate, empower and inspire people with disabilities and people with different social abilities as artists and as participants in art. We asked how the experience of people with disabilities can be better represented and understood in participative arts practice, and what concerns need to be recognised and dealt with to value the contribution of everyone in society, regardless of the challenges that they may face.
The prompt for our conversation was a recent article for ArtWorks Alliance by Sarah-Jane Mason, who shared her concerns that the language of accessibility and inclusion, does not always suit the needs of people with disabilities who want to access and fully participate in the arts: https://artworksalliance.uk/sarah-jane-mason-participative-arts-and-inclusion-for-people-with-disabilities/
To join the network that is forming as a result of these conversations, please email disabledartistsatwork@gmail.com
We used the Social Model for Disability Language: https://www.disabilityrightsuk.org/social-model-disability-language
Download the Transcript Here
www.sarahjanemason.com
Instagram @sarahjanemasonartist

In the first ArtWorks Alliance podcast, Jade Sturrock from Glasgow Can, Bill Taylor-Beales from Hushland Creative and Rob Watson from Decentered Media, chatted about the potential of participatory arts to transform learning and education by pursuing the potential for ‘positive disruption’ that participatory arts represents.
Ken Robinson videos:
Does Education Kill Creativity?
Changing Education Paradigms
From Safe Spaces to Brave Spaces article: https://everydayfeminism.com/wp-content/uploads/2018/02/from-safe-spaces-to-brave-spaces.pdf
Philipa Perry: The Book You Wish Your Parents Had Read (and Your Children Will Be Glad That You Did)
Donaldson Welsh Curriculum Review
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