Conceptual analysis on citizenship in the context of inclusive art education in cultural and education policies

In the fifties, Hannah Arendt (1998 [1958], 57-58) wrote how "[t]he end of the common world has come when it is seen only under one aspect and is permitted to present itself in only one perspective". This description also aptly depicts the polarizing dynamics in today’s world, characterized by globalization, digitalization, voluntary or forced movement of people and other transformations. This paper scrutinizes attempts to tackle polarization and foster social cohesion and inclusion through dialogue, which also Arendt saw as a central way to build "the common world". It analyses how performing arts can make space for dialogue, diversity and a plurality of voices, instead of "one aspect" and "one perspective". The analysis of education and cultural policies in seven countries as well as the EU and the Council of Europe explores how can learning in music, dance and drama enhance social cohesion and inclusion. The core question is what kind of conceptions of citizenship are constructed in these policy discussions. The research material consists of policy documents in the fields of culture and education that lay the foundation for implementing performing arts education in different education levels in formal and non-formal education. The methodology is based on the conceptual research on political concepts, drawing from conceptual history. This approach understands concepts as constructed in debates, changing, contested and contingent, and therefore political. Through this approach, the paper explores the conceptual relations between citizenship, performing arts, and social cohesion and inclusion to find out how citizenship is used and constructed in the context of performing arts education and social cohesion and inclusion. The conceptual approach is well suited to analyzing these complexities in the contemporary realities characterized by continuous change because it provides tools for understanding the interrelations of political, institutional and social changes. The conceptual analysis focuses on the types, dimensions and competences of citizenship. First, the paper explores whether, and how, the policies make use of the notions of cultural, global or cosmopolitan citizenship that are widely discussed in the research of citizenship. Second, it examines the roles of the classical dimensions of citizenship – access, rights, duties, participation and identifications – in the policies guiding art education. Third, the paper investigates the competences connected to citizenship in the policies. For example, does citizenship include listening and considering the perspectives and experiences of yourself and others, which have been recognized as essential for developing social cohesion and inclusion? What is the relation between citizenship and intercultural dialogue, which is highlighted in the international policies as a way to enhance inclusive and constructive interaction? Are respect and openness for diversity and difference part of citizen competence in these policies? Based on the analysis, conclusions will be drawn on whether music, dance and drama provide new conceptualizations of citizenship through formal and non-formal education across the lifespan in Europe and beyond. Do the policies recognize the ability of the performing arts to enable dialogic practices that give space for diversity, improve intercultural competence and foster inclusion, equality and democracy?