Accessibility of cultural goods

, 177

Accreditation, end of

, 176–177

Activism, art collectives and

, 178–180

Activist art

decentralization

, 87–92

horizontalization

, 87–92

modern collectives

, 90–92

modern democracy

, 87–90

philosophy of modern anarchism

, 92–96

Protest Art of Mexico

, 96–101

rules of

, 101–105

Adolfo Mexiac

, 98

Aesthetic language prioritizing sensorial and emotional field

, 4–6

Aesthetics role in Art and Citizenship

, 62–64

Affective dimension of belonging

, 134

Agency empowerment

, 38

Aggro Berlin

, 147–148

‘Altunyaruk’

, 120

Amazon Forest

, 211

American graffiti

, 222–223

Anarchism

, 93

Anarchist

actions

, 90–91

groups

, 93

philosophy

, 94

Ancient art

, 28–30

Animation and pedagogy

, 225

Apaurb

, 224–226

Appropriation in art practices

, 241–242

Arpilleras

, 34–35

Art

, 2–3, 61–62

aesthetic language prioritizing sensorial and emotional field

, 4–6

through ages

, 26–30

approaches life

, 51–52

as appropriation

, 52–54

as communication

, 4

and conflict management

, 6–7

crafts, vs.

, 178

education

, 237–238

educators

, 212–216, 218

forms

, 49

with function and purpose

, 8–10

galleries and investment

, 27–31

history

, 25

market

, 27–31

new trends

, 158–159

science, vs.

, 4

social inclusion through

, 163–166

and spirituality

, 73, 75, 77–78

understanding

, 157–158

universality of art

, 7–8

Art and Citizenship in Education

, 61–62

as a matter of culture

, 64–65

aesthetics role in

, 62–64

concepts

, 65–70

Art-based practices

, 199

Art-based research

, 201

Artbrut

, 7–8

‘Artist Citizen’

, 64

Artist collectives

, 158–159

and activism

, 178–180

in contemporary context of co-creation and social intervention

, 175–178

funding

, 162–163

Pescada nº 5

, 166–175

reasons, form and substance

, 174–175

‘Artist Shit’

, 48–49

Artistic and spiritual impulses

, 73–74

Artistic intervention

, 225

Artistic practices

and Citizenship Education

, 240–244

and discourses

, 237–238

Artivism

, 162–163

Artwork by Eliza Bennet

, 37

Assembly of Revolutionary Artists of Oaxaca (ASARO)

, 100–101

Avant-Garde

, 9

Avant-garde

, 62

Banality

, 47–48

Baroque

, 28–30

Beijing Poly International Auction Company

, 31

Belonging

as pluri-dimensional, structural and agentic process

, 132–134

rap as question of

, 143–145

rapping for

, 136–140

Benevides Project, Pará State, Brazil

, 214

Boat, by David Foldvar

, 39

Brazil

Marajó Island Project, Pará State

, 214–216

project in Benevides, Pará State

, 214

Brazilian artisan

, 211

Bureaucratic interference

, 111

Capitalism

, 62

Casus of Glamorous Partisans

, 102–105

Centre for Intercultural Studies (CEI)

, 230

China Guardian

, 31

Christie’s

, 31

Cinema

, 78–79

Citizenship

, 133, 192–194

Citizenship Education

art practices and

, 240–244

quality art experiences in

, 238–240

Co-constructed art projects, motivations in

, 180–181

Co-design process

, 188–189

Collaboration in art practices

, 242–244

Collective curatorship

, 43

Collective experiences in Citizenship Education

, 238–239

Comedy

, 81–82

Coming Insurrection (CrimethInc.)

, 90, 92

Commercialization in German rap

, 149–150

Communication, art as

, 4

Community

, 66–67

development

, 161

of practice

, 43

Community art

, 163, 178–180

Community art projects

, 158–159

funding

, 162–163

Conceptual art

, 49–50

Conflict management, art and

, 6–7

Contemporary art

, 28–30, 50–51, 157–158

art galleries and investment

, 27–31

art market

, 27–31

in fluid social platforms

, 26

society and politics

, 34–42

tourism and development

, 32–34

of Uyghurs

, 121–128

Contemporary Art Shanghai

, 32

Contemporary Art Tokyo

, 32

Contextualization

, 212

contextual learning as model of Finnish pre-primary education

, 252–253

Costruire Bellezza. See Crafting Beauty (CB)

Covid art

, 41–42

COVID-19 pandemic

, 211

Crafting Beauty (CB)

, 16, 185–187

design for social change

, 187–191

homeless people’s perspective

, 191–192

knowledge, education and citizenship

, 192–194

Craftivism

, 34–35

Crafts

art, vs.

, 178

products

, 218

Creative placemaking

, 159–162

Critical activist art-based project

, 199

Crono Project

, 224–226

Cultural artefact, rap as

, 143–145

Cultural goods, accessibility of

, 177

Cultural/culture

backgrounds of Finnish pre-primary education

, 254–255

change in German rap

, 149–150

Citizenship and Art as matter of

, 64–65

competence in Finnish pre-primary education

, 254–255

in Finnish national curricula

, 248–249

identity of Uyghurs

, 127

industries

, 159

jamming

, 103–104

knowledge development

, 224

production

, 110

sociology of

, 143–144

street art

, 231–232

tourism

, 159–160

Curatorship

, 26

Curriculum in pre-primary education in Finland

, 251–252

Decentralization

, 87–92

Deconstruction in art

, 242

Democracy

, 62

Democratic rupture

institutional boycott

, 110–112

political contextualization

, 109–110

social and political problems

, 112–113

Design anthropology

, 187, 190–191

Design for social change

, 187–191

Differentiation in German rap

, 149–150

Digitalization in German rap

, 149–150

Direct democracy

, 89

Dissemination/awareness

, 225

Early art of Uyghurs

, 120–121

EBANOCollective

, 224–226

Economic value

, 160

Education

, 192–194

in Finland

, 250–251

Emotional field

, 4–6

Empowerment

, 158–159, 166, 176

Enculturation in Finland

, 250–251

Enlightenment

, 62

Entrepreneurship

and DIY

, 175–176

street art as source for developing

, 223–224

Environment

, 38–41

Equity, ideologies of

, 34–35

Erudition

, 160

Evocation

, 3

Experience

, 57

Expression forms in Finnish pre-primary education

, 255–256

External dimension of belonging

, 133

Faceless Project

, 241–242

Female arts

, 34–35

Feminization of migration

, 198

‘Festival di Sanremo’ (1950)

, 131

Film

, 78–79

Finnish pre-primary education

children’s plays and other group activities

, 258–259

contents of core subjects

, 253–258

contextual learning as model

, 252–253

culture and tradition

, 248–249

curriculum in

, 251–252

enculturation and education

, 250–251

intangible cultural heritage preservation

, 249–250

First Collective Second Generation Rappers

, 136–137

Fluxus group

, 178–179

Forced assimilation of Uyghurs

, 121

Gendered transformations in German rap

, 151–153

German Gangsta Rap

, 147–148

German rap

factors of cultural change in

, 149–150

gendered transformations in

, 151–153

history of

, 145–147

Globalization

, 43–44

Graffiti

, 221–223

American graffiti

, 222–223

Guerilla Girls

, 64–65

Guggenheim Museum in Bilbao

, 32

Harmony

, 3

Heerlen, street art in

, 227–228

Heerlen Murals project

, 227–228

Heritage Auctions

, 31

Hipster hop. See Hipster-Rap

Hipster-Rap

, 149

Hmong Story Cloth

, 34

Homelessness

, 186–187, 192–193

Horizontalization

, 87–92

Human condition assessment

, 38

Humour

, 81–82

Ideal activist art

, 101–102

Ideas in art practices

, 240–241

Identity

, 66–67

Images in art practices

, 240–241

Improv theatre. See Improvisation theatre

Improvisation theatre

, 13–14, 108–109, 114

celebration

, 108–109

Indirections of art

, 74, 76–77

Individual(ism)

, 62

experiences in Citizenship Education

, 238–239

motivations in co-constructed art projects

, 180–181

Industrialization

, 62

Institutional boycott

, 110–112

Intangible cultural heritage (ICH)

, 249–250

Interaction in Finnish pre-primary education

, 254–255

Internal dimension of belonging

, 133

Internationalization

, 225

Internet

, 231–232

Inventory

, 225

Invisible theatre

, 35

Islamic East Turkestan Republic

, 117–118

Italian citizenship

, 133

Italian Federation of Organizations for Homeless

, 186–187

Italian second generation rap

, 132

belonging as pluri-dimensional, structural and agentic process

, 132–134

‘collective’ rap phenomenon

, 132

Italian way to rap

, 134–136

rapping for belonging

, 136–140

Jams

, 145–146

Karakhanid Turks

, 118–119

KIASMA in Helsinki, Centre Pompidou (Paris)

, 32

Kizil

, 120–121, 125–126

Knowledge in CB

, 192–194

LACMA (Los Angeles County Museum of Art)

, 32

Land art

, 38–39

Language development in Finnish pre-primary education

, 255–256

LATA 65

, 224–226

League of Revolutionary Writers and Artists (LEAR)

, 99

‘Leben am Limit’

, 151–152

Linguistic backgrounds of Finnish pre-primary education

, 254–255

Lisbon, Street art in

, 224–226

Luxury in Times of COVID-19

, 42

Maciene Project

, 217

Making of visual activities

, 212

Mannerism

, 28–30

Marajó Island Project, Pará State, Brazil

, 214–216

Market

, 55

Masculinity

, 145

‘Glocal’ Construction of Rap Masculinity

, 150

Materials

in art practices

, 240–241

and forms

, 48–49

Meaning making processes

, 239–240

Medieval art

, 28–30

Metaphors in art practices

, 241–242

Militant art

, 101

Mobility

, 132–133

Modern age

, 28–30

Modern anarchism, philosophy of

, 92–96

Modern art, ingenious features of

, 53

Modern collectives

, 90–92

Modern democracy

, 87–90

MOMA (New York)

, 32

Motivated Functions of Art

, 10

Mozambican Project

, 216–218

Multiliteracy

, 257

Museum

, 33–34

CASA

, 216–217

Music

, 75–77

Muslim Turks. See Karakhanid Turks

Narcissism

, 43

National consciousness in Uyghurs

, 118–120

National University Extension Policy

, 109

Neoclassicism

, 28–30

Neuroscience

, 75–76

Non-motivated Functions of Art

, 9–10

Non-verbal communication, art in

, 6

Occupy movement

, 91–92

Official art

, 101

Oppressed, theatre of

, 35

Oracle effect

, 90

Organisation for Economic Cooperation and Development (OECD)

, 231

Originality

, 3

Outsider art

, 174

Paper Factory

, 99–100

Participatory art

, 43, 158–159, 162–163

Participatory arts-based research

, 197–198

implications and possibilities

, 205–208

‘walking around with our cameras’ project

, 199–205

Perfection

, 3

Performance arts

, 78–79

Pescada nº 5

, 166–175, 168–173

Philosophy of modern anarchism

, 92–96

Photovoice

, 198–199

Piracema Laboratory

, 17, 213

Plural belonging

, 137

Pneuma (spirit)

, 73

Political art

, 34–42, 162–163

Political contextualization

, 109–110

Political philosophy

decentralization

, 87–92

horizontalization

, 87–92

modern collectives

, 90–92

modern democracy

, 87–90

philosophy of modern anarchism

, 92–96

Protest Art of Mexico

, 96–101

Power

, 149, 151–152

of image

, 68–70

Pozharnyigidrant group. See Prestupnayagruppa group (PG group)

Practices of resistance

, 132

Práticas Artísticas para a Inclusão Social programme (PARTIS programme)

, 157–158

social inclusion through arts in

, 163–166

Prehistoric art

, 28–30

Prestupnayagruppa group (PG group)

, 94–95, 97

Professionalization

, 160

Profit in art

, 43

Protest Art of Mexico

, 96–101

Protivotankovaya Grenade group. See Prestupnayagruppa group (PG group)

Psychological functions of art

, 8–9

Quality art experiences in Citizenship Education

, 238–240

individual and collective

, 238–239

meaning making processes

, 239–240

Rap

, 145

scene

, 153

as transcultural product, cultural artefact and question of belonging

, 143–145

Rap music

, 132

Italian way to rap

, 134–136

Rapping for belonging

, 136–140

Reading of art and design works

, 212

Ready-made work

, 48, 52, 56–57

‘Red Love to Skullcaps’ (Akmullaev A.)

, 128

Refugee crisis, art and

, 37–38

Renaissance

, 28–30

Resistance

, 110, 114

of Uyghurs

, 127

Revolution

, 65

Rödelheim Hartreim Projekt (RHP)

, 146–147

Romanticism

, 28–30

Roses of Sarajevo

, 27, 35–36

Science

, 62

art vs.

, 4

Science, technology, engineering, arts and mathematics (STEAM)

, 3

SEBRAE

, 215

Second generation rappers

, 132, 134–135

new wave of

, 137–140

Self-expression in Finnish pre-primary education

, 254–255

Sensorial field

, 4–6

Since painting

, 126

Site-specific artistic manifestations

, 159

Small-scale art

, 36

Social change, CB design for

, 187–191

Social desiderata

, 144–145

Social dimension of belonging

, 133

Social inclusion through arts in PARTIS programme

, 163–166

Social motivations in co-constructed art projects

, 180–181

Social regulation, new forms of

, 176–177

Socialism

, 89

Socially engaged art

, 67

Society, art in

, 34–42

Socio-cultural innovation

, 232

Sociology of culture

, 143–144

Sotheby’s

, 31

Space and place

, 68

‘Spirited’ activity

, 73

Spiritual poverty of contemporary secular humanism

, 75

Spirituality

, 54

Street art

, 221–223

culture and development

, 231–232

in Heerlen

, 227–228

in Lisbon

, 224–226

source for developing entrepreneurship

, 223–224

StreetArtCEI Project

, 230–231

in Toronto

, 228–230

StreetArtCEI Project

, 230–231

StreetARToronto (StART)

, 228–229

Style

, 55

Superación/spirit of achievement

, 202

Sustainability

, 38–41

Symbolism

, 28–30

Taller de Grafica Popular (TGP)

, 13, 98, 100

Tapetes

, 104–105

Tate Modern (London)

, 32–33

Theatre

, 78–79

art and spirituality in

, 81

Theatrical art

, 108

Tocharians

, 117–118

Toronto, street art in

, 228–230

Tourism and development, art in

, 32–34

Tradition in Finnish national curricula

, 248–249

Transcultural product, rap as

, 143–145

Transformative practice

, 64

‘Troubles, the’

, 34

‘Tyranny of the retina’ in art

, 48

Ujamaa Project

, 217

Unequal Scenes

, 39–41

exemplary photographs from

, 40

Universality of art

, 7–8

Universe of visual languages and objects

, 221–222

University Festival of Improvisational Theatre

, 107–111, 114

Urban Art Gallery (GAU)

, 225–226

Urbanism

, 62

Uyghurs

, 117–118

contemporary art

, 121–128

early art

, 120–121

emergence of national consciousness

, 118–120

forced assimilation

, 121

visual art

, 125–126

Verbal communication, art in

, 6

Visual arts

, 61–62

of Uyghurs

, 125–126

Visual images

, 68–70

Vivoleum project

, 103

Voina (War) Group

, 90–91

‘Walking around with our cameras’ project

, 199–205

evolution

, 201

impulse, reflection, action

, 203–205

transformative looks

, 202–203

women’s gazes

, 200–202

Wool on Tour interventions

, 224–225

World Trade Organization (WTO)

, 103

Xinjiang Contemporary Art Museum

, 126

Yarn bombing

, 34–35

Yes Men Group

, 102–104