Research shows that young people's attendance at places such as theatres, concert halls, galleries and museums declines as they progress through their teens. They may, indeed, experience only a fleeting acquaintance with cultural venues of this kind and then cease to visit them altogether - not necessarily because of a dislike of particular art forms but because these cultural venues and what they have to offer do not appear to be relevant to them. As a result of such assumptions and subsequent lack of involvement, young people may be denied the possibility of informed choice. How can venues, schools and others help young people to consider a wider spectrum of cultural experiences? 'Crossing the Line' has been commissioned by the Gulbenkian Foundation and Arts Council England to consider this problem. It reviews the evidence and includes important new research which asks young people what they think; looks at different types of initiatives concerned with this issue and highlights the questions that the various sectors may wish to ask themselves - for example, how cultural venues can make themselves more accessible to teenagers and the possibility of some young people serving as 'cultural mentors' to their peers.
"Sinopsis" puede pertenecer a otra edición de este libro.
Research shows that young people's attendance at places such as theatres, concert halls, galleries and museums declines as they progress through their teens. They may, indeed, experience only a fleeting acquaintance with cultural venues of this kind and then cease to visit them altogether - not necessarily because of a dislike of particular art forms but because these cultural venues and what they have to offer do not appear to be relevant to them. As a result of such assumptions and subsequent lack of involvement, young people may be denied the possibility of informed choice. How can venues, schools and others help young people to consider a wider spectrum of cultural experiences? 'Crossing the Line' has been commissioned by the Gulbenkian Foundation and Arts Council England to consider this problem. It reviews the evidence and includes important new research which asks young people what they think; looks at different types of initiatives concerned with this issue and highlights the questions that the various sectors may wish to ask themselves - for example, how cultural venues can make themselves more accessible to teenagers and the possibility of some young people serving as 'cultural mentors' to their peers.
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