Promoting Social Inclusion via the Arts
| Pages | 13-16 |
| Published date | 01 September 2001 |
| Date | 01 September 2001 |
| DOI | https://doi.org/10.1108/13619322200100024 |
| Author | Paul Monks,Tim Harford |
| Subject Matter | Health & social care |
The Mental Health Review Volume 6 Issue 3 September 2001 ©Pavilion Publishing (Brighton) 2001 13
Promoting Social Inclusion
via the Arts
Paul Monks
Artist and Founder Member of Core Arts
Tim Harford
Writer and Scenario Planner
Case study
Include me! A story of inclusion 1991–2006
The astonishing story of Core is a story about determi-
nation, teamwork, growth, acumen, daring, imagina-
tion, care, respect – but most simply it is a story about
inclusion. Everything that Core has become, it has
become because of who was included. And everything
that still remains to be done, remains to be done
because some refuse to be included.
We hope that our story will inspire people to be
more inclusive as a natural reflex, rather than in an
empty policy statement. It is in everyone’s interest,
because exclusion is a two-way process. If somebody
excludes me, then I miss out, but so do they. If we
include each other, we both benefit.
1991: include me
Our story begins with Paul being included in an
unusual group. Seven years’ education in the arts and
a spell in educational development in Africa left him
moving like a nomad from studio to studio in
London’s East End. He was looking for place and a
purpose, but in a world of egocentric factory art that
was competitive, isolating and uncommunicative. Paul
had more luck when he found studio space, no
demands or expectations attached, in the decaying
Victorian buildings of a disused wing of Hackney
Hospital. The room might have been cramped and
smelly, but it brought with it something that had been
missing: an honest dialogue.
This honest dialogue came not as you might
expect from art therapists or psychiatrists but from the
community of young Afro-Caribbean men whose lives
were punctuated by spells on the wards. When not
officially in the hospital, many chose to hang out in the
derelict wings of the hospital. No one else wanted to
be there. The hardship and isolation they had suffered
left them with little reason for pretence and decep-
tion; these were honest men. They were happy to
share what little they had, be it their last fiver or their
dreams and visions. And they were not only willing
but also eager to include Paul in their lives.
1992: include each other
As Paul’s circle of new friends grew they spent as
much time making art as talking. It was perfectly clear
that most were actively creative in their own right –
but for some reason these activities were saved for
their own time, often when they found themselves
isolated at home, often at night. As the friendships
grew strong and full of the respect that is fundamental
to any relationship, Paul was invited further into their
lives. He shared beers with Haril and met his
mountain of four thousand pages of prose; he smoked
with Karl, and took in his fantastic wall paintings
around the flat; got to know Arthur and his fantastic
computerised painting machines.
Paul’s portraits of his new friends were very simple
in comparison but it was clear that being the subject of
a portrait gave many a real sense of self-esteem. They
saw their images made into icons and their identities
elevated. This was not about Paul descending from
the middle classes into some ghetto to heal the sick
and bring hope. It was a two-way process. Paul had not
fully enjoyed painting since he was at school; even
then, he had never found a purpose for his creativity.
But now, he had all that. He was happy again.
One memorable afternoon eight of the group sat
down together and agreed that what they were enjoy-
ing was more than just fun for themselves – it was
worthwhile to others. In order to do more, they
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