The role of social capital in participatory arts for wellbeing: findings from a qualitative systematic review

Figures & data

Figure 1. List of databases searched (2009 – June 2019)

Figure 2. PRISMA flow diagram of the search screening process

Table 1. Social/cultural capital themes in the included studies of participatory arts and wellbeing

Study authors, date and location	Study design and qualitative data	Positive social/cultural capital themes	Negative social/cultural capital themes
Published journal articles
Agger and Ole-Jensen (2015)	Testimonial activity using music and art to transform the story from shame into dignity for torture survivors, involving 245 participants Qualitative study.	Bonding: Feeling more connected to their families and communities, and no longer feeling fearful, sharing pain with a group, social reintegration. Bridging Able to counsel other survivors, less submissive to authority, feeling close and empathising with the victims, and the victims appreciating being understood, Showing and having trust.
Aho (2014, New Zealand)	Interviews with 5 Maori women who took part in a storytelling project in a tribal community.	Bonding: retelling of personal stories to restore the Maori tribe cultural traditions and values. Bridging: reframing stories of sexual abuse to address isolation, expose the truth, reposition tribal relationships and challenge colonial legacies of brutalisation.	Facing trauma was painful for participants.
Anwar-McHenry et al. (2018, Western Australia).	Focus groups with 38 participants following a contemporary dance project in three regions.	Bonding: feelings of togetherness, cohesion and development of shared identity. Bridging: Extended opportunities from new knowledge and skills. Pride in community, performance to share local experiences, inspire and connect with a broader audience.
N. Daykin et al. (2017, England and Wales)	Ethnographic study of music making with 118 young people in justice settings.	Bonding: increased confidence, positive emotions and experiences of group collaboration, mitigating the macho and threatening atmosphere. Bridging: new knowledge and skills, a differently imagined creative future for some.	Group dynamics and posturing.
Doughty and Lagerqvist (2016, Sweden)	Ethnographic study of migrant busking in a public square. Interviews with 30 local residents and visitors.	Bonding: The music drew people in brought moments of enjoyment and togetherness. Bridging: The music animated and softened the harsh experiential qualities of the square, symbolising multiculturalism and diversity, co-mingling across multiple lines of difference.
Dunphy et al. (2014, Timor Leste)	Study of dance movement therapy project.	Bonding: emphasising cultural traditions of participants, enabling shared expression of hope and togetherness. Bridging: exchange, transcultural awareness and the sharing of leadership. Several participants expressed a strong desire for ongoing learning and professional development. Many recognised the potential of DMT for healing for themselves and others, and they saw this as important for the future of Timor-Leste.	Concerns about sustainability of the work
Joseph and Southcott (2017, Australia)	Focus groups and interviews with 6 participants in a community gospel choir for older adults.	Bonding: emotional support, confidence and validation. Repertoire fostered emotional connection. Inclusive audition and teaching approaches and conveyed high expectations without putting pressure on participants to perform. Choir rehearsals provided regular social contact and camaraderie, a sense of shared identity and experiences of creating something together. The performance element brought excitement, reinforcing bonding by touring local pubs. Bridging: Performances further afield were special occasions. Outreach connections with hospitals, hospices and prisons promoted empathy and understanding.	Some participants experienced discomfort in relation to some practices, e.g., the requirement to move in time to the music as well as singing.
Kelson et al. (2017, Canada).	Ethnographic study of social recreation groups involving public artworks for people with young onset dementia.	Bonding and Bridging: Participants expressed enjoyment and curiosity and were able to access newly inclusive urban spaces.
Kluge et al. (2012, USA)	Ethnographic study: observations and interviews with 9 older female participants in a dance movement therapy class in a residential care setting.	Bonding: integration and belonging in a new place of residence. Bridging: Dance classes provided by a high calibre and empathetic instructor stimulated self-awareness, growth and created insights into life experiences that participants hadn’t had (those of a professional dancer).
Lazaroo (2017, Singapore)	Ethnographic study: observations and interviews with 6 participants in a community theatre project for disadvantaged people living in rented accommodation.	Bonding: sharing stories and difficult experiences, such as conflicts at home, providing emotional support and a sense of kinship, building familiarity and trust that underpin a sense of belonging to the community. Bridging: creating a platform for the community to gain more agency and engage as cultural citizens, sharing stories with the wider community, reinforcing collective identity and staking a claim in national identity and values. Resistance authoritarianism, facilitating social activism within marginalized groups.
Li and Southcott (2012, Australia)	Interviews with 9 participants in a choir for older Chinese Australians.	Bonding: belonging and a sense of family created by positive social bonds and shared nostalgia among choir members for their place of birth. Bridging: gaining opportunities to learn that were not available in the past. Awareness of music as a right that all people should be able to access. They also commented that singing patriotic and political songs is empowering. Sharing their cultural heritage with others through performances, validation helped to bridge the gap between the participants’ musical preferences and that of their families.	Age and cultural differences meant that not all participants connected with chosen songs. Some experienced difficulty regarding new, unfamiliar repertoire. Feeling nervous and conspicuous in performances. Tension between the musical tastes of the generations, with some participants reluctant to practice the group songs at home in front of children and grandchildren.
Luliano et al. (2017, USA)	Ethnographic data from 16 members of the Tucson social Latin dance community.	Bonding: connectedness, friendships and a sense of diverse and inclusive family within the social Latin dance community. Bridging: Latin dancing represented as a bridge between cultures and generations.
MacLeod et al. (2016, Canada).	Interviews with 16 participants in a poetry and visual arts programme for socially isolated older adults in a rural setting.	Bonding: Developing and appreciating relationshjps.
McNaughton et al. (2016, New Zealand)	Interviews with 23 participants in a singing group for people with chronic obstructive pulmonary disease (COPD).	Bonding: connecting and undertaking meaningful activity with others in a welcoming space. Companionship, camaraderie, friendships, shared purpose and responsibility, e.g., prioritising attendance, sharing transport and helping with tasks such as publicising events. Bridging: Group connections transcended social and cultural differences.
Meeks et al. (2018, USA)	Focus groups with 20 older adults who engage with an established theatre.	Bonding: participants spoke lovingly of the theatre community, social engagement, belonging and intellectual stimulation.
Murray and Crummett (2010, UK)	Interviews and written reflections from 21 older urban residents following a participatory arts project.	Bonding The art class was offered in a community described by participants as overlooked, under-resourced and damaged by loss of traditional social practices and hubs such as the local pub. They reported feelings of rejection, separation, frustration and anger. In this context they responded with enthusiasm to the provision of an art class, reporting a sense of achievement, a feeling of creativity and social benefits including increased opportunity for social interaction and forming new friendships. The project fostered a sense of identity and belonging. Bridging The main impact of the project was in enabling participants to assert power and challenge negative external social representations of the community.	Most participants in the study were women, while the men enjoyed the art work it did not mesh with the more instrumental activities that are more important in male working class culture. Despite their enthusiasm for the project (bonding), it did not extend to forging wider connections (bridging). Participants were reluctant to take up opportunities outside the local area.
Pearce (2017, England, UK)	Open responses from 89 participant in adult education classes (singing, crafts and creative writing).	Bonding: confidence as well as shared fun, solidarity, belonging and social engagement among those who usually found social interaction difficult. Bridging: promoting tolerance of others and enabling participants to extend their social networks, accessing information about local events and opportunities and promoting positive social mixing.	Some responses indicated that habitual seating and task-groups (such as singing parts) can lead to sub-structuring and creation of hierarchies within classes. More worryingly, two participants reported negative experiences associated with self-other comparison. Such classes may have a negative impact in fostering a new dissatisfaction with one’s life that may not necessarily motivate positive change.
Raanaas et al. (2019, Norway)	Interviews with 5 participants in a choir for refugees in a Norwegian municipality.	Bonding: the choir offered a meaningful activity that reinforced culture and identity and offered support, a sense of belonging and opportunities for integration. The choir offered a welcoming space in which to meet new people, share stories, reduce feelings of isolation and provide a distraction from everyday pressures. Music was described as a shared language with reduced barriers to engagement. Bridging Familiar repertoire and language fostered pride and mitigated losses of competence for some, providing opportunities, for example, to teach Arabic to other choir members. The singing activity was embedded within the broader context of Norwegian society, where refugees encountered the state through struggles with residency and work permits, hence choir membership facilitates the process of integration into everyday Norwegian life.	The choir emphasized gender divisions because of the balance of voices and there were more women than men in the choir. Consequently, more of the female immigrants were invited to the homes of Norwegian women, and it was more challenging for immigrant men to develop deeper social connections and make new Norwegian friends.
Southcott and Joseph (2015, Australia)	Phenomenological case study of an intergenerational choir for Italian women in Melbourne.	Bonding: Social connection and combatting isolation. Bridging: new horizons, music-making and social justice. The choir enabled women who were widows to engage in wider society and to behave in ways that might overcome cultural stereotypes. It enabled them to connect with artists they wouldn’t normally meet. Performing provides the women recognition in their own community and beyond, and raised their awareness of social justice, making them more willing to campaign.
Southcott and Nethsinghe (2019, Australia)	Interviews with 28 participants in a choir for Russian seniors.	Bonding: engagement and connection/mutual care. Shared cultural and linguistic heritage fosters social bonding and belonging. Most of the songs are sung in Russian and reflect traditions that resonate with audience members.	Performance repertoire is not always supported by everyone, as there are choir members from different old Socialists Republics it is important that every nationality feels represented and that there is no favouritism. Political conflicts have created tensions of identity and partisan loyalty, hence some topics of conversation are avoided.
Strayhorn (2011, USA)	Interviews with 21 members of a choir for black college students.	Bonding: belonging, development of ethnic identity and developing resilience to cope with the challenges of college life in a predominantly white institution. Bridging reduced sense of marginalisation and enhanced resilience through spiritual support, choir seen as a key mechanism through which coping and success at college could be enhanced.
Sun and Buys (2013, Queensland, Australia)	Interviews with 17 participants in a singing group for Torres Strait Islander community members.	Bonding: social connectedness, friendship and trust through working towards a common goal. A sense of equality arises from feeling respected and having an equal opportunity to influence repertoire. The way in which the groups were run corresponded with the norms and behaviour of the participating Aboriginal communities, contributing to a sense of empowerment. Bridging: Participation in the group had the effect of increasing participants’ use of counselling services and health checks.
Swinnen and De Medeiros (2018, Netherlands	Ethnographic study of a poetry project in two residential dementia care settings (25 residents).	Bonding: Collaborative poem creation fostered expression as well as connections to language, place and identity, inviting a negotiation of belonging.
Veal (2017, Canada)	Ethnographic study of 11 participants in a community dance project for ‘at risk’ communities	Bonding: Transforming at risk communities through inclusion and belonging. Bridging Embodiment and performance of community wellbeing, connections with political forces influencing urban space.	Identifies the potential exclusionary nature of urban health legislation and how artists can be complicit in normalising inequalities. Artists are encouraged to engage in city governance based on ‘radical social praxis’
Walter (2018, Israel)	Interviews with participants in open-air dancing.	Bonding: Group effect of trance dancing.
Grey literature
Baker et al. (2017, England)	Evaluation of an arts on prescription for mental health programme	Bonding Importance placed by participants on social ties and friendships. Bridging Social engagement extended beyond the sessions, encouraged by fear of the void left after the programme.
Blair, 2019, England)	Evaluation of a volunteer led arts programme for older adults with dementia	Bonding: Volunteers were motivated by a desire to make friends and do something for others. For older people participants, the workshops helped to stimulate conversations, building relationships and boosting confidence
Crossley et al. (2018, England)	Evaluation of a commissioned programme of participatory arts to tackle social isolation.	Bonding: tackling social isolation.	The long-term impacts and changes difficult to assess. Barriers to access included transport, infrequent meetings and funding.
Elkins and Bailey (2018, Australia)	Evaluation of arts for priority groups at risk of poor health in the state of Victoria.	Bonding and bridging: Activities facilitated participants in creating new connections and forming relationships with others from the target group and the wider community. The large public events provided a sense of being part of something bigger that fostered community pride.	Activities need to be tailored if they are to reach priority groups, and relationships with target groups need to be built and sustained over time.
Heaslip and Darvill (2018, England)	Focus groups for 35 people with mental health needs who took part in music and creative arts activities exploring Stonehenge and Avebury world heritage sites.	Bonding Feeling connected – to others in the group, to ancestors, to local area and landscape – connections previously ‘fractured’ as result of mental illness, experience of discrimination or stigma and resulting isolation.	Some found group activities very challenging Fear for the future – did not wish project to end, worry about loss of structure and focus when project would end and loss of sense of belonging it had brought.
Imperial War Museum North (2016, England)	Evaluation of a museum-based volunteering project	Bonding: sense of connection, enrichment and belonging through sharing stories. Increased ability to relate to others. Bridging: Changed attitudes to museums. Increased levels of volunteering and citizenship.
Innes et al. (2018, London, the UK)	Interviews with 24 people with dementia who took part of a Sensory Palaces project in London.	Bonding: Connection, reinforcing existing relationships and developing new social contacts. Bridging New insights, acceptance and awareness among staff about dementia
Kiddy (2015, England)	Interviews with 30 participants in folk social dance .	Bonding: Most participants had little or no connection to the geographic or cultural origins of the dance, but experienced a strong emotional connection to the music as well as supportive relationships and a sense of trust and belonging.	The music, which evoked imagined landscapes and nostalgia for a past that is unrealistic. Folk dancing can reflect a romantic and misleading idea of the past. Some saw the foreignness of the particular social dance styles as appealing. Nostalgia is often set against the general backdrop of a perceived threat to national heritage.
McAvinchey (2016, England)	Evaluation of an intergenerational participatory arts projects in East London.	Bonding: Community conversations: nostalgia, viewing the past through rose-tinted spectacles. Bridging: Linking experiences of generations, exploring the economic and social situation in East London life.
Mendez Sayer (2019, England)	Evaluation of a crafts and mental health project in Norfolk .	Bonding: support from a familiar and consistent group, sharing worries and anxieties. Building new relationships. Belonging and community: meaningful opportunities to connect with others. Bridging: Extending connections within a larger community.
Nunn (2018, the UK and Australia)	Evaluation of a participatory arts programme for refugee youth (30).	Bonding: relationship building in the group culture, a sense of belonging through the shared rituals and practices, confidence in handling their new communities through the exploration and communications around belonging.
Payson (2018, Wales)	Ethnographic study of community-based cultural heritage projects and archives in Cardiff’s former docklands.	Bonding: Sharing space aids survival and healing from violence, care and solidarity. Bridging: making connections between individual experiences and broader patterns from history, projecting ideas of history and heritage into their own futures.	Bringing groups together involves complex emotional labour.
Tapson et al. (2018, England)	Evaluation of a music programme for older people in residential care settings.	Bonding: Music activity nurtured and enabled inclusion and connectedness.
Todd (2017, England)	Evaluation of a museum project for older people.	Bonding and bridging: social engagement, relationships and positive personal stories. Sharing and hearing about the experiences of others was enriching.
Vella Burrows et al. (2014, England)	Evaluation of the impact of cultural activities for regeneration in three English coastal towns.	Bonding and bridging Positive experiences of friendship and awareness of improved local environment. Social capital theory suggests is that a cultural organisation’s relationship with its stakeholders might engender reciprocity, co-operation and trust, and in so doing generate social capital for a local community. Participants expressed a need for fostering community engagement and cohesion and building on existing and developing new civic partnerships.	Barriers included: perceptions of class-centric offer, education, access to resources, effect of national arts provision policy

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