“Youth” remains a symbolic source of investment in society at large: both perceived as a social problem in need of remediation, and seen as a potential source of social change, leading generational renewal. Contemporary youth culture literature is often still bifurcated between analyses of the ways that young people are disempowered by our contemporary neoliberal climate or celebrations of them as instigators of social change, without thorough examinations of barriers and challenges. Other trends in youth culture literature include blaming youth themselves, or decrying contemporary youth as entitled or misguided (Giroux, 2013; Jenkins, Ito & Boyd, 2015; Jenkins et al., 2016; Sukarieh & Tannock, 2015). Between these often dualistic modes of conceptualizing youth lies the experience of youth themselves, suggesting the need to hear from youth first-hand about their experiences, including about what modes can best engage and educate them for their present and future roles in society. Here, I turn to the community youth arts sector, investigating the potentials and limitations of different models of engaging youth in this sector, ultimately suggesting the need for new frameworks that incubate youth creativity. Community programs are increasingly using art and media as tools to engage youth, especially those from marginalized backgrounds (Charland, 2005; Fuller, 2009; Gallagher, 2014; McLean, 2014; Sinner & Conrad, 2015). Through the pedagogies and programing that are offered and through the support networks that youth create amongst themselves at these sites, these programs act as spaces of knowledge transfer, skill sharing, teaching, and learning in novel ways. The role of these programs in fostering social cohesion with marginalized youth has been noted, but little research has evaluated the pedagogical innovations of these programs as they encourage youth to continue on with the creative projects and skills they learn and forge creative careers. Beyond learning the skill or content of art making or entrepreneurship, community youth arts programs can enact transformative

中文翻译：

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从青年参与到创意产业孵化器：在社区艺术环境中与青年合作的模式

“青年”仍然是整个社会投资的象征性来源：既被视为需要补救的社会问题，又被视为社会变革的潜在来源，引领世代更新。当代青年文化文学仍然在分析年轻人被当代新自由主义气候剥夺权力的方式或庆祝他们作为社会变革的煽动者的方式之间存在分歧，而没有彻底检查障碍和挑战。青年文化文学的其他趋势包括指责青年自己，或谴责当代青年有资格或被误导（Giroux，2013 年；Jenkins、Ito 和 Boyd，2015 年；Jenkins 等，2016 年；Sukarieh 和 Tannock，2015 年）。在这些通常对青年概念化的二元模式之间存在青年本身的经验，建议需要听取青年的第一手经验，包括哪些模式最能吸引和教育他们以适应他们现在和未来在社会中的角色。在这里，我转向社区青年艺术部门，调查吸引青年参与该部门的不同模式的潜力和局限性，最终表明需要新的框架来孵化青年的创造力。社区项目越来越多地使用艺术和媒体作为吸引青年人的工具，尤其是那些来自边缘化背景的青年人（Charland，2005；Fuller，2009；Gallagher，2014；McLean，2014；Sinner & Conrad，2015）。通过提供的教学法和计划以及青年在这些地点建立的支持网络，这些计划充当知识转移、技能共享、教学、并以新颖的方式学习。这些项目在促进边缘化青年的社会凝聚力方面的作用已被注意到，但很少有研究评估这些项目的教学创新，因为它们鼓励青年继续从事他们学习的创造性项目和技能，并开创创造性的职业生涯。除了学习艺术创作或创业的技能或内容外，社区青年艺术计划还可以实现变革