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The 2019 ‘Sanremo’ Music Festival has stimulated a heated debate on immigration and Italy's so-called liberal pro-immigrant elites, as the winner, Alessandro Mahmoud, a 26-year-old rapper born in Milan, is the son of an Italian mother and an Egyptian immigrant, to whom he ‘dedicated’ his winning song, ‘Soldi’ (Money) that speaks about irresponsible fathers. A rapper with an Arabic name winning Italy's most famous festival has shocked many Italians who were used to seeing in Sanremo a reassuring representation of the old traditional canzone italiana. His victory was unexpected in a country, in which anti-immigrant attitudes are becoming mainstream, and the League's movement is deliberately whipping up this nationalist wind. However, Mahmoud represents only the tip of the iceberg as since 2005 a number of so called ‘second generation rappers’ has been growing in Italy, who are using their lyrics to talk about personal and collective discrimination’ experiences. Through a text analysis of the most prominent second generation rap writers, this chapter aims at detecting the claims for belonging they attach to this musicalized social and political forum, shedding light on the question of Italian citizenship that is still denied to second generation young people.

Art is a complex, multiform, fluid human activity that is subjugated to time-space-place contexts and dependent upon social representation and values. But what is it for? This introduction to the book Art in Diverse Social settings begins with a general characterization of Art as universal language. Unlike verbal language, art is primarily processed in the sensorial and emotional fields and only later rationally; unlike science, it does not aim at explaining or predicting the laws of the world's phenomena, instead it communicates by showing (in essence, it has an expressive meaning). In today's world, art became an accessible good and a valuable human creation because of this reappraisal of artistic practices; art is today expressive in domains such as politics, citizenship, economy, ethics, sustainability or public affairs.

The introduction to this edited book explains why it is focused on the role of art in today's diverse society. Art is part of the worldviews and mindsets from which it results and as a complex and ambiguous product of culture and perception, it must be understood from multiple perspectives. As such, this book includes in the first part seminal chapters with a theoretical scope, which highlight conceptual, contextual and cultural issues of contemporary art. The chapters in the second and third parts of the book are exemplary case studies, describing concrete intervention projects, which use some form of art or composed artistic expression as a medium for communication and intervention in the contexts of social and professional organizations, public spaces or the community. A summary of each chapter is provided and linked to the main goal of the book.

The purpose of this paper is to offer a critical view of participatory policies and measures by highlighting that participation is not only a right for young people, but also an obligation for many. This obligated participation is studied conceptually and empirically.

The paper introduces a novel typology of youth participation that demonstrates the dimensions of institutional framing and a degree of choice in participation. The typology is applied in an empirical study on how the participation rights and obligations are formed and handled within an educational programme, aiming to support young people at the margins.

Young people are controlled by their participation obligations, and are guided to reach maturity and claim personal responsibility for their choices. The acceptance of an obligation to participate has to be negotiated with young people in services; otherwise they may opt out of supportive measures.

More research is needed on how youth participation terminology is used in political programmes and professional practices.

It is vital to discuss the options and obligations of young people in professional support measures and consider their implications for different groups of young people. At the policy level, the challenge is to ensure that the right to participate at community and political levels is not ignored or made inaccessible to young people at the margins.

The typology diversifies understanding of youth participation and enables the analysis of participation types. It can be applied in youth studies, policy-making and practices.