This paper draws on a qualitative study carried out in Scotland which explores the use of the arts in education as a tool for learning and a vehicle to promote inclusion. Eighty young people participated in an event where they worked with artists from a range of art forms. Subsequent to this forty-five of the young people responded to this experience in practical workshops where they created visual artworks, conducted video interviews of each other and participated in semi-structured discussions around the theme of the arts in education and inclusion. This research was conducted as part of a wider study which involved interviews of strategic planners in education, arts organisations, education officers, teachers and community learning staff. The focus of this paper is to look at how the young people's reflections on this experience sheds light on barriers to learning which exist within school structures. It will consider embodied processes and relationships and these will be discussed in relation to Freire's (2003) concept of creating and re- creating knowledge as pedagogy. The young people aged 10-14 clearly indicated the high value which they placed on the physical and practical involvement in learning which arts processes offer. The actualisation of what they had achieved in the form of object or performance was seen as significant by all of the young people. The processes that they used and the subject matter were not nececessarily new, but their creation was unique because it was made by them and exemplified the uniqueness to them of the process of learning which they have undertaken. The young people's descriptions of the value placed on being physically involved were counterbalanced by expressions that other types of learning processes did not involve them and were more difficult for them to value in terms of furthering their knowledge. The second dimension to emerge from the findings is the contrast between the teacher-pupil and the artist-pupil relationships. The young people described their relationships with the artist as not being like the teacher. Teachers were perceived as not fun, as people who constrained the types of communication and expression that the young people were most comfortable with, such as making noise and moving. The young people identified with the artists in the way that they dressed and expressed themselves; they saw them as being like them. Their descriptions point to a sense that they were in the learning experience together. This relates to Freire's interest in the teacher as participant in the learning process. It also reinforces the uniqueness of the experience of learning for each of those involved in the learning opportunities offered through use of creative processes.This research makes an important contribution to understanding how the diversity of pupil experience can be accommodated within learning and teaching. It offers insights into a pedagogy which is grounded in the unique experience of learning by individuals who value this for their own reasons and contributes to the growing knowledge of how arts processes can have a purpose in education. ReferencesFreire, P, (2003) Pedagogy of Freedom. New York: Bowman and Littlefield