Barret & Clements, 1997 Expressive Arts Programming for Older Adults Both with and without Disabilities

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Expressive Arts Programming

for Older Adults Both with and

without DisabilitiesDiane B. Barret EdD & Claire B. Clements

Published online: 15 Oct 2008.

To cite this article: Diane B. Barret EdD & Claire B. Clements (1997) Expressive

Arts Programming for Older Adults Both with and without Disabilities, Activities,

Adaptation & Aging, 21:3, 53-63

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Chapter 4Expressive Arts Programmingfor Older AdultsBoth With and Without Disabilities:An Opportunity for Inclusion

Diane B . BarretClaire B. Clements

The beneficial effects of involvement w ith the arts on adults whoare aging is well documented by researchers in the fields of artseducation, aging, and disabilities. Bloom (1980) notes more posi-tive attitudes and increased life satisfaction among elderly individu-als who participated in creative arts experiences. Clements (1994)focuses o n benefiting seniors through peer interaction and inclusioninto community-based arts programs. Goff (1992) documentsincreases in flexible thinking am on go ld er adults who were given

Diane B. Barret, EdD, is Creative Art s Director, Wellness Express: ~ r t s / A t -ness lntew ention for Olde r Adults, Univers i ty Af f i l ia ted program for Personswi th Developmental Disabi l it ies, Univ ersity of Georgia, 850 College StationRoad, Athens, G A 30602.

Claire B. Clcrnents, EdD, is Associate Professor, St af f Development and Tech-nic al Assistance Coordinator, Director, Aging In i t ia t ive and Arts Initiative, Uni-vers i ty Af f i l ia t ed program for Persons wi th Developmental Disabi l i t ies,Universi-t y o f Georgia, 850 Col leg e Station Road, Athens, GA 30602.

[llawonh co-indexing entry norel: "Expressive Arts Programming Tor Older Adults Both With andWithout Disabilities: An Opponunily for Inclusion." Barret. Diane 8..nd Claire6.Clemenls. Co-pub-lished simullaneously inAcliviries. Adapiarion & Aging(The Hawonh Press. Inc.) Vol. 21 , No. 3. 1997.pp. 53-63; and: Older Adulp wirh Deeelopmen/d Di.~abiliiie .s nd Leisure: /.wues. Poliq : ond Praciice(ed: Ted Tedrick) The Haworth Press. Inc.. 1997, pp. 53-63. Single or multiple copies or this anicle areavailable for a fee from The Hawonh Document Delively Sewice 11-800-342-9678.900a.m. - 5:W p.m.(EST). E-mail address: [email protected]].

@ 1997 by The Ha wo nh Press, Inc. All righ ts reserved. 53

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54 OLDER ADULTS WITH DEVELOPMENTAL DISABILITIES AND LEISURE

an opportunity to think creatively through the arts. Results of theBarret (1992) study underscored the validity of designing creativeart experien ces to foster self-expression am ong o lder adults, and theeffectiveness of encounters with art in allowing older individuals toaccess other world views and to reflect upon their own. Research byKatz and Katz (1991) shows that adults with disabilities when exposedto quality arts programming can make significant achievements. Har-lan (1993) points to improvement in the emotional health of individu-als with disabilities through involvement in an expressive art program.Given the value of providing older adults with opportunities forcreative expression issues arise which must be addressed: ( I ) howdoes one design and implement a quality arts program, and (2) whatneeds to be considered when including older persons with disabili-ties in community-based programs?Obviously, there are many answers to both of these questions.The Arts/Fitness Qualib of Life Activities Program, Clements(1994), provides a well tested model for developing arts programsfor senior adults both with and without disabilities. Basic to thedesign of each lesson is the Incubation Model of Creativity (Tor-rance, 1990), which includes the before, during, and after stages.The strength of the model is that it emphasizes the importance ofmotivation as a springboard for creativity, it provides sequentialideas for the actua l hands-on studio activity, and then sets aside timefor reflection, dialogue, and g roup s ha rin g Suggestions for carry-ing the experience into the lives of participants are included as animportant part of the final stage. The discipline based approach toart education espoused by the Getty Foundation (1985) is also in-corporated into the design of many art lessons. Th is model stressesthe importance of involving participants in aesthetic interaction,critical dialogue, art historical learning, as well as hands-on artactivities in order to enrich their total experience.

OVERCO MING ATTITUDINAL BARRIERSOne of the greatest challenges in developing an expressive artsprogram is that of attitudinal barriers. Many older adults believethat they lack creative ability, so they are m ore com fortable workingfrom established patterns or copying (Greenberg, 1985). Asking a

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Diane B. Barrel arid Cla ire B. Clemettts 55

group to generate their own images and ideas can trigger a greatdeal o f fear and uncertainty. It is importan t to create a safe environ-ment which is non judgmental and encourages risk taking. Somestrategies for helping participants move through this initial phaseinclude:

1. Encouragement, encouragement, encouragement! Find waysto give positive feedback which is genuine.2. Accept each person where they are developmentally and thenhelp them to see their own improvement.3. Join in yourself. Let the group see that you are willing to ex-pose yourself and take risks.

4. Ease the group into creative projects by designing a series ofexperiences which gradually involve more personal invest-ment and which build skill levels.5. Try a variety of media and approaches such as clay, photogra-phy, collage, puppetry, painting on an unusual surface, andgroup projects. Beware o f drawing on paper with real noviceswho gcnerally equate artistic ability with representationalskills. They may feel so unsuccessful that they will be dis-couraged from trying anything else.6. Spend time planning your art activity. The more energy you put&to gathering motivkional materials and thinking through the en-tire sequence of experiences the more effective the lesson will be.7. Design lessons which build on areas of strength within yourgroup of older adults. Find something that they already aregood at or are interested in a s a theme for the art lesson.

Lepore and Janicki (1990) provide this quote from staff at a demonstra-tion site where older persons with disabilities were included in commu-nity agmg programs: "Seniors with developmental disabilities are usual-ly cheerful and enthusiastic about program activities which contributesin a beneficial way to the collective good spirits of the [email protected]). This positive amtude can also enhance an arts programwhere many senior adults are fearful of failure or of self disclosure.

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56 OL DE R ADULTS WITH DEVELOPMENTAL DISABILITIES AN D LEISURE

PROVIDING OPTIMU M ENVIRONMENTSF O R ALL PEOPLE

In addressing the question, "how can older persons both withand without disabilities be successfully included in community pro-grams?" consider the following:A new time and movement is with us, and it has been called theera of community membership, characterized by an emphasis onfunctional supports to enhance community integration, quality oflife and individualization (Knoll, 1992). The day of building sepa-rate arts programming for people with developmental disabilities isover. Th e most beneficial settings for many people w ith disabilitiesto participate in the arts are community-based programs (Clements,1994). Community-based means programs that already exist andare operationa l in the com munity. Part of the reason these provide afine vehicle for people with disabilities who are interested in thearts and in self expression is because arts classes tend to have anon-judgmental, secure atmosphere, which is necessary to fostercreativity. Today people with disabilities, in many states, are exer-cising their rights to choose from an array of community arts pro-grams. As providers of programs in the arts, it is our responsibilityto understand how and what to do to promote positive inclusive,arts experiences. Not only should these programs be designed tofacilitate the growth and development of the creativity of partici-pants, but simultaneously they should contribute to happiness andcomplement social growth. B y using basic guidelines, people withdisabilities can be enabled to participate to their fullest potential,interacting with their peers who do not have disabilities.

Guideline #1: Explore how and where, in your community, thearts can provide vehicles for inclusion of people with disabilities.1. Analyze the community to determine if there are already exist-ing arts programs in places such a s the "Y," community agen-cies, departments of recreation, places of worship, schools,universities, and private organizations that would be good set-

tings for inclusion.

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Diane B. Barrel and Claire B. Clemenrs 5 7

Guideline #2: Explore ways to assess the suitability of each programto conduct inclusive arts programming. Questions to consider are:1. Is the administration receptive to fostering the inclusion ofpeople with disabilities in the regular programming?2. What experiences have the program participants previouslyhad with people with disabilities? Were they positive or nega-tive?3. Are participants willing to providing a nurturing environ-ment in which to include people with disabilities?4. Is the staff prepared to adapt and make programm ing acces-sible for people with disabilities? If not, explore avenues to ar-ranging this training.

Guideline #3: Provide in-service training for staff in community-based settings. Through staff training and working with seniors,ways to provide successful inclusive community programming.canbecome a reality. This approach maximizes the impact of what isalready available in each community.In addition to taking a look at the programmatic suitability ofcommunity-based settings, consider the suitability of the programto promote social inclusion, as it is put forth by Blaney and Freud(1994) in their definition of social inclusion relating to recreationand leisure. 'Does the programming occur with enough frequency to make apositive difference in the lives of people with disabilities?Is the intensity of the interactions between people with and without

disabilities enough to be of significance for people with disabilities?Will the person with the disability be equal to the person withouta disability? Will the relationship promote equality as in usual adultto adult interactions?Will the person with the disability be able to give to the personwithout the disability?Th e funding of a Project of National Significance by the Admin-istration on Developm ental Disabilities, called The Quality of Life/Arts Fitness Program for Older People with and Without Develop-mental Disabilities provided the nucleus for the development of a

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58 OLDER ADULTS WITH DEVELOPMENTAL DISABILITIES AND LEISURE

cluster of community-based, inclusive arts programs. Discussionsof two of these programs follow.

IMPORTANT PEOPLE-A CASE STUDYOF AN INCLUSIVE ARTS PROGRAMBASED ON THE QUALITY OF LIFE MODELThe Georgia University Affiliated Program (UAP) which is

funded by H HS, the Adm inistration on Developmental Disabilities,has an Arts Initiative. Under this arts umbrella falls The Quality ofLife Project, an artsffitness intervention, created and directed byUAP's Dr. Claire Clements between 1988 and 1991 which spawneda number of interesting programs. One such project, based on theQuality of Life museum component, is Important People, a mu-seum outreach program for senior adults both with and withoutdisabilities. Directed by Dr. Diane Barret and funded through theGrassroots Arts Grant Program o f the Georgia Council for the Arts,the project was designed to coincide with an exhibition ofphotographs o f well known African Am ericans held at the GeorgiaMuseum from January 24-March 13, 1994. Senior adults fromHope Haven School and the AthensJClarke County senior centerwere invited to participate in the four phase p og ra m .Phase 1

A pre-museum slideJlecture presentation at the AthensJClarkeCounty Senior Center whetted the interest of fifteen participants inthe art of photography. They examined antique cameras, looked atphotographs taken in the late 1800s and early 1900s, and discussedthe evolution of photography a s an art form. Photographs taken byDorothea Lange during the depression years sparked a great deal ofconversation. One senior adult reminisced about her mother's gar-den and its importance to their family dur ing the depression. Anoth-er fondly remembered the sweet potato biscuits her mother hadmade to save on flour during those lean years. A photograph ofMary McLeod Bethune from the Generations In Black and White

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Diane B . Barwr and Claire B. Clernetlrs 59

exhibition was exam ined to prepare the group for the museum fieldtrip, and then everyone shared old family photos which individualshad brought to the lecture. During the final few minutes of thesession participants were given the opportunity to become a pho-tographer and take Polaroid snapshots of each other.Phase I1

The following Wednesday the group met at the Georgia Museumof Art for a guided tour through the exhibition Generations In Blackand White: Photographs by Carl Van Vechten rom the Jam es Wel-don Johnson Memorial Collection. Folding camp stools providedcomfortable seating as participants viewed black and whitephotographs of African Americans who had made a tremendousvariety of contributions to our culture. Listening to a tape of BessieSmith, the "Empress of the Blues," singing "A'int Nobody's Busi-ness If I Do" brought smiles and started everyone's feet tapping.The group listened to an awe-inspiring breadth o f musical contribu-tions from Mahalia Jackson's rendition of "Take My Hand PreciousLord" to Ella Fitzgerald's "Take the A Train." One older man wasmoved to get up and start dancing to the rhythms of music by DizzieGillespie. Older adults not on ly viewed portraits of poets and writ-ers of the Harlem Renaissance such as Zora Neale Hurston andLangston Hughes, but they heard them speak through their writings.At the end of the tour, everyone had feasted on a banquet o f music,poetry, humor, and had learned a great deal about contributionsmade by distinguished people in the African American community.Phase III

In order to extend this experience into their lives, senior partici-pants were asked to become photographers themselves. A fewweeks after viewing the exhibition of photography, the group wasbrought back together at the senior center and each person wasgiven a disposable camera. This was the first time many of themhad actually used a camera and they were delighted at the prospect.The mechanics of how to turn on the flash, which button to push,and how to aim the camera were of initial concern. There was a

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60 OL DE R ADUL TS WITH DEVELOPMENTAL DISABILITIES AN D LEISUREgreat deal of laughter as the group practiced on one another. Atterdiscussing such issues as proper lighting and good composition,everyone was given a camera to take home with the assignment ofphotographing important people in their lives. Several wanted toknow if it would be permissible to take snapshots of pets who werespecial to them . This question revealed the importance of animals inthe lives of many older people.Phase I V

In the final phase of the project, cameras were collected, filmdeveloped, a n d participants were asked to select one photographwhich they felt best captured the image of their "important per-son." A wide variety of subjects included children, great-grandchil-dren, ministers, friends, pets, center staff, and hairdressers. Volun-teers worked with elders, taping their commentaries and helpingthem write a narrative description to accompany the photographs.An exhibition o f these photographic imageslcommentaries was heldin May at the Georgia C enter in conjunction with the UA P's Com-munity Collection of artwork. This annual exhibition brings togeth-er works of art by G eorgians both with and w ithout disabilities. Theexhibition gave viewers access to the artistic expression of theseelders as well as a knowledge of meaninglid people in their lives.Inlportant People was a project that had a number o f goals: ( I ) toraise participants' level of awareness of significant contributionsmade by a large number of African Americans, (2) to include senioradults both with and without disabilities in a creative arts program,(3) to allow participants to learn about photography as an art formand to express themselves through this medium, and (4) to honorolder adults by saying to them: "You are important! We want toknow more about you , and we want you to be involved in cornrnu-nity cultural events."

THE COMMUNITY COLLECTIONContn~uniry ollection is a vehicle for the dissemination of visualand performing arts. Originated by Claire Clements, the event is a

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Diane B. Barrel and Clai re B. Clemenrs 61

training site that provides' gainful employment for students whoconduct the event in its entirety, from sending out the invitations toreturning the packages at the end of the exhibition. This annualexhibition provides an arena for showcasing and sharing the arts bypeople with and without disabilities. Exhibitors and performers arefrom throughout the state. The opening reception attracts 150people and has featured such performers as a flutist without visionwho w as accompanied by a sighted pianist, a marimba soloist, and afitness group whose members are with and without disabilities.Each year the exhibition has grown and averages about 130 entrieswith 70 works by over 50 artists that are displayed in highly visiblespaces. Works are judged by museum educators, curators, artistsfrom the region and by panels of people knowledgeable in the artsand in disabilities. The last two years there has been an exhibitionby older people within the Community Collection show. The typesof work vary, such as collaborative ceramic tile pieces, photogra-phy, videos, collages, painting, drawings and stitchery. Most of theworks are quite personal showing that art transcends limitations,pushing them aside so that the act of creativity can take place. Eachyear a few works are purchased to add to the Community Collec-tion. When inquiries are made to purchase a piece, the communitymember is encouraged to contact the artist directly. Together theydecide the particulars of the sale. This activity hrther connectsartists with the comm unity on a very individual basis. The head of alarge national corporation saw the works and inquired about pur-chasing works of art. When he learned, much to his surprise, thatthe works were done by people with disabilities, his corporationbecam e the primary sponsor of the exhibit.

The works have been exhibited in prestigious spaces. For exam-ple, the UAP collaborated with the Mental Health Association andthe Alliance for the Mentally I11 and in 1993 held an exhibition andpremier performance at the Carter Center of Emory University inAtlanta. Again, in 1995 collaborating with the Mental HealthAssociation, works were exhibited in Dublin, Ireland.The programs discussed in this article were designed specificallyto be vehicles for inclusion of people with developmental disabili-ties into community-based programs. There have been many les-son s learned from the participants in each program. As we strive

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62 OLDER ADUL7S WITH DEVELOPMENTAL DISABILITIES AND LEISUREto meet the needs o f each community member we learn what to doand how to make the next program better.

AUTHOR NOTEDiane Barret rcccivcd her EdD in a n education from the U niversity of Georgiain 1992 specializing in art for older adul ts. Over the past four years she has servedon the staff of UGA's University Affiliated Program, directing the creative artsportion of Welltless Express, ar\artslfitness project for older adults in rural coun-ties. She has also directed senio r outreach program s from the Goergia M uscum ofArt and is project director for "Singing Quilts," a 1996 Georgia Folklife/Humani-

ties project with a strong intergenerational focus.Dr. Barret has published numerous articles and is the author of the art andmuseum com ponen ts of the recently published Arrs/Firness Q ~raliryf Lf e Acrivi-ties Program. She coordinated the national Qualily of Life visual arts teleconfer-ence broadcast from the Georgia Ccnter for Continuing Education on September29. 1994, and has been an invited speaker at aging and art conferences on state,regional, and national levels. She currently serves as Chairman of the LifelongLearning Affiliate of the National Art Education Association.Claire Clements authored and directcd Qualiiy of Ly e, An Expressive AridPhysical Firness lnnovaiive Training/Research/Sewice Program for People wlioare Older, a Project of National S igni figa nce grant awarded from the U.S. Depart-ment of HHS, Administration on Developmental Disabilities. For her HHS, Ad-ministration on Aging. grant award: "Quality of Life: A Series of NationwideAging and Arts Therapies Interactive Video Teleconferences," she received theNational University Continuing Education Association, Division of EducationalTclecommunication's 1995 Program of Excellence Award. She received theAAMR/Gerontological Society of America Special Interest Group on Aging's"1996 Special Interest Group on Aging Professional Leadership Award." Withher colleagucs, Clcments wrote Ar/s/Fi!ness, Qualily of L$e Aciiviries Program :Creative Ideas for Working wirh Older Adults in Group Serfings, Health Profes-sions Press.

REFERENCESBarret, D. ( 1992) Art and myih A doorwa.~n /he world view of Afiicati At,ierica~ielders. Doctoral disscn ation. U niversity o f Gcorgia.Bloom, L. (19 80) Toward an understanding of lifelong growth and participation invisual arts production. In Hoffman, D. H., Greenberg, P. and Fitzner, D. (Eds.),LiJelor~g earriitrg and ihe visual ar is (pp. 78-97). Reston, Va: National ArtsEducation Association.Blaney, B. C. & Freud, E. L. (1994).Trying to play together: Competing para-

digms in approaches to inclusion through recreation and leisure in Bradley. V.

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Diane B. Bartw and Claire B. Clemenrs 63J., Ashbaugh, J. W., & Blaney, B. C. (Eds.) (1994). Crealing individual sup-ports for people with developmental disabilities: A mandate for change atmany levels. ( p p . 237-253). Baltimore, MD: Paul H. Brooks Publishing Co.Clements, C . (1994). The artslfitness qualily of life aclivilies program (pp. 5-14).Baltimore Md.: Health Professions Press, Inc.Goff, K. (1992). Enhancing creativity in older adults. The Journal of CreativeBehavior, 26(1), 40-49.Greenberg. P. (1985) Senior citizens and art education. School Arls. 84(7), 38-40.Harlan, J. E. (1992). A Guide to Se rr in ~ p A Crealive Art Experiences Pto;eramfo r O lder ~ d u l l i ith evel lop men& bisabiliries. ~ l o o m i n ~ t o n ,nd: lndianaUniversitv. Institute for thc Studv of D eve lo~ me nta lDisabilities.J. Paul ~ e t & rust. (1985). ~ e y & d crealing: The place for art in America'sschools. Los Angeles, CA: Author.Kayc, A,, Sullivan, E. N., Benedict, M . A,, Knoll, J. , and Skowyra, D. (1994,May). Aging and deve lopm en/al disabililies in Michigan: A curriculum re-source packel. Lansing, MI: Aging and developmental Disabilities Project,Lansing Community College Section II1.A. p I.Katz, F. L. & Katz, E. (1987). Freedom to create. Richmond, CA: NationalInstitute of Art and Disabilities.Lepore. P.& Janicki, M . P., 1990, The wit to win: How 10 inlegrate older personswith developmenral disabiliries inlo communily aging programs. New YorkState Oflice for the Aging pp. 25, 35.Torrance, E. P., & Safter, H. T. 1990). The incubation model of leaching: Gellingbeyond /h e aha! Buffalo, N Y: Bearly Limited.

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Barret & Clements, 1997 Expressive Arts Programming for Older Adults Both with and without Disabilities