Claire Ford -...

Claire Ford

Enriching Life with Creative Expression

September – November 2011

Winston Churchill Travelling Fellowship Report

“Arts and Dementia Programming – Creative Aging”

CONTENTS

Introduction p.1

Destination Choices p.2

Aims of the Trip p.3

Milwaukee- The Luther Manor Experience p.3-4

- Timeslips p.4

- SPARK! p.5-7

- NADSA – National Adult Day Services p.7

Association Annual Conference

- United Community Centre p.8

- Dementia Screening p.8-9

Chicago- Alzheimer’s Association, Chicago Chapter p.9

- Meeting with Deborah Delsingnore p.9

Minneapolis- Kairos Dance p.10-12

- Walker Art Centre p.12-13

- Minneapolis Institute of Art p.13-14

- Alzheimer’s Association, Minneapolis Chapter p.14

New York- ‘Meet Me at MOMA’ p.14-17

- Alzheimer’s Association p.17-19

- Heights and Hills p.19

- Alzheimer’s Poetry Project p.19-21

- Well Tuned / I Pod Project p.21-23

- Storycorps p.24

- The Metropolitan Museum of Art, Handling

and Touching Programme p.25

- Studio Museum – Arts and Minds p.25-26

- Meeting with Mary Herschowitz and Drama

Therapy Programme p.26

- Folk Art Mueseum / Jewish Museum / Rubin Museum p.26

- Dance for PD p.26-27

- Guggenheim’s, Partially Sighted Programme p.28

San Francisco- Stagebridge p.28-29

Washington DC - Centre for Creative Aging p.29-30

- Kreegar Museum p.30

- IONA Services p.30-31

- Leisner Home p.31

- Society of the Arts in Healthcare p.32

Conclusions p.32-42

Since the Fellowship p.42

Acknowledgements p.42

Appendices p.43-49

Introduction

Growing up with grandparents, great grandparents and other elder’s in my life has encouraged strong values and respect for the elderly generation. From a young age I volunteered for the Alzheimer’s Society at a local day centre using both Visual Arts and Music to engage and develop communication skills. From this point on I developed my education through the Arts, developing and currently working as a freelance Creative Practitioner facilitating Art Programmes to a wide spectrum of vulnerable audiences, the favourite being that of Dementia.

Aging older can be a frightening and daunting experience. Not only does health and mobility decrease but there can be numerous loses of family members and friends. So how do individuals feel when they develop Dementia? The loss of memory can affect relationships, communication, language, problem solving, functioning in daily activities, behaviour changes and emotions. The disease affects not only the individual but families, carers and friends alike.

Today’s culture are ignorant to Dementia, unaware of the potential positives rather than the saddened and bleakness of having the disease. Our culture needs to change to open up further opportunities and access for this audience. This will improve health and well-being, decrease depressive tendencies and empower individuals in their own life.

Dr. Gene Cohen of the Centre of Creative Aging said that “as cognitive ability deteriorates with Dementia, creativity increases, enabling new ways of communication”. Dementia is predicted to double in the next decade, with the arts to be seen as a powerful source, providing rich life opportunities for people affected by Dementia.

The USA are developed in this thinking, promoting the Arts as an access tool to unleashing creative potential. The Arts provide stimulation, engagement and empowerment, raise awareness, develop relationships with loved ones and contribute to this change in culture. Artists and Creative Therapists are closely collaborating with medical staff to provide unbelievable care programmes around the US. Due to their extortionate medical costs over in the US, these programmes are vital in cutting medical costs and improving overall health and well-being.

When working closely with facilities and organizations in the US I was overwhelmed with the dedication and commitment they have with working with this generation. The Arts in general are powerful and prevailing and really enhance and enable the individual to be ‘without’ the disease. I hope to share the outstanding work I saw on my travels, promoting the emotion and joy the Arts bring to all involved.

This report documents the phenomenal 10 weeks that I spent in Milwaukee, Minneapolis, Chicago, New York, San Francisco and Washington DC on behalf of the Winston Churchill Travelling Fellowship. Due to the amount of places visited, people met and research undertook it’s impossible to include all details. Therefore I have attempted to summarise the key learning points in relevance to Arts and Dementia programming and what I set out to achieve.

Claire Ford, Winston Churchill Fellow 20111

Destination Choices

During my degree at Manchester Metropolitan University I developed my understanding of Arts and Health by undertaking short courses alongside Director Clive Parkinson. I realised how beneficial the Arts were for everyone to promote positive health and well-being. My relationship developed with Clive and I later became an intern for three months after I finished my degree. For the period of three months we researched, networked with important bodies and put funding forward for future Arts and Dementia projects. Through collaboratively working with Arts for Health, Clive mentioned the Winston Churchill Travelling Fellowship and how this would develop and enrich my Dementia knowledge. And here I am today after being awarded….

Researching Arts and Dementia at Arts for Health meant that I knew the most relevant and developed organisations in this field. Arts for health connected me with Carrie McGee who works on the ‘Meet me at MOMA’ access programme in New York and Anne Basting a leader in research and the founder and Director of Timeslips, Milwaukee. Both Carrie and Anne helped to develop my connections around the US, providing me with essential information and advice on what would be most beneficial to observe and research whilst on my trip. Due to my interest in multiple participatory Art forms I aimed to see a mixture and innovative range. Through this interest I developed research in Milwaukee, Minneapolis and Chicago looking at smaller city access programmes in relation to New York, San Francisco and Washington DC. My destinations were chosen through programmes that were already set up and have recognised success in the Dementia spectrum. Visual Arts, Theatre, Poetry, Storytelling, Music and Dance were all aspects I wanted to delve into, to understand the options and potential of mixed and collaborative Art forms.


1. Milwaukee

2 weeks

3. Minneapolis 1 week

2. Chicago 3 days

4. New York 1 month

5. San Francisco 1 week

6. Washington DC 10 days

Aims of the Trip

To develop diverse international knowledge of how various organizations work to promote well-being in dementia sufferers.

To network and discuss personal ideas that would help both countries engage and understand different outcomes and benefits.

To visit and practice alongside American partners and recognize their way of working in relation to the arts and dementia in the UK.

To differentiate between various backgrounds, sex, religious beliefs as to what can be achieved through Art forms.

To experiment and explore multiple participatory Art forms in relevance to the stages of Dementia and the specific individual, considering collaborative Arts to what is the correct Art form for that individual.

To expand this personal journey and interest internationally, interacting with those important bodies across America from art to health organizations.

To develop my cultural awareness and academic esteem, improving my ability to promote arts and dementia.

Milwaukee - The Luther Manor Experience

When planning my Winston Churchill Travelling Fellowship I wanted to embed myself within organisations as much as possible to develop those committed relationships which are invaluable and really enhance the experience.

I stayed in an Assisted Living apartment at Luther Manor for my time in Milwaukee and straight away became aware of the close knit complex. Everybody was friendly; I took part in fitness classes, and ate in the various restaurants located around Luther Manor. On evenings I spent my time playing cards, dominoes and draughts with residents. These relationships were enhanced over time and I am still in contact via letters…truly amazing people…

- Fitness at Luther Manor

I was in need of exercise whilst I was staying at Luther Manor in Milwaukee so I took Mary-Kay (the instructor) up on her offer of movement classes that were taking place daily in the assisted living complex of Luther Manor. I went to varying levels and oh boy they were strenuous and used various muscles within the body. It sure did make me feel unfit in comparison to the older generation. Fitness programmes included Water Exercise, Strength and Condition, Fitness and


Balance and Stretching. These are all take place weekly and last for around 40 minutes. These exercises are ever so valuable for older people and promote fitness and overall health and well-being.

This quote really sums up Luther Manor:

“We are all pilgrims and travellers. From “Birth till Death” we travel between the eternities. May these days be pleasant for you, beneficial to society, helpful for those you meet, and a joy to those who know and love you best”. (Quote from welcome letter in accommodation at Luther Manor).

- Timeslips Timeslips website: http://www.timeslips.org/

Timeslips is a storytelling programme that was developed by Anne Basting to use as an improvising and exploration tool for individuals with early to mid-stage Dementia. It was first tested as a pilot study at Luther Manor and today is a regular programme at the Day Centre.

One photograph or image is given out to every participant in the group to view. Imagination is then used to develop new stories about the photograph. The staff delivering the Timeslips programme will ask sensory based questions to spark creative ideas, such as ‘What do you think the food smells like?’ All of the responses are written down and re-read at the end of the session. The stories are fabulous and reflect all of the individual’s personalities in some way, such as their favourite food. So Timeslips provides an opportunity for humour, imagination but to also get to know the members of the group.

Timeslips can be incorporated into many situations or environments such as storytelling in art exhibitions or within sensory based objects. There really are no limitations to Timeslips; stories can be as long as possible, with any theme. It empowers all individuals who participate and provides brain stimulation. Not only is it humorous but mundane photographs are coming to life through descriptive language and there is a huge space for freedom of imagination.

Timeslips is so flexible; it can be used at home, care facilities or at a bedside. It’s a fantastic tool for engaging with loved ones with no difficulties or frustration over memory loss. Most recently a Timeslips website has been developed providing online training to others who want to implement this programme in their facility, storytelling collaborative forums, and a page where you can test your writing and storytelling skills.

“Luther Manor believes that TimeSlips can bring together participants, family, staff, and volunteers in a unique celebration of people's creativity and impact on the world around them”. Timeslips is nationally recognized and recently being featured on the Today Show for its phenomenal work (see featured link). http://video.today.msnbc.msn.com/today/45435491#null

I have had the fantastic opportunity of taking part in various Timeslips activities all around the US but the most special was at Luther Manor – its home where it was piloted. Around 12 participants took part and the story that was developed was so vivid and innovative. It allowed individuals to look deeper within a photograph or image to read emotion, colour, weather and scale. As Timeslips was taking place, it was as if the room came alive. All participants were laughing and imagining various situations, so to have this freedom of speech is highly empowering for individuals with Dementia.


Findings from Timeslips– Provides freedom of speech, with no boundaries of right and wrong– Does not cause frustration or confusion thinking about the past, but concentrates on the

present, future and new stories – Brain stimulation– Humorous – Provides a safe environment for personal stories too if inspired – Perception development – looking closely and reading the Art, i.e. the emotion on

someone’s face– Develops Exploration and Improvisation – Can collaborate with others, staff, family and friends– Staff find out stories when the individuals are participating– Simple concept to understand, not a confusing programme

- SPARK!

SPARK! Is a new program for caregivers and loved ones suffering from beginning to mid-stage Alzheimer’s disease and other forms of dementia. Helen Bader Foundation supports ten museums and galleries in the Milwaukee and Minneapolis area to carry out such programmes. These are listed below.

The ten museums participating in the SPARK! Programmes are: Milwaukee Art Museum Milwaukee Public Museum Milwaukee County Historical Society Leigh Yawkey Woodson Art Museum, Wausau Racine Art Museum Racine Heritage Museum John Michael Kohler Art Center, Sheboygan Minnesota Institute of Art Minnesota Marine Art Museum Madison Children’s Museum Museum of Wisconsin Art, West Bend

(Those highlighted in red are the programmes I worked closely with / observed during my time in Milwaukee and Minneapolis and will discuss these further below)

- Milwaukee Art Museum

Students from Carroll University along with Pacia Sollumi worked in collaboration with both the Milwaukee Public Museum and Luther Manor to deliver their SPARK programme. The environment altered weekly from Museum to Day Centre and this made a huge difference to engagement and participation (discussed later in findings).

This SPARK programme provided both Art Gallery experience and Studio exploration. A piece of Art work was chosen by students to discuss in a similar response to Anne Basting’s ‘Timeslips’. Studio activities were then responsive to the selected art work. Activities included watercolor, drawing and clay sculpting.

- Milwaukee Public Museum

The Milwaukee Public Museum works in a very similar way to Timeslip’s and the other SPARK programmes but differs in environment. Instead the museum takes groups on journeys around interactive exhibits. There are many sectors of the museum from Dinosaurs, to Around the World, Under the Sea and Environment. But the programme I observed focused on ‘Around the World’.


http://www.lywam.org/information/index.cfm?room=events#adult

http://www.minnesotamarineart.org/ProgramsEvents/SPARKProgramforMemoryLoss.aspx

https://www.jmkac.org/Spark

http://www.ramart.org/spark

We were taken through Iceland, India, China and Egypt for engaged discussions to inspire new stories and meanings of the exhibits. All of the exhibits were astoundingly exact and reflected that place. When in Iceland, the temperature dropped and in Egypt it was warm. There was sand, elephants, jewellery and food in the Indian exhibit which inspired much creative conversation. The Public Museum is an ideal place to take individuals and their loved ones to, discovering new journeys to places they may have / or may want to go to. A carer mentioned that ‘My mum and I used to travel a lot, so this is perfect to keep seeing such realistic places, without the confusion of getting on an aeroplane’. This environment was loved by everyone on the access programme and could have easily carried on for an extra hour. It did just that….

I was speechless when I realised the seriousness of being stuck in a lift for two hours with four individuals with dementia and their carers. After completing, what was a fantastic SPARK programme at the Milwaukee Public Museum it was time for lunch. Everyone jumped in the lift and that’s when it hit us…WE WERE STUCK! A wooden broom stick was lodged down the shaft, dangling us between two floors. The nervous laughter began.

The carers and I were all becoming very worried when role reversal set in. Those with mid stage dementia began singing and laughing to keep us occupied! One lady even sang a nursery rhyme in French which was extraordinary and certainly took our breath away. To me this is a prime example of ‘Creative Aging’ in action! Nobody knows what was going through their minds that day, but they were able to react to a panic stricken situation creatively before any of the younger adults stuck in the lift that day.

- John Michael Kohler Art Center, Sheboygan

The SPARK programme at John Michael Kohler Art Center was the first one I observed and one of my personal favourites. This was my first main day in the US and the facilitators and group automatically made me feel comfortable and relaxed. It was apparent that they made the prime audience feel the same too.

The theme was ‘Personal Identity’ and with the main exhibition being ‘Forgetting Memory’ it was perfect!! We began with socializing over breakfast followed by the main studio activity – hand casting using wax. Working with families, caregivers or staff, participants had to decide on appropriate hand position. A married couple held hands, some men had their hands in a fist shape and so on…during the first half a masseuse was also available for hand massages. This helped movement for the participants and promoted different feelings within their hands.

We then moved into the gallery space of ‘Forgetting Memory’, viewing miniature clothing and its identity. In the same groups we discussed ‘What Clothing is important to you and really identifies who you are?’ During this time the facilitator passed out many different textiles from fur to lace and medals. We then shared stories with the

groups which were fascinating and emotionally written. One lady spoke about her ballet shoes and the way she used to dance another man about his medals and his experience of war.

The programme concluded with adding the hand cast and written clothing stories into small decorated boxes. It was a beautiful programme, really pushing and promoting the way we are all


identified. All participants were engaged for two hours and stayed afterwards too to look around the galleries some more.

Comparison to Timeslips- New way of developing stories, through sensory based objects and visual art

exploration- Always have something to take away and treasure - One to One working - Emotional- Exploration of materials and processes

- Minnesota Institute of Art

The SPARK programme that took place at the Minnesota Institute of Art will be discussed in greater depth in the Minneapolis Chapter (Page 17/18).

Findings from all SPARK Programmes– Differences in Engagement levels dependant on environment (Art Gallery in comparison

to Day Centre). Audiences seem to be more engaged if they are in a new place.– Consider logistics at all times – moving from gallery space to studio. Is it too far? Is it

easily accessible? – Sensory based art forms are more successful in promoting stimulation – Quick responses via Art Activities were proved to be more successful – i.e. Wax Hand

Sculptures – No pressure or failing aspect to activity– The networking part of a programme was invaluable for the participants – they were able

to become familiar with surroundings and others they were working alongside– Networking at the beginning of a programme and a debriefing at the end worked

fantastically – Studio or Gallery in the first half of the programme or the second half?

- NADSA – National Adult Day Services Association Annual Conference

I was very excited to be able to attend the National Adult Day Services Associations Annual Conference, which was luckily held in Milwaukee whilst I was there on my fellowship. I signed up to various speakers during the two day conference and learnt a lot from various approaches and ways of working. The conference was a great insight into measuring techniques for person centred care, creative engagement and personalisation. I intend to test these measuring techniques out in the future back in the UK. During the presentations I became aware of the influence on design and the building framework on the individuals with dementia. Beth Arnold from Luther Manor spoke us through the decisions of design and how behaviour can differ in various places dependant on design. “We shape our buildings; thereafter they shape us” – Winston Churchill himself. Colour, size, furniture and brightness into a room can change the outlook of individuals participating in an activity. Therefore all care facilities should be taking on board news ways of stimulating residents.

There has been a huge growth of 35% in the number of Adult Day Services in the USA since 2002. There is one direct care worker for every six participants in adult day services. Adult day services are leaders in Community-based care for individuals with Alzheimer’s disease and other dementias. Approximately 90% of centres offer cognitive stimulation programs; almost 80% provide memory training programs and more than 75% offer educational programs in the US. This is extraudinary and a huge contrast to the support in the UK. Could this be an outcome of the high medical costs the US are facing today?


- United Community Centre

My first creative session that I observed was that at United Community Centre and was solely Spanish speaking. It was difficult for me to speak to the residents but I could quite easily

communicate using the arts. Language is no barrier for the arts. The facilitated technique used was clay and the aim was to make it into facial expressions that articulated the individual’s current mood. I was able to add humour and get to know the residents in more depth by making a funny face. Humour in art is highly important, and a good quality to have in any facilitator.

I was invited by Al Castro to attend another creative session, which tested both brain stimulation and creativity at the same time. Each

participant had lived all around the world and nostalgic stories were shared within the group. It was really interesting as It was approached and facilitated similarly to a lesson, but it worked for the group. Responding to the group’s needs and abilities really does empower each and every individual. At the end of the session, the group engaged in Zumba dancing. This was extraordinary as everyone participated either by standing or by chair or walker. Zumba promoted longer engagement and stimulation for further activities on return. This session incorporated creativity, brain stimulation, movement and exercise all in one. Is this possible to regularly facilitate activities under just one theme?

- Dementia Screening

I thought it was about time to put myself through the dementia screening process. I wanted to feel like an individual who was undergoing the initial tests and early diagnosis and to really understand all emotions and pressures. Al Castro put me through the Aidenbrooke Cognitive Examinations in his office space. I have never felt under such pressure, even though I knew the outcome wasn’t for real. From start to finish, from memorising the date, year, president to drawing cubes and carrying out orders, I felt under scrutiny. I found a lot of the questions quite difficult and challenging. Tasks included counting backgrounds from 100 in fours and drawing joint pentagons without copying. As an artist I struggled, couldn’t imagine or pluck up the answer, so how do individuals with the worry of dementia feel and cope with this test?

As I was participating in the examination, it came to my attention that a lot of the tests were visual. It tests perceptual abilities, through organising sensory based information. So is it difficult for individuals with dementia to comprehend sensory based art activities? E.g. using clay that feels like dough? Or do sensory based activities Tests in fact promote our inner imaginations?

The Aidenbrooke examination also tests our visuospatial abilities. It looks at our mental imagery and ‘inner sketchbooks’ and is closely linked to memory. This can hold valid clues to how we use and develop our imagination. It’s similar to the rubic vase idea. Do you see a vase or two faces?


All of our brains work in entirely different ways and this is where the arts can inspire innovative and visually exciting results, using the imagination.

The relationship between depression and dementia can be closely linked, with the level of depression affecting the diagnosis. There are specific tests used to provide essential information on various parts of the brain. So if we have a happy and have a fulfilled life, are we slowing down the onset of dementia? It is said that the arts can lower depressive tendencies and encourage new skill building and finding that inner self.

Chicago- Alzheimer’s Association, Chicago Chapter

I met with Monica Moreno at the Alzheimer’s Association, Chicago Chapter. It was a highly enriching discussion finding out more on what is available for individuals in the Chicago area.

A National Board is set up in every sector of the Alzheimer’s Association across the US which selects advocates living with the disease to become advisors for up to two years. This empowers those with dementia to have a voice, raise awareness to others and reduce stereotypical stigmas. They are selected via interview and speaking to families and carers for their suitability. No assumptions are made on medical backgrounds by the Alzheimer’s Association, but it is about getting to know them and understanding their aspirations for the board. I think this enables a new way of changing the stigma associated with dementia and looks at the positives and attributes of the person, rather than the decline of the disease. It is a fantastic way of stimulation for individuals who used to carry out intellectual or social jobs. It was interesting to find out what the panel today used to do. Job roles used to include a Bishop, Nurse, Vice Presidents of companies, Prison Chaplin and ironically a Researcher for Alzheimer’s Association. This will bring a new meaning to life and the power of enabling a positive support system for others.

The Chicago Chapter is regularly carrying out pilot programmes to facilitate more and more programmes for this high rising disease. And today, many more individuals with Alzheimer’s are signing up to test new ways of working and practice, which is fantastic!

Another asset to the Chicago Association is the Culture Bus Social Programme which is made available to those living with memory loss in Chicago by Judy Holstein. Twice a week the bus will organise and transport individuals to either a cultural outing or to a landmark in the area. Lack of transport can deter cultural activity, so this is an essential part of access to help and assist this generation.

- CJE Senior Life with Deborah Delsingnorehttp://cje.net/

CJE Senior Life is a support network of housing, healthcare, community services, education and research, helping those with memory loss across Chicago.

Deborah Delsingnore works as an Art Therapist, delivering both one-to-one and group programs. These are based around clinical, wellness and community. It was interesting to discuss the differences between Art Therapy and Creative Activity and what both tools can achieve with individuals. This can be a confusing concept for care facilities both in the USA and UK, and how this is clearly identified is uncertain as the two roles cross over in many ways. Should Creative Practitioners be collaborating with Art Therapists when considering the Health and Well-being of an individual?

Minneapolis- Kairos DanceKairos Dance Website: http://www.kairosdance.org/pages/home


Kairos Dance is an intergenerational dance company founded in 1999 by Maria Dubois Genne. The Kairos Dance group enable a safe and comfortable environment to create a new vision of dance that is welcoming and inclusive of all ages, shapes and sizes, abilities, backgrounds and life experiences. Kairos Dance aspires to transforms lives through movement and story. I spent the majority of a week with the Kairos group and it was unbelievable, transforming not only my life but such an attribute to my fellowship research.

Designed for older adults, Kairos Dance also offer, ‘Dancing Heart: Vital Elders Moving in Community’. It is designed around interactive dance and storytelling which provides stimulation for physical, emotional, cognitive and social well-being. Kairos Dance usually work with a group once a week, developing relationships and confidence.

Care Facilities that Kairos Dance works at:Fairview Seminary HomeLake City Health CentreWilder Foundation, Memory ProgrammeEbenezer Care Centre Red Wing

The team are unbelievable people and artists in their own right who value everything and everyone. They take all stories, personalities and humour on board to make individuals feel at

home and part of one community.

‘Dancing Heart’ begins with warm ups and personal stories, therefore the residents lead the majority of the session. Nobody is forced or told to carry out a certain dance move, but encouraged and supported to develop their participation. From wheelchair bound to walker, everyone can participate in some way or form. This can be as little as a finger or foot tap to chair

dancing or swaying in their seat. To some extent this can be reminiscent of social dancing. Kairos Dance inspires art making exercises to empower and improve the overall quality of life.

Measurements of improvement after taking part in the ‘Dancing Heart’, included cognition, creativity, depression, balance and the overall health and well-being of an individual. Quotes from Maria Gene: “We are moved by the moments when art, personal change and community building come together”. “I believe it is my responsibility to facilitate self-discovery and empower each person by creating meaningful and even profound art through dance. Dance changes the dynamics of relationships between people, heightening social interaction and dissolving formalised relationships, such as those between care professionals and patients, to ones of peers creating and discovering together”. “Theatre can be a sacred place, to find you again”

These powerful quotes enable us to see the affects the arts have on our culture and community. The arts are such an effective tool in empowering change and positivity within our community, especially with the elderly.

Findings from Kairos Dance- Everyone has the choice of how they want to participate, from tapping their hands sat

down to dancing in the middle of the circle- Choice of theme, music and type of dance


- No expectations to complete a dance or theatre production- It is not only the aesthetic quality of dance that is important, but the emotional feeling

and what is happening there and then- Dissolves formal relationships and breaks down all the boundaries of what is possible- It promotes ‘inner’ connections between all kinds of people- Conscientiously works around the logistics of all care facilities and residents - Open minded approach - Stories and people are heard which later lead the activities - Reminiscent of movement, dancing and music- Humorous - No ‘Dancing Heart’ sessions are ever the same - Cross Collaborative – which allows change and wider choice of participation

(Theatre, Visuals, Dance and Music)- Supports Dr Gene Cohen’s ‘Liberation Phase’ - One hour session is the correct amount of time for a Kairos programme- Sitting in a circle is important – everybody is involved and encouraged- Men facilitators and volunteers really helped to engage both sexes, including men - Stops health declining, helps positive brain stimulation- Staff Satisfaction

The Kairos Dance team are patient, kind and respect everyone for who they are. To take part in many ‘Dancing Heart’ programmes around Minneapolis and St.Paul was truly moving. For me, it was an outer body experience. I felt like I was part of a new world and everybody was equal. All abilities, personalities and backgrounds were alike which inspired an energy and strong bond between everyone that was involved. Movement, Dance and Music can provide a powerful new language for communication and it is successful to engage and empower. I was blown away with how Kairos offers collaborative art forms to access new territories to get to know the participants.

Each session had a theme and whilst I was sharing the Kairos experience, the theme was Jewish New Year. Traditional Jewish songs were sang along with throwing bread crumbs into the water. This represented ‘throwing away any worries or anxieties for the New Year’. The group shared what they were ‘throwing away’ and this empowered everyone as a group. Worries included disabilities, worry, fear and government. Honesty is essential with every Kairos Programme. At the end of each session, the same song is sung in unison. It’s a phenomenal way of concluding the session with lyrics that really relate to the activities of Kairos Dance. To my astonishment every member of ‘Dancing Heart’ knows the lyrics. This just proves how essential the arts are and how we can communicate in an alternative way.

A Chorus and Verse from the concluding song, Dancing Heart:

Barbara McAfee, Great Big LoveThankyou, Thankyou for this Great Big Love, Thankyou, Thankyou for this Great Big Love, And I am saying Thankyou Thankyou, for this Great Big Love, Thankyou, Thankyou for this Great Big Love.

I’m growing up and I’m growing grey, We are not even related in the usual way, But even a stranger can look and see, That we belong to one family…


Below I wanted to share some stories with you from a couple of my favourite groups:

The Veterans I was unsure of how the ‘Dancing Heart’ programme was going to engage around 30 male veterans. But to my amazement, it did just that. The session ran over one hour due to the enjoyment and humour we were all participating in. I was asked to dance by various veterans and what an honour that was. I was overwhelmed with emotion when we finalised a dance with passing energy around a circle. Three grown men cried and became vulnerable to others. This insight shows how Kairos Dance is really just one big family.

Intergenerational Dance Company It came to my attention how important the arts are when it comes to engaging two age groups. Young school children and elder’s came together in a remote park to share interests in dance. It was extraordinary. Not only did the elder’s develop a ‘new’ found energy whilst dancing alongside the younger ones but felt engaged within their community. They shared stories and jokes and helped to develop their knowledge. The younger generation developed empathy for the older generation. Both generations design and practice a production which is shown to the larger community every season. Intergenerational work is essential for developing our culture, it is integral to bridge the gaps between these two generations.

Nationally Recognised Kairos Dance is nationally recognised for its enthusiastic and committed ‘Dancing Heart’ Programme. Kairos Dance has made many headlines for its ground breaking work.

It was awarded for the:2011 Minnesota Aging Services Excellence & Innovation Award 2008 Mind Alert AwardBook:Genné, M.; Anderson, C.(2011). Coming Alive: Kairos Dance Theatre's Dancing Heart™--Vital Elders Moving in Community. In P. Hartman-Stein & A. La Rue (Eds.), Enhancing Cognitive Fitness in Adults (285-299). New York: Springer

Please see Appendix.3.for Kairos Dance press releases and additional news extracts

Quote from Dianne – a member of the Intergenerational Dance Programme:“Minneapolis is like a library, and I am a book in that library. People read me and my pages but don’t read for long enough to get to my most exciting bits, so they don’t really know me”

I was blown away when Dianne, a lady with mid stage dementia spoke about her feelings related to living with dementia. It was unbelievable and made sense about our community and culture today.

Dianne was asked to write her personal story of the affects dance has on her life for the Minnesota Women’s Press, October edition. It is a truly inspiring read.

- Walker Art Centre / Contemporary Journey’sContemporary Journey’s Website: http://www.walkerart.org/education-community-programs/accessibility-initiatives

The Walker Art Centre in central Minneapolis provides ‘Contemporary Journey’s’ which is an access programme of tours and hands-on Art Making for individuals with Alzheimer’s, their care partners and family members.


https://springerlink3.metapress.com/content/q7r75n784ql2l183/resource-secured/?target=fulltext.pdf&sid=nl2yjcxizhf4ypx2u5lq21z4&sh=www.springerlink.com



http://www.fairviewebenezer.org/fv/groups/internet/documents/web_content/s_039551.pdf

http://www.fairviewebenezer.org/fv/groups/internet/documents/web_content/s_039551.pdf

“Through conversational morning tours that tap multiple senses and all-day art labs that introduce myriad ways of seeing the world, participants have the opportunity for self-expression and community building”.

Taken from the Contemporary Journey’s flier.

“It’s a happy place – a good balance between looking and doing. We can leave the world outside and just be here with no expectations”.

Taken from a Contemporary Journey’s Participant.

The Walker Art Centre is in partnership with the Alzheimer’s Association and they support their dedication to their access programmes. It is the only Contemporary access programme that I came across so I was excited to find out more. It was interesting discussing the programmes findings with both Courtney Gerber and Ilene Krug. Through using an open question technique they believe speaking about traditional art works can promote more conversation as individuals can relate to it. But they hope to push the boundaries of what is possible by inspiring conversation around contemporary art. Similarly to other creative access programmes, the Walker designs themes around the tours and art labs but with a more abstract theme, such as colour. The Art Lab side of the access programme is based around manipulation, the senses and building. A lot of the constructive art is made with a theme around architecture (in a broader sense).

The ‘Contemporary Journeys’ gallery tour and art lab do not happen on the same day. The staff believe that individuals with Dementia respond well to one location at a time. Therefore they run parallel, one week a gallery tour and the next the art lab. Prompts are used in the art lab such as images, noises or smells to inspire memories and ideas for the studio activities that they saw previously in the gallery. The logistics of a space in fact design the programme.

Findings from the Walker Art Centre- Open questions facilitate conversations and a time for the participants to lead the

conversation. If they feel they want to reminiscence this is their choice.- The only programme that charges for its access programme at $5 for seniors and

adults (people will pay this to attend the programme).- To promote fun and enjoyment- To consider what conversations may arise whilst looking at a specific piece of art

work (various contemporary pieces may be disturbing for some). - Allow the programme to go past one hour if all participants are engaged and

enthusiastic about the activity - Consider the logistics of the gallery space – can the tour and art lab happen on the

same day? Does it matter whether both aspects happen on the same day?

- Minneapolis Institute of Arthttp://www.artsmia.org/index.php?section_id=26

‘Discover Your Story at the MIA’ is a tour for visitors with memory loss and their friends or carers. Its main focus is for individuals in the early and middle stages of Alzheimer’s to take part in thematically related artworks in the museums galleries, alongside their carer, friend or loved one. Its main goal is to provide a thought-provoking environment to discuss art and socialise.

Similar to other access programmes, developed from the pioneering ‘Meet Me at MOMA’, its focus is on personal interpretation, making it a person centred activity. This is not Art History but an activity which draws on the past. This differed slightly in comparison to other access programmes. The aim of MIA was to ‘Discover themselves while reminiscing’, whereas the pressure and frustration of reminiscing is demolished in other organisations, concentrating on the present day and imagination. This way if individuals feel the space and need to reminisce then they can freely do so. It is difficult to know whether reminiscence based projects can be well received by the users, but this can be identified by pre-visit questionnaires which the MIA supply before attending the museum.


There can be many difficulties faced when facilitating such as session such as hearing difficulties. Many organisations have the option of using listening devices when participating in a programme. When the participants arrived at the MIA they were routinely given a pair of headphones which were linked to the docent’s microphone. It became difficult to discuss in a usual manner as the carers, volunteers and researchers were not linked into the system with a microphone. It became rather confusing for the participants to listen to all members of the group, due to wearing the headphones. This was overcome through the docent using multiple repetition techniques to discuss what the carers had previously said. Headphones are used due to the programme taking place when open to the general public, so all members of the group can hear clearly. But how can all members of the group communicate effectively, with or without headphones?

Not only did the participants of ‘Discover our Story’ leave with art works to enhance creative discussion in a different environment, but they also left with a sunflower. The sunflower related to a piece of art work that had being discussed. This provided a long lasting sensory appreciation to the participants. They left elated with what they had received. Could objects be given to participants to create new stories and to recognise their previous experiences within the museum, similarly to a postcard or image?

- Alzheimer’s Association, Minneapolis Chapter

Similarly to the other Alzheimer’s Association’s, the Minneapolis Chapter provides for its sector by encouraging support, networking opportunities and guidelines for the future.

There are 100 active support groups across Minnesota; these involve social interaction with others who are going through something similar. They make individuals feel less alone and inspire hope for the future. There are many memory information resources and guideline booklets which help with planning for the future, caring and support for the rest of the family, a tick list booklet of things to do when diagnosed, regular questions answered and Care Partner Support Tools. This information is very useful for those affected with the disease and lead to a positive approach to coping and living with dementia. Alzheimer’s Associations across the USA aim to diagnose early and prepare families and the individuals for tomorrow and the future.

New York-‘Meet Me at MOMA’ – The Museum of Modern ArtMeet Me at MOMA website: http://www.moma.org/meetme/index

The “Meet Me at MOMA” programme in New York (Museum of Modern Art) is where my planning began. It is internationally recognised for its commitment to access programmes for hard to reach groups. Groups include mental health, blind and partially sighted and individuals with dementia. The programme – ‘Meet Me at MOMA’, began back in 2006 for individuals with dementia and their caregivers with the aim to enhance their quality of life through mental stimulation, communication, personal growth and social engagement.

A specially trained Educator chooses around three to four art works around a given theme such as ‘Feminism’. The discussion begins with an overview prepared by the educator on art history, developing later onto interpretation and expression. A discussion question such as ‘What do you see in this painting?’ usually inspires conversation. These open ended questions provide opportunities for realisation and reminiscence as well as creativity and imagination. There is no right or wrong answer at MOMA. If the participant reminisces about ones life then there is the prospect to delve in further. For examples of selected art works, see Appendix.4.

Example creative discussion: (In relation to Henri Rousseau, The Dream)


(Educator)>What can you see here? (Audience)>It looks like a jungle with a very voluptuous lady lying there, she looks as though she is the ruler or in charge of the animals (Audience)>It looks hot(Educator)>How many animals do you see?(Audience)>6(Educator)>Do you think the title of the art work gives away any ideas?(Audience then begins delving into the true meaning of the painting and developing new ideas through imagination, of what it can actually represent.

I was overwhelmed with excitement when it came to my observation at ‘Meet Me at MOMA!’ I could not believe how many participants there were, filling the corridors, sticking on their name badges and no wonder the museum had to close. As the programme began, I suddenly became aware of one participant in particular. Whilst walking into the gallery he was bubbly and loud but as soon as he saw the art work he settled and really related to it. Not only did he appreciate everything that was going on in the paintings but he recalled his own life stories throughout them too. The ‘Meet Me at MOMA’ programme was obviously a time where he could transform and feel a purposeful joy from the art works.

A quote from a ‘Meet Me at MOMA’ carer participant - “We both love the program. All the instructors are wonderful, dedicated, knowledgeable, and sensitive. It’s so important to let the people with memory loss articulate their feelings, impressions and reactions”. Not only does this quote demonstrate the participants enjoyment and engagement but it also shows that MOMA listen and take into consideration the needs and values of someone with dementia. They feel appreciated and valued within the museum to explore and intellectually discuss pieces of art.

- MOMA BOOKS

As part of the ‘Meet Me at MOMA’ the Department of Education developed a tool kit of frameworks and replications of art works for others to engage in art. The modules provide engaging and accessible ways to discuss and create art. Each is structured around a theme and includes five works of art, discussion questions, art-historical information, conversational activities and an art-making activity. This toolkit is been adapted nationally and now internationally. Tool kits of this sort enable a given structure to any museum, gallery or additional setting to make it easier to implement. This is contributing to altering our culture and educating others on implementing access for our elders.

- Mapping Perceptions, The MOMA Alzheimer’s Project Summit

MOMA’s, Mapping Perceptions summit presented time for sharing ideas and developments on access programmes for individuals with dementia. Identifying how effective inquiry-based techniques are and how does one layer the information successfully? Other aspects discussed were Participant Experience, Resources and Training, Notions of Quality, Collaboration and Community Involvement and Engaging Audiences and Interpersonal Exchanges. This shows insight into how MOMA aim to share and build and pioneer these programmes across the US. I was overwhelmed with the way various programmes collaborate and share ideas, with only a small minority keeping findings to themselves. This way of working makes a programme stronger and more beneficial to our culture. In the UK we become selfish and protective of our ideas, so developing forums and relevant presentations may instigate collaboration and sharing of ideas.

- MOMA off-site programme at Sunnyside Care Home

After observing ‘Meet Me at MOMA’ in the gallery space, I was looking forward to seeing a similar programme in action, off-site at Sunnyside Care Home.


In a similar format to ‘Meet Me at MOMA’, open ended questions were used to discuss the four art works in detail and to look closely at detail and overall representation. Jackson Pollock and CY Twombly were two of these artists. Both Pollock and Twombly works are highly expressive and large scale whereas the other two pieces we observed were based on collage. However all of these carefully selected art works came under one theme – ‘Chance’. The programme was based around ‘Chance’ and activities were designed appropriately for all individuals to participate, taking into consideration motor skills, wheelchairs and the logistics of the care home.

Inspired by both Pollock and Twombly, the aim of the activity was to re-create ‘Chance’ paintings. The educator, Laurel from MOMA cleverly designed an active and innovative way of reproducing the marks, but on a smaller scale. Each participant was given an empty box with a sheet of A5 paper inside. Two blobs of various colours were added, along with two marbles. The participants then had to roll them around to create vivid, expressive and chance like marks, the faster the movement, the thinner the mark. Not only did it enable a fun engaging activity but it related ever so closely to the original art work, Jackson Pollock. Pollock is known to move around dramatically around his canvas, using many tools and processes to make his marks. The participants did exactly this but on a smaller scale. They were in control in exactly the same way as Pollock.

Observations and comparisons between on-site and off-site MOMA programmes- Logistics of space off-site can cause problems, not as easy for the audience to see

and take part in the activity- All imagery was printed for the participants to view the art works in more detail and to

keep for future reference- Not in the gallery space – not as creative or inspired??- Audiences off-site do not have the opportunity to meet others who are interested in

the Arts, The ‘Meet Me at MOMA’ programme offers the social aspect and engaging with others’ opinions

- Facilitating an Arts activity off-site alongside an Arts Discussion is easier (not logistical possible at MOMA)

- ‘Arts and Minds’ Presentation at MOMA

To see how MOMA influence and work collaboratively with other groups, I attended the ‘Arts in Mind: Art as a Mental Health’ presentation. Art is seen as having positive mental health and well-being. What about Van Gogh, who cut his ear off and Pollock who was an Alcoholic. As soon as they were engaged through art medium, they behaviours changed. Individuals with mental health today are valuing their lives through the power of art. But is Art a result of Mental Illness or does Mental Illness inspire Art?

Individuals who participate in art get to choose the context. ‘Art takes courage’ but it is safe and non-interpretative. The title of mental health is exchanged for ‘Artist or Scholar’. I think art can refer to many groups, in giving new hope and identity.

It was a fantastic presentation which opened the way art can transform someone’s life.

- Bridge Artists Exhibition at MOMA – ‘Imagination’

I was invited to attend the ‘Imagination’ opening exhibition, presented by the Bridge Group Artists at MOMA. The Bridge offers help, hope and opportunity to those most vulnerable in the community. As I am interested in hard to reach and vulnerable groups in our community, I wanted to see other work that was going on in the US in comparison to Alzheimer’s access programmes.


The Bridge Group Artists are made up of people from all walks of life and a variety of backgrounds. All share the basic desire to make a tangible difference to their lives through the arts.

The Visual Arts exhibition was fantastic. The walls were covered with bright and vivid art works which had deep meaning and reflected the individual. A couple of the artists presented the opening of the exhibition, discussing their work. I was overwhelmed with how the artists were proud and dedicated to their art outcomes. Art can really provide a base for new opportunities and a place to find your inner self again.

The Definition of Imagination:1) The Act or power of forming a mental image of something not present to the senses or

never before wholly perceived in reality.2) Creative Ability

a. Ability to confront and deal with a problem: Resourcefulnessb. A creation of the mind; especially: an idealised or poetic creation

I see the definitions of ‘Imagination’ as very powerful and they really support what The Bridge is hoping to achieve within its community - to deal with problems and to change your life around for the positive.

The Arts can be used in every sense, with any age or ability, for rehabilitation or to find and get to know one self, to explore or imagine and improve health and well-being.

- Alzheimer’s Association

I had the fantastic opportunity of meeting with Jed Levine, the director of Alzheimer’s Association in New York, in programmes and services and also the Executive Vice President. The New York Association has all sorts of programmes set up for individuals and carers affected with dementia. Programmes range from music, art, support groups, forums, and social, one to one work.

They collaborate closely with MOMA (The Museum of Modern Art) to encourage stimulating access into museums and galleries. This has evolved over the years and the ‘Meet Me at MOMA’ programme can be accessed now both on site and off site and similarly in many other cultural environments, ranging from the Jewish Museum to the American Folk Museum. Heights and Hills also work closely with the Alzheimer’s Association to empower those affected by dementia in the New York area, with the range of activities that are on offer. This mutual working makes New York a fantastic place to live for residents living with dementia, increasing public awareness around the disease.

Jed and I discussed in great detail, the transition period between ability and levels of dementia. Obviously various activities are designed and aimed at certain ability and level of group, but what happens when the disease deteriorates? Alzheimer’s Associations support the individual through all stages and avenues are explored for the best option, both for the individual and for the group. More and more activities are being developed for early onset and early stage dementias due to the high increase taking place today. But what happens to individuals who are in the middle to late stages? 40% of those with dementia are said to be in the later stages. Challenges and difficulties are faced to engage and promote participation at this point, but have we given up? There should be equality of services across the ability spectrum of dementia – this is certainly a problem we face today, both in the USA and UK.

Whilst in New York I took part and completed ‘Walk to End Alzheimer’s’ in Riverside Park. It was a fantastic event and it was great to be able to raise money and awareness for Alzheimer’s in the US.


- ‘We Sing’

‘We Sing’ is a programme that is delivered via the Alzheimer’s Association in a local community space. It invites all individuals with dementia along with their families and carers too. As we arrived in the room, it was decorated with balloons and banners and the band was setting up for a good session! Around twenty participants entered and the room was filled with ‘new’ energy.

All participants were handed a singing booklet and the singing facilitators co-ordinated the two hour sing off. A local dancing company also joined and participants were up dancing and singing to well-known songs and tunes. I thoroughly enjoyed the session and it was such a warm and friendly environment to feel safe and comfortable when singing. The band accompaniment really supported and followed us, as singers, being flexible to everyone’s individual needs.

- Memory Works Programme with Paulette Michaud

The ‘Memory Works’ programme was also built and designed via the Alzheimer’s Association in New York, in reference to individuals needs. Individuals with early onset dementia requested brain stimulating sessions to motivate memories and the brain for as long as possible. The audience in this particular group ranged from aged 48 to 90, so wide ages range to design across. The activities really enhanced and empowered the audience, with difficult and hard questions, puzzles and quizzes.

This is a fantastic example of going against the stereotype of delegating easy or low stimulating activities for individuals with dementia, when in fact individuals want the opposite. After speaking to some of the participants they felt they wanted to be treated the same as any other person, without the label of having ‘dementia’.

Brain stimulating activities such as crosswords, suduko and word searches are said to prevent the onset of dementia for a prolonged period of time. So will participating in these activities when diagnosed, slow down the progression? I really admired Paulette Michaud’s dedication to this generation and her listening abilities to understand what people actually want from an activity or group. The individuals facing this cognitive impairment disease should have control of what activities are in place and what they personally feel would help them. This co-insides with the Alzheimer’s Associations values and aims of enabling ways of encouraging participant led activities and involvement. Paulette believes that individuals should be pushed and supported to feel on the same level as the facilitator and challenged in all activities.

Example Activity:

N A O T L E P G – How many words can you make using the given letters?

- Alzheimer’s Association’s Annual Meeting at Times Centre

On the 18th of October I was lucky enough to attend the 24 th Annual New York, Alzheimer’s Association’s Chapter Meeting in Times Square. The theme for the evening was ‘Alzheimer’s Research – What’s behind the Headlines?’ The Times Centre was full with important bodies and dementia experts. The discussion was driven by the panel which consisted of Sam Gandy, Ralph Nixon, Effie Mitsis and Sapna Parikh.

The media debate around ‘What’s behind the Headlines?’ began. The media writes a lot of Hope and Hype headlines to draw in its readers. More and more people today are living with dementia therefore if a small step is made in finding the cure; this is sold as the solution to the public. As readers we need to be critical when reading the headlines.


The Annual Meeting was really beneficial to my understanding and I learnt a lot around risks and the close links with other conditions. Down syndrome can put individuals at high risk of developing the disease, with its extremely early onset. The Amyloid stem cells and the accumulation of fluids can put you at risk of both dementia and diabetes according to Science expertise. But in 10 years time the aim is to implement testing during midlife to see who is building up Amyloid, to prevent the onset through drugs. But at what point does this Amyloid develop and why does it take so long?

We know that traumatic brain injury and multiple concussions can put individuals at high risk of developing dementia, along with young children loosing consciousness at a young age. So the Public Health are discussing ways of changing high school sports to prevent this happening. Should we be stopping and avoiding these high risk sports during adolescence? This debate raised many thoughts and split the audience equally between ‘for and against’.

Ways of slowing the progression of dementia: Lowering Hypertension Controlling Diabetes Low Weight Low Fat Intake No Head Injuries Lots of Physical Exercise

I found these pointers very interesting as brain stimulation and activity was not mentioned. Instead the basis of slowing progression was highlighted on health and the body. Does brain stimulation not play an important role?

- Heights and Hills

Heights and Hills is based in New York and provides for the elderly population of Brooklyn, for both the individual with dementia and their caregivers. Dementia is one of their key sectors but they also promote services for a mix of abilities, disabilities and diseases, including Parkinson’s disease and Diabetes.

They supply information and guidance to appropriate programmes that are taking place in the city. They support programmes such as Meet Me at MOMA and the Mark Morris Dance Centre and Concerts in Motion. There is also a caregiver’s programme set up which provides assistance to all loved ones and carers through weekly support groups, counselling sessions and socialisation groups.

Heights and Hills work closely with the Alzheimer’s Association to disseminate to the elderly population as much as they possibly can.

- Alzheimer’s Poetry ProjectAlzheimer’s Poetry Project Website: http://www.alzpoetry.com/

Before my Winston Churchill Travelling Fellowship I didn’t know much about poetry and how it could be incorporated for individuals suffering with cognitive impairments such as dementia. But after observing various Alzheimer’s Poetry Projects I became aware of the underlying techniques and skills needed to deliver such a session.

Gary Glazner founded and has directed the Alzheimer’s Poetry Project since 2004, facilitating and touching peoples lives all around the USA, from Mexico to Texas. Training has been well received by care staff and the work that Gary delivers is widely recognised. The National Endowment for the Arts listed the APP as a best practice for the NEA Arts and Aging initiative.


I observed, interacted and learnt many new skills whilst working with Gary in multiple settings across New York. My listening and verbal skills were really put to the test when responding and writing the poems. The senses were used at all stages of listening and writing the new poetry. So for instance if the poetry theme was spring, the questions asked would include ‘What does spring smell like?’ ‘How does spring taste?’ ‘What does spring look like?’ ‘What does spring sound like?’ ‘How does spring feel?’ This way the participants can visualize spring in the way they feel most comfortable, whether that’s through taste, smell, touch, sound or visual. The final outcome of poetry then becomes very visual through sensory exploration.

Props are used throughout the APP to stimulate and inspire discussion. Smells, objects such as leaves, snow, photographs and sounds all link closely to the given theme. These are very beneficial and help to recognize the smells without the pressure of remembering or imagining that given smell. Smell and touch seem to be the most powerful senses, evoking relevant thoughts, words and phrases.

As a freelance Creative Engagement Facilitator I always incorporate the senses into the activities that I deliver. So to be able to learn poetry from this angle was truly inspirational and exciting, as I already touch on poetry at various intervals of the creative process. I will certainly incorporate these ways of working into my own practice but incorporating visual outcomes too.

I thoroughly enjoyed the collaborative intergenerational project too. It really formed strong relationships between the generations and both age groups were very appreciative of the other. The young children developed empathy for the elders and the older generation were enhanced through young energy and creativity. It was lovely to see two groups come together to write a new poem. Could this be done with other models in the USA, such as Timeslips?

The Alzheimer’s Poetry Project shares many similarities with the Timeslips and Meet Me at MOMA model of practice. The participants are valued and listened to carefully at every stage of the creative process. Open ended questions and repetitive language are used throughout to stimulate engagement and to provide meaning to the next line of poetry. It is about developing something entirely new, in the present day. If participants want to reminisce or refer to their life, they may do so.

APP techniques, for best model practice:Props – to identify with senses, for example Tree Poems – bringing in leaves, soil and twigs.Prompts – Using open ended questions to stimulate and inspire discussion, for example, where

is the most beautiful place you have been?Call and Response - Reciting a line of poetry and having the group echo you. This is an aerobic

activity that helps to build and hold the group’s attention.Discussion – Using poetry as a discussion starter and inspiring the energy within the group.

When the poem or story (in reference to Timeslips or Meet Me at MOMA), the participants are usually surprised or overwhelmed with what they have created. This is due to the facilitator directing the discussion into a creative form or outcome.

Please see Appendix.5. For participant led poetry outcomes.

What makes the Alzheimer’s Poetry Project successful? Simplicity Acknowledging every word, emotion and presence from the participant Connecting on an emotional level with each individual Repetition Choice of words


- Well Tuned / I Pod Project (Cobble Hill Care Home)I Pod Project Website: http://www.musicandmemory.org/

I was invited by Louise Dueno and Dan Cohen at Cobble Hill Care Home to discuss the I Pod Project in more detail, to find out how it all began and the progress it is making all over New York.

The Well-Tuned programme was founded and directed by Dan Cohen, ‘Music and Memory’ and collaboratively put together alongside the world-renowned Institute for Music and Neurologic Function. It aims to bring personalised music into the lives of older people through innovative digital music technology, to empower choice and quality of life. It is said that music can improve health and well-being and has profound therapeutic benefits. Dan Cohen has been working with residents, discussing their ‘ideal and perfect’ music to uncap memories and enjoyment through music. Participants can choose up to 200 songs to add onto their I Pod, these can be changed regularly or altered slightly dependant on the individual.

How do you feel when you listen to music, music that you chose and love? Do you feel elated, happy and in control? You cannot begin to imagine how older people feel when they are empowered with music again.

A lot of care facilities usually play music in communal areas, such as dining rooms and socialising areas – but this is chosen by the facilitator or carer. Stereotypical era music, i.e./from the 40’s is played. However, how can every resident choose their favourite music within a communal environment? It is impossible; therefore the I Pod project enables this to happen and contributes to improving peoples lives. But does the I Pod and headphones isolate one from a group? Studies show that quite the opposite happens – interaction actually increases. Through the power of music, individuals thrive and restore to their old enthusiastic selves, wanting to share their visited memories or their favourite music. In fact, the I Pod inspires engagement and group working straight after listening. Would a group engage if they hadn’t listened to their I Pods beforehand?

‘Alive Inside’ is a documentary about a man, named Henry (available on the above website). Henry lived in a care facility for 10 years, after he was suffering from regular seizures at home and it was becoming unsafe. At a younger age and at every possible moment, Henry enjoyed dancing and singing. The I Pod Project meant that his favourite music was comprised, after speaking with his carers, family and taking into consideration his previous loves and hobbies. Before he was given the headphones and I Pod to travel to ‘his favourite world of music’, he was depressed, unresponsive and to some extent ‘unalive’. From the immediate start of the music he was revived and alive. Henry’s eyes widened, he sat up straight in his chair and became very animated from the music. He was restored to his original self through music. See Appendix.8. For other personal stories.

“Ease daily transitions from wake up to wind down”“Let personally meaningful music cut through the ‘fog’ of lost memories and spark recognition”

Both of these quotes advertise Well-Tuned on the front of their personal leaflet and really delve into the true meaning of the programme and is a primary example of music really transforming lives. The simplicity of providing I Pods and changing play lists every so often is the key to success.

What does the I Pod do for individuals with Dementia? Overall positive impact on resident quality of life Subset of MDS Scores – RESEARCH Great upside and no side effects Meaningful to get to know the person Develops relationships between staff, families and individuals – deciding on the relevant

music


Disruptive, verbally or physically abusive residents demand a lot of staff time, therefore the I Pod prevents this and enables structure and control

Reduces depressive tendencies Develop and improve fine motor skills, movement and speech Inspires memories, recognition and engagement Minimised agitation Improves sleep and restfulness Rewarding and respite for the caregiver Values residents to go round and change I Pod songs

We ask ourselves – Why haven’t health or activity co-ordinators thought of this already? It seems to me that it is the smallest details that really make a difference to ones lives. It is said that 90% of dementia resident’s time is spent idle and bored with medication, meal times and sitting. This is most probably due to the lack of developed ideas and activities for the late stage of dementia. The I Pod is perfect to entertain this level of dementia specifically or ideal for when a group activity ends.

Jed Levine from the Alzheimer’s Association describes the ‘Well-Tuned’ programme as, “The Well-Tuned Programme is an elegant and simple solution to one of the dilemmas of Alzheimer’s disease…the lack of meaning and activity in daily life. This provides a normalising, enjoyable activity for the person with dementia, and respite from the burden of care giving for their caregiver”. This really sums up its aim and objectives. The pilot study for Well-Tuned was developed and 125 individuals took part to begin with (70 having Alzheimer’s). Individuals using the I Pods regular were evaluated at beginning, middle and end. This took into consideration, engagement both one-to-one and in a group, confidence, depressive tendencies etc. 76 was the average age of the participants, with a 50:50 ratio of Men to Women.

I was very interested in the equal ratio of sex in this activity. In the past I have had problems in the UK with engaging males into a creative activity. They feel that ‘Art’ is a girly activity to take part in but music is not. Music is for any gender, any age and certainly does not cause embarrassment. How do you change the stereotype of Visual Arts to provide this access too?

Findings from the I Pod Project:- Choice of music is key to improving quality of life, individuals are restored to old self and

can revert easily to previous life and times- Do the headphones provide safety? What would happen if the music was played in a

communal space for all to hear? Would this have the same affect? - Bridges the gap between age and technology – access for all. - What other medium would enable similar choice and have such an affect? - MDS Scores – RESEARCH- Inexpensive tool which has a definite positive impact- No side effects- It bridges the gap that group activities hurdle and can be accessible at all times of the day

or night- Over a sustained amount of time, more and more people are giving their I Pod shuffles to

the ‘I Pod Project’ which cuts down costs - The costs involved are modest and can be customised to meet most budgets- Reduced wandering and the associated risks to health and safety- This idea and tool can be used both in a health care setting and at home - The music has to be significantly emotionally attached to the individual listening to it

After speaking with Dan Cohen and Louise Dueno, I began thinking of other ways new technologies could engage and empower residents or those at home, suffering from Dementia.


Dan introduced me to the I Pad and all of the sensory based apps that are available for download. I was overwhelmed with its potential and the amount of qualities an I Pad actually has, from a built in camera, voice recorder, video camera and many other relevant apps. I hope to look into this further and think about ways I could interpret this into the UK in the future.

- Beth Abraham Health Service (Dr Concetta Tomaino)

As Dan Cohen and Dr Connie Tomaino were working collaboratively on Well-Tuned, I wanted to find out more from the Health and Psychology side at the Institute for Music and Neurological Function.

Dr Concetta Tomaino, a leading researcher in Music influences on the brain, developed the institute for Music Therapy at Beth Abraham Services for individuals across New York City who are chronically ill and disabled. She believes that ‘Music is the key for unlocking memories’. It improves communication, healing, wellness and overcomes withdrawal in daily activities. Music therapy helps to restore, maintain and improve the physical and emotional, neurological function. The institute for Music and Neurologic Function has dedicated areas to develop a neuroscience lab, music meditation studio and a paediatric treatment centre. Through the scientific exploration of music and the brain, the institute seeks to establish new knowledge and to develop more effective music therapy based treatments to awaken, stimulate and heal. As a world wide recognised organisation the Institute for Music and Neurologic Function has expertise in using music to restore neurological functioning for individuals with Alzheimer’s.

It is said that individuals with dementia have the ability to recognise relevant music as parts of the brain that process music are generally unaffected by the disease and in face the last thing to disappear. Does this apply to all of our senses, such as smell, taste and touch?

Whilst I was visiting the Institute for Music and Neurologic Function at Beth Abraham Family of Health Services, I had the fantastic opportunity of observing music therapy in action. I was able to meet a fantastic middle aged man, named Freddie who was in a terrible car accident and left him paralysed and unable to function correctly. Over a period of time, the Music Therapist has been working with him to be able to play guitar. It was unbelievable, as soon as he started plucking the strings he came to life. It seemed to rehabilitate Freddie and provide him with an activity to stimulate brain activity but to also develop his fine motor skills.

Dr Tomaino describes how music can be used as a therapy in many alternative ways. “It can be used to actively engage patients in making music with instruments to build physical function. It can involve playing songs patients know to draw them into their experience, improving eye-to-eye contact and attention. With an individual with memory deficits, it may improve recognition or attention span. The therapy comes from the use of something that connects to the individual in a very profound way and then repeats that experience over time”. This proves that music is vital in our life and is really embedded into our everyday culture. There are three ways of enhancing people’s various conditions, these are through listening, rhythm and tone and psychological.

In many creative workshop environments Music was used in the background to stimulate rhythm and movement simultaneously. For instance, Caribbean music was used to inspire an African American group and it inspired instant engagement with clay. So if the group are stimulated and recognise a certain era of music will it have the same affects as the Well-Tuned programme? Would this be an effective way of facilitating group work?

- Storycorps (Washington DC - archives)http://storycorps.org/

The Storycorps mission is to provide Americans of all backgrounds and beliefs with the opportunity to record, share, and preserve the stories of our lives. Many initiatives have been set


up around the USA to recognise these stories. Initiative include the September 11 th Initiative, Storcorps Historias, Storycorps legacy and that of the Memory Loss Initiative. These initiatives provide outputs for preserving memories and sharing them with their families in future generations.

The Memory Loss Initiative was adapted during 2006. It means that the individual telling the story can really acknowledge the beauty of the present moment and is time to engage in meaningful conversations. It can develop relationships with loved ones and it creates the comfort zone to discuss a story that is relevant. The individuals with memory loss are part of natural history, leaving a legacy for future generations within families.

Storycorps can reduce common feelings of isolation and low self-esteem. It also promotes choice and identity of the individual. It incorporates opportunities and limitations of ones past, personal choices and relationships and the socio-historical context of ones life. Its up to the individual as to what story they choose to share. Findings show that the stories minimised their disability and they felt more empowered in every day life.

Most recently a toolkit has been developed for others to use similarly in other settings, from residential care homes, to at home. This allows organisations to add a dynamic and person –centred programme to their activities, incorporates an arts based programme, promotes meaningful interaction, assists staff to get to know the clients better, commitment and celebrates the voice of an individual with memory loss.

The set up of recording a story needs to take into consideration location, time, date, time of day and equipment in accordance with who is sharing their story. The individual needs to feel safe and comfortable with the interviewer, whether that’s a friend, family member or carer. Storycorps is very similar to many of the access programmes, but its about ones life and recording that story to keep. Choice and flexibility is still key and there is no pressure on ‘reminiscence’.

Storycorps in the Library of Congress

Whilst I was in Washington DC, i decided to venture to the Library of Congress to find and listen to some previous recordings, featured through the Storycorps Memory Initiative. I was there for the full day and was taken into a new realm. It took time to find relevant stories to the topic of early diagnosis and living with dementia. I listened to a story about a lady named Lesley and it was her diary of events through diagnosis. There is something more powerful about hearing a story than reading one. Visuals and your imagination evolve when listening and inspire other thoughts.

As I was listening to these stories I became overwhelmed with emotion and the idea that many individuals share the same worries, experiences and journeys of the disease. It would be interesting if Storycorp stories could be accessed through local Alzheimer’s Association as part of the initial toolkits. It would assist with the understanding of the disease, provide support and encourage future storytelling.

However, What happens for individuals who are middle to late stage of the disease? Can they record a story that lasts 40 minutes?

- The Metropolitan Museum of Art, Handling and Touching Programmehttp://www.metmuseum.org/events/programs/programs-for-visitors-with-disabilities/visitors-with-dementia-and-their-care-partners


All of the big named museums and galleries in New York had access programmes for individuals with memory loss, I was intrigued to find out what The Metropolitan Museum of Art had to offer.

I attended and assisted with the ‘Handling and Touching Programme’. Four groups were set out in one large room, of around 10 per group. Each group was given various objects differing in shape and texture. The aim of the session was to use our senses to explore objects from the collection. It was interesting to see what objects were selected and what drew the participants in. It was the out of the ordinary objects and textures which participants wanted to engage with. Wood, Iron and Pot all seemed too predictable, but it was materials such as bamboo and lace that promoted close exploration.

As a group not only were we touching objects but we were investigating closely into its meaning and use. Likewise to making new stories and creative compositions, we were giving meaning to these objects.

The Handling and Touching Programme inspired new ideas. What would happen if this programme was facilitated in various exhibitions? What would happen if music was played? What would be the outcome of touching two or more objects? The list is endless and this explorative way of working and using the objects may inspire innovative ways of working and altering the programme.

- Studio Museum - ‘Arts and Minds’

The day I went to take part, help and observe at ‘Arts and ‘Minds was one I will never forget. Those who attended the programme were asked to bring in ‘their Art Works’ or creative outcomes that they had either made previously, in an access class or most recently to share with others within the class. A section of the room was set up as an exhibition area and as each individual arrived, their work was set up in a highly empowering way. I even took along a piece of my own work that I had produced on my Winston Churchill Adventure, so I could be and feel part of the process.

Everyone was so proud of everything that they had brought in and the room was full of a new energy. All sorts of pieces were exhibited, such as photographs, paintings, sculptures, pottery and made clothing.

To begin with, I was a bit wary of how members of the group were going to react to presenting their artwork to the rest of the group. But with the support of the group and facilitators they confidently presented in a way that was suitable to them. Take for example the bottom left photograph. This artwork was made by a man who had being diagnosed with Glaucoma. From that point on he

collected all objects that related to his condition which concluded in constructing a lady wearing lots of jewellery. I was astounded by the concept and the dedication he had in making something so visually stimulating.

The Arts and Minds programme empowered each individual as an artist in their own right. To take part in any exhibition or event can really inspire a new lease of life and energy.


- Bishop Hucles Arts and Drama Therapy Programme

I met with Mary Hershkowitz from Bishop Hucles Care Home to discuss the Arts and Drama Therapy Programme that is available, in this long-term care facility. Similarly Arts and Drama Therapy can be a fantastic tool to empower older adults as much as Creative Activities, but addresses the mental, emotional, developmental and behavioural aspects of the individual. The main goals are to explore and improve Anxiety, Depression and Mood but to also increase Socialisation, Autonomy and Self Esteem. Both Art Therapy and Creative Activities can be used to empower and benefit everyone, there are no rights or wrongs and the person does not have to be an artist.

In the same way Drama Therapy can be used to explore inner experience and interpersonal relationships. Drama Therapists believe that role play can be an invaluable tool. Varied social interactions means that we activate different persona’s at different times. Therefore we can find our ‘previous’ selves and identify with ones pasts. Poetry can also be incorporated into Drama Therapy, using words instead. It was really interesting to observe a Drama Therapy session underway at Bishop Hucles, and role play encouraged individual personalities to show. I will discuss the differences between Therapy and Arts in more detail in the conclusion section of my report.

- Rubin Museum of Art, Folk Art Museum and The Jewish Museum

The Rubin Museum of Art, Folk Art Museum and The Jewish Museum all aspire and aim to promote access for individuals with memory difficulties, such as Alzheimer’s Disease. They all take a similar approach to ‘Meet Me at MOMA’ but have individual twists dependant on the current exhibit. Through discussions, multi-sensory experiences, visitors connect with works of art and each other with the assistance of experienced museum educators.

Mindful Connections – Rubin Museum of Art (http://www.rmanyc.org/pages/load/273)

Folk Art Reflections – Folk Art Museum (http://www.folkartmuseum.org/index.php?p=folk&rd=9230&id=4771)

JM Journey’s – The Jewish Museum (http://www.thejewishmuseum.org/jm-journeys)

- Dance for PD / Training at Dance for PDdanceforparkinsons.org

Dance for Parkinson’s disease was recommended to me to observe, by Heights and Hills in New York. My interest stems into the Third Age and all of the associated problems and difficulties faced with it as well as my passion of working with individuals with Dementia. Therefore I was really interested to participate and observe a Dance for PD session, facilitated by professional dance practitioners. Olie Westheimer is the executive director of Dance for PD and brings a fresh and contemporary approach to dance and movement, incorporating the Brooklyn Parkinson Group and the Mark Morris Dance Group.

“Dance addresses itself to the whole individual; physical, mental, emotional, spiritual. It is a total body activator and as such it is psycho-physiologically rooted”. (Shailer Upton Lawton, Excert from “The Dance Encyclopedia”, edited by Anatole Chujoy, A.S Barnes and Company, NY 1949)

As a Visual Artist I enjoy developing new visuals in an innovative space or area, using a mixture of materials and techniques. Dance for PD does exactly the same but instead uses all aspects of the body, both inside and outside to creatively produce a range of dances. When facilitating


creative workshops I usually incorporate music and rhythm, and this is the same for dance and space. Observing a wide variety of individuals dancing at Dance for PD inspired beautifully asthetically pleasing imagery and shadows from a visual perspective. After spending time with the programme I felt energized, overwhelmed with happiness and control. The dance practitioners take into account all abilities and are empathic to everyone, whether that’s an able volunteer or an older adult who is wheelchair bound. Each person is accepted and involved in dance somehow.

“A large part of dance training involves learning how to think in order to control movement”

For all of the Arts such as Music, Visual Art, Poetry and Theatre you need to be able to imagine and be courageous to take part and to trust the body and your senses.

What dancers do with Sensory Input:

Visual (eyes): - To guide, monitor and correct movement - To help maintain balance

Auditory (ears): - To control movement with music- To control movement with verbal instruction

Somatosensory (touch): - To promote awareness of where the body is in space- To help maintain balance

The senses are a powerful resource to controlling and participating in activities and have a profound affect on memories and past events. Dance for PD explored stories and themes through movement and dance and it became rather theatrical. Familiar movements such as ‘brushing your hair’ and ‘throwing away’ were explored to transform into routines.

Additionally to the Dance for PD sessions I was invited to attend and take part in one of their training days. It was fascinating and it gave me a better understanding of Parkinson’s itself and the similarities to dementia in creative expression. 60% of Men to 40% of Women partake in Dance for PD which is the only programme I have found where more men are interested in the arts. Could this be to do with the restrictions of Parkinsons and the need to involve movement?

Leading clinicians in the field presented their ideas in relevance to the programme, speaking about Parkinsons in reference to Dance and its affects. Individuals who are living with Parkinsons have to think a lot before taking part in dance, for every step or small movement. Therefore the process can be very tiring and exhausting. When the body is carrying out an uncontrollable action it can be physically and mentally draining to control and work to one routine. However Dance for PD sets out to strengthen, stretch and relax the muscles so the whole body is empowered and enriched from the experience.

Guggenheim, Partially Sighted Programme

I wanted to explore access programmes in its wider sense too; therefore I observed other access programmes available to other minority groups, such as Partially Sighted, Children and Special Needs. This allowed me to compare and contrast all programmes and to really find out how successful each programme actually was.


I was taken aback by the Partially Sighted Programme at the Guggenheim in New York. Individuals with their carers walked in confidently knowing what to expect from the programme. I spoke to the group before we began, with one lady saying ‘I never came to art galleries, because why would I? – I can’t see any of it, but the Guggenheim’s, Partially Sighted Programme has opened new doors for me and I can enjoy art as much as everyone else can’.

To begin with I was confused to how the educators were going to create this creative space for blind individuals and inspire them to ‘see’. But the arts never cease to amaze me and the participants did just that. The painting was by Rosenquist and was the length of the gallery space with a lot of abstract imagery and colours. As soon as we walked into the gallery, the educator asked all participants to walk with her next to the length of the painting. The logistics of the painting were also discussed, i.e./there are three panels that stretch out in a rectangular shape’. Imaginary visuals were then described to the individuals, such as – it looks like paint has been put into a washing machine and it was put on at its top speed’. The smell of washing powder was also passed round to inspire conversations and links to the piece.

With innovative descriptions and use of the multiple senses these individuals were able to appreciate the art work as much as all the other visitors to the Guggenheim. This just proves that if educators are correctly trained, then anything is possible. The educators in this programme used similar techniques with audiences such as Dementia and Special Needs too. It came to my attention that the senses are vitally important to supply the connection between self and reality.

San Francisco- Stagebridge (Oakland) Stagebridge Website: http://stagebridge.org/

I only spent a short snippet of time in San Francisco and dedicated my time to Stagebridge, in Oakland. I spent time in multiple classes to sample the variety of programmes they have on offer. Stagebridge began as a senior based programme but has slowly developed into the Intergenerational spectrum.

Whilst I was observing programmes at Stagebridge I came across this diagram, which really sums up the value of storytelling. The story should engage the audience by questioning and interacting with the audience appropriately, incorporating everybody’s perspectives. The story should connect with your inner self as well as with the audience.

Programmes that I observed included ‘Word for Word’, and a Storytelling Class. The emphasis is taken off ‘Therapy on Stage’ but is more about expression and finding a way of overcoming a personal fear.

Expression, movement, emotion and voice are all used to deliver an engaging story to the audience. Mentors assist with empowering all participants with storytelling and poetry

techniques and skills. I didn’t realise how difficult it was to use your assets in a suitable way to deliver the story, when in fact it takes real skill.

Tips to promote successful storytelling: Using humour to promote audience engagement and interaction Improvisation and being Flexible to the needs of the story, using props when acceptable Changing stories to make them more exciting. I.e./ ‘Little Red’ instead of Little Red Riding

Hood, Big Momma instead of the Big Bad Wolf and A Train instead of the Forest.

Findings from Stagebridge:


M

Audience Story

Me

An ensemble all chanting lines together is very similar to a choir? A cross collaborative Art Form

Personal stories can be entwined with poetry and well known stories to make them more stimulating and exciting to the audience

Thinking about self and sharing the story, rather than the overall performance

Washington DC- The National Centre for Creative Aginghttp://www.creativeaging.org/

It was Dr. Gene Cohen's groundbreaking research that found a direct link between creative expression and healthy aging. The National Centre for Creative Aging now promotes Cohen’s legacy by implementing a nationally recognised service for individuals living with the disease of dementia. The NCCA Newsletter is a directory of upto date information and developments on creativity and aging, events and conferences, training events and most importantly the programmes that are available in specific areas. At present this organisation is national but it aspires to be internationally recognised for its commitment to ‘Creative Aging’. The board is made up of Directors from Stagebridge, MOMA and Kairos and they are all leading practitioners in the field of arts and aging.

When I was visiting The National Centre for Creative Aging, I met with many of the staff, including Gay Hanna and Katie Fitzgerald. Their passion for promoting the best practices for individuals with dementia was out of this world.

Objectives of NCCA

1. To evaluate arts and aging programs to identify and promote best practices.

2. To distill the lessons of model programs in order to create technical assistance materialsand training programs for others to use.

3. To support the replication of best practice models through existing or new arts and aging programs and coalitions throughout the country.

4. To serve as a clearinghouse for the exchange of information and resources, such as national conferences and national e newsletter.

5. To create and maintain a database of such programs as a resource to others.

6. To support research and policy toward developing the field.

Without organisations such as The National Centre for Creative Aging, there would be replica’s of programmes and practitioners would keep their ideas tight to their chest. Instead it promotes a collaborative way of working and most importantly enhances the quality of life for the Third Aged generation.

- Kreeger Museum http://kreegermuseum.org/programs/Conversations-at-The-Kreeger-Museum

As soon as I arrived in Washington DC, many important bodies recommended a visit to the Kreeger Mueseum and to find out more about their access programmes.


As I was approaching the Kreeger Museum, I was overwhelmed with its beauty and silent grounds. Residents David and Carmen Kreeger left their grounds to become an Art Museum, set within five and a half acres of sculpture-filled gardens and tranquil woods. Therefore when entering the building it feels comfortable and ‘homely’, entirely different to a regular art space. When I visited the Kreeger, Derya Samadi was preparing to implement a model of the ‘Meet Me at MOMA’ programme.

Due to the Kreeger having a large music hall, sound and space seemed to be the starting points of Access Conversations between the facilitator and individual with dementia.

- IONA Services http://www.iona.org/

Iona Senior Services has served as a respected and trusted provider of essential services for Washington DC elders, their families and the community since 1975. “Iona's mission is to support people as they experience the challenges and opportunities of aging. We educate, advocate, and provide community-based programs and services to help people age well and live well. We envision a community that celebrates, values, respects and protects the contributions and possibilities of every individual”.

Patricia Dubroof from IONA Services organized and provided a range of opportunities to meet and find out about the array of activities they offer. I took part in many activities as part of IONA’s Wellness and Arts Centre. The list is endless from Yoga, to specialized art classes and bridge groups. Alongside these activities is the IONA Poets, a programme which is one of IONA’s longest running volunteer-led activities. This is one of their poems:

A Sentiment you Cannot Buy

A home is four walls and a plot of landA place where you have friends and family Where you cookA home is all being here right now. Being together. We call this time homeHome is any place you hang your hatHome is where you are in communion with othersHome is where you resideHow is what you ownHome is more than the individual, it’s about learning from each otherWhen you die, you leave your home behind, you don’t take it with youI’m not gonna live up in the sky. I might look up and take a lookBut I won’t leave everybodyThe spirit lives onWhen a spirit moves, it doesn’t have a lodging placeIt simply existsHome is a broadening experience

- Mickey Klein, Artist in Residence at IONA

As part of the Art Programme at IONA, they offer an Artist in Residence placement every year for a member over the age of 60. Mickey Klein held this position, whilst I was visiting Washington DC. As part of the residency the artist has an exhibition, facilitates various presentations and workshops during the year. This is a fantastic idea and approach to offering opportunities for older people, especially when they are still capable. This supports the ‘Arts and Minds’ programme that I attended at the Studio Museum in New York. That every individual, no matter what age should be referred to as an artist in their own right.

- St.Alban’s


Whilst I was at St.Albans, a local community group, I saw a Mickey Klein watercolour workshop in action. It was such an empowering role for Mickey and great to see how enthusiastic she was about her practice and work. It also inspired others who were interested in the arts and wanted to pursue a talent. IONA works closely with St.Albans, a local day centre for older adults to support and provide additional activities when appropriate. They also offer regular exercise classes and day trips.

- Lisner-Louise-Dickinson-Hurt Homehttp://www.lldhhome.org/

When I met with Gay Hanna at the Centre of Creative Aging, she couldn’t recommend the Lisner-Louise-Dickinson-Hurt Home enough. So I decided to get in touch with them and attend their Creative Painting session. ‘The resident art programme is dedicated to enhancing the lives of resident seniors through a rich and varied curriculum in the visual arts’. The primary focus of the art programme is to promote creative engagement in later life by offering a full range of stimulating art activities to residents of the home. The programme encourages even non-artists to participate, allowing each to enjoy the positive effects of creativity on aging’.

It can be difficult to facilitate a successful painting class as it can be very closed and not creative, either by copying a piece of art work or drawing something from still life. But to my amazement, the Lisner did quite the opposite. Each resident had there individually selected canvas, own paints and imagery to inspire their piece of work. They were identified as artists in their own right. The facilitators of the Art Programme inspired and gathered and shared ideas with the residents, so they could solely make the final decision to paint their piece. It was extraordinary, the enthusiasm from the facilitators were reflected in the final outcomes. Due to the encouragement being high, all residents confidently painted and believed in their talent to be able to create.

The Lisner-Louise-Dickinson-Hurt Home corridors were full of art works, from paintings to textiles and photography. It

not only brightens up the walls but it also stimulates everyone who views and perceives them.

‘The Lisner-Louise-Dickson-Hurt Home family is committed to seeing the truth and beauty of growing older. We take our vow to care for the whole person seriously, always remembering that ours is not a relationship of a moment but, rather, a relationship built upon a history of living to the fullest. Time and age need not be a gift of the past but a promise of a full and well-spent future’.

- Society of the Arts in Healthcare

The Society for the Arts in Healthcare is the only organisation in the US, with a multidisciplinary movement dedicated to transforming health by connecting people with the arts. The arts can be seen as educational, therapeutic and for expressive purposes.

The Society of the Arts in Healthcare has five main areas of focus:

- Patient Care and Experience Integrating the arts into patient experience, aiding the physical, mental and emotional state by relieving anxiety and decreasing a patient’s perception of pain.


- Healthcare Environments Including natural lighting, healing architecture, art installations, and access to healing gardens.

- Caring for CaregiversArts programming for caregivers creates a more regular environment within which care can be provided. The arts can help overcome barriers of upset and commit to a healing process.

- Community Well-beingBoth Arts and Health benefit when engaging communities in wellness activities and sharing information to improve health literacy.

- EducationEducating medical and nursing schools on the positive affects of implementing the arts into any health care environment.

All of these areas of focus commit to promoting the art practice as a form for a successful community and culture into health settings. Art forms from Visual Arts to Music and Poetry will affect each individual differently and contribute to the well-being of the individual.

I met with Anita Boles at the Society of the Arts in Healthcare to discuss ideas and implications in more detail. Arts and Health subjects are seen as entirely different avenues when in fact when combined and explored they provide a powerful vehicles for successful creative aging. The main problem artists face today is having the qualifications to work as an artist in a hospital. Therefore the Society of Arts in Healthcare are looking at ways to advance the quality of artists into healthcare by introducing physician arts courses or by summer intensive certificates. This way it would provide a more succinct way of working and help bridge the gaps. This way the arts can be appreciated in their own right as effective factors into improving health and well-being.

Conclusions

In conclusion, it is necessary to include Dr Gene Cohen and his groundbreaking work and thoughts around ‘Creative Aging’.

Cohen believes that Marriage, Friendship, family and work place relationships offer a unique context for creativity in our lives, an environment for personal growth and expression. Some relationships encourage our creativity, foster it, cultivate it, nurture it and respect it. Other relationships inhibit our creativity, limiting, discouraging and punishing such expressions of growth, changing individuality. This shows and believes that if relationships are strong and formed, creativity is more likely to happen. A safe and comfortable environment needs to evolve for this process to take place. “To the degree, that relationship is alive, it involves change, and real relationship is an ever-evolving, shared creative journey”.

As we age we develop a larger network of relationships both in magnitude and complexity. More friends and acquaintances that have developed over life embed and shape ones life. We learn off everyone, from ideas to perspectives. This way we have better ability to connect with creativity. How can we promote creativity in care from staff, families and residents participating to make it a positive experience for all involved to engage?

Cohen also adapted a personal creativity equation which is that of C = ME2, the C has the meaning of Creativity, whether that’s in expressive arts, social, public, personal or collaborative. M stands for the mass of material and experience in life. E been the equation of developing


creativity through experiences. All of these three categories offer exciting potential especially in later life. It is a fantastic equation to understand how ‘me’ can be made up incorporating developed creativity and experiences of ones life. ‘Creative Aging’ was adapted by Cohen and he believes this is the way of uncovering hidden potential in our elders today!

- The Positive Impact of the Arts, said by Dr Gene Cohen: Live Longer Fewer Doctor Visits Less Medications Fewer Falls Better Overall Health

- Facilitating a Programme

- What makes a successful Arts Programme?

Up to 5 participants with Dementia / 5 caregivers (10 per group) is seen to be the correct ratio for tours or Art Lab exploration

Name badges always used – colour coded into different groups Not to concentrate on the end product but the process and enjoyment in the

activity (been part of a group can have long lasting effects and are essential to the health and well-being of an individual!)

Encourage no set rules or outcomes – ‘what will be will be’ Art Activity to be based on manipulation, construction and ordered activities Fast creative outcome such as ‘Moulding’ are most effective – keeping

participants engaged for longer Having the option of lengthening the programme if all participants are engaged /

enjoying the tour or art activity Individuals with Dementia have better attention and are engaged for longer on a

rainy day rather than when its sunny or hot 11 until 3 is the best time to plan an activity or session Make sure everyone is on the same level as the facilitator at all times Push all participants and challenge there brain stimulation (this is what they

want!) The Arts can be used in every sense, with any age or ability, for rehabilitation or

to find and get to know one self, to explore or imagine and improve health and well-being

- What Chicago Alzheimer’s Association Chapter believe are the main factors for a successful programme:

A true understanding of the disease Educated facilitators Finding the strengths in each individual How to communicate with all levels of abilities Commitment A strong value for the programme A base of volunteers to assist with programme

- Art Form Delivery

- Pointers for successful Visual Art Activities


Order and control over task Simplicity Instant Visual Outcome and Instant Stimulation No pressure of creating a final piece Sensory Based Recognition of everyday materials (everyday mundane materials) Relaxing and will not cause frustration A non childlike activity An activity which everyone can input at various levels and stages A theme given to each session Name badges given to all participants Borders for tables to help concentration on activity

- How to make activities less frustrating:

Contrast colours (Bright Primary Colours) Sensory differences (i.e./Hard and Soft) No patterns Minimize shadows Don’t use sensory based objects that may confuse (i.e./ Spaghetti for printing, as

it may be eaten) Labelled objects Organised materials Simple processes

- Design of the Care Facility

It can be very difficult for someone to move into a nursing home for the first time but think about how it feels and the problems faced when relocating from one unit to another in the same nursing home. Today a lot of care facilities are organised in levels of dementia so through deteriorating in the disease this time and moving to a different unit, can be very distressing for residents and families. It usually means that they have a new set of carers, including nurses, social workers, dieticians, physicians and housekeepers. So how can we ease this transition period and make it less stressful? Family members need to be educated and prepared for the move beforehand so everyone knows what to expect. This way families can be available to help orient staff to their relative’s needs and preferences. Whilst in the US I recognised that the most difficult transition period was from ‘patient’ to ‘resident’ status and the difficulties faced with coming to terms with this for individuals with dementia. Support groups could be set up for this transition period to feel connected with others in the same position and to feel supported at all times.

The colour, size, set up and interior design of the facility is also very important to providing a successful caring environment. After spending a lot of time in care facilities in the USA and UK I have come across the ideal settings. Televisions should be kept to a minimum or allocated a specific place or space – ‘for TV or Film Time’. Rooms should be split for a small group of up to 8 residents to partake in multiple activities. This way there is ongoing and alternative themed activities for every resident’s tastes and needs. A lot of the activities are to strict time schedules. But what is wrong with leaving say three various activities to run over the course of a month. This way it is participant led and a new ‘proudness’ of the end product will be developed. Activities such as jigsaws, a creative collage or a construction of some sort can be lengthy projects.

- Calendar and Time Constraints

The activities discussed above would provide answers to - What happens when individuals are engaged in activity? Care facailities need to be flexible in their approach to individual needs and


providing a wide range of events and activities. To be able to have a calendar of events and open time constraints would really empower residents or patients as they have the chance and time to engage. However this can cause problems for staff around meal times, cleaning and providing medicines to the residents. Both staff and activity coordinators would benefit from working collaboratively to organising flexible time scales during the day for participatory activity, for example, from 10 until 12 and 1 until 4. During this time a number of activities could be organised and ready to coordinate, but this way its lead by the residents engagement and response.

This is how I see the ideal model of place:

- Age and Ability Today in Care

More and more people today are getting older and living at home for as long as they possibly can. This means that those who are in residential care are in later stages of dementia. It is becoming more difficult for activity coordinators to design specific stimulating sessions for all residents. Therefore cross collaborative art forms can stimulate and engage individuals for a longer period of time and respond to a wider range of needs.

- Ego Development Conflict: Integrity vs. Despair

Integrity – the feeling that life has meaning and purpose- Pride in past accomplishments, family etc- Ability to create new things (Art, Poetry, Food)

Despair – the feeling of failure or no longer being useful- Look back at life with disappointment and regret- No sense of purpose in life at the present, no hope for the future

Wisdom – ability to see the “big picture” and have a significant relationship with all living beings.

Our Ego Development Conflict really provides insight into the two aspects. From integrity to despair and how as we age these can change our outlook on life. Through creative activity we need to bring back integrity and give purpose to everybody’s life. It can be very difficult for carers and friends to carry out these purposeful tasks especially when the individual has deteriorated with or is the later stage of dementia. Even if it is through simple tasks such as allowing the individual to choose their clothing as this will empower them and give them some purpose in their regular routine.


People

Physical Setting

Programme

Place

- How can we effectively measure Creative influences with the decrease of Dementia?

First of all do we need to be measuring creativity? As artists we feel there is no need as we can see the outstanding effects automatically and measuring its process can take away from the exploration and exciting aspects of art. But to prove to clinicians or to those who work in care with individuals with dementia qualitative and quantitative data are key in revealing the process and product of creative activity. The power of feedback from families or the individuals participating in the activity can be very powerful and a great source to create a long lasting creative legacy within the field of dementia.

With the increase in digital media today we can record outcomes, feelings or feedback through voice recorders, film and photography. But this can cause issues ethically and with patient confidentiality. Questionnaire outcomes recorded either written or verbally at the beginning and at the end of the session really show the quickening affects of the arts in such a short period of time. All care facilities should supply a questionnaire that has to be filled in by all residents when in attendance, questions such as favourite song, favourite food, previous jobs etc. This way the staff are aware of potential ways of innovatively recording information, without upsetting or confusing residents. Creative Art activities are based around the process and not always the product therefore sharing the final accomplishment doesn’t always provide correct insight.

Engagement, participation and confidence can also be calculated through qualitative data, but this can take a long period of time. Take for example assessing engagement. We can assess engagement in four alternative stages; these are Disengaged, Non-Socially Engaged, Engaged and Challenging Behaviour. Disengaged is when the participant is asleep or not wanting to participate in the activity, Non Socially-Engaged is sitting with the group but not engaging with others, Engaged is participating in the facilitated activity over a period of time and challenging behaviour would be swearing at others and shouting. However staff have to be available to equally record activities over a long period of time, as long as a month. It can be a great way to see how residents alter and to see if the activities are catering for Person-Centred Care, taking time to measure over different years and observing the continuous improvement of that environment.

If Artists and Health professionals collaborated there would be a strong impact on the amount of creative activity available, a definite increase from today in the UK.

- The Main differences between the USA and UK

The USA believes and works around ‘Person Centred Care’ and getting to know the individual.

This is implemented in the USA automatically and as soon as an individual moves to residential care or a nursing unit. Questionnaires are used to ask the individual and their family about their favourite hobbies, interests and past lives. The correct activities are designed around the residents, taking on board everything that was discovered initially. In the UK today many researchers are developing ways to similarly enhance this primary stage of ‘getting to know the individual’ through a type of ‘Facebook’ profile on various digital medium. This way it develops strong relationships between staff and residents and inspires ideas and avenues of discussion.

In the USA with the high medical costs they face, it means that all creative activities are pushed and explored to cut down medication costs (I.e./ The Arts can improve an individuals well-being therefore can stop depressive tendencies) / The UK does not face this problem and this may be a reason why creative activities are not promoted as effectively?


More money per person is spent on health care in the USA than in any other nation in the world. Health care facilities are largely owned and operated by the private sector. Health insurance is now primarily provided by the government in the public sector. This means that medical costs of any sort are soaring out of control in the USA therefore anything carers or facilties can do to lower the price are put into action. The Alzheimer’s Association has recognised that more and more people are being diagnosed with dementia, therefore there should be available access into all public environments. In the majority of museums and galleries they have a dementia based programme set up which promotes creatvitiy in numerous ways, whether that’s through art discussion or studio based activity. As the arts are said to lower depressive tendencies, and improve health and well-being this can cut various medical costs, especially when creative workshops are so reasonably priced to run. Arts organisations are poised to benefit from this tremendous need for high quality, cost-effective creative activities. In a range of settings, the arts provide lifelong learning, meaningful communirt building, and respite to carers through uplifing creative expression. As we do not have these medical cost problems in the UK this may be a vital ingredient into why it can be difficult to promote the affects of the arts. Our number one goal is to make sure everybody is cared for and brain stimulation comes second.

The USA concentrate on the choice to reminisce whereas in the UK we focus a brief on a certain era, i.e. / 1940’s with the need to reminisce.

All access dementia programmes in the USA are based in the present day and not in the past or previous years. The activity is a contemporary or modern approach to new techniques and materials. If members of the group decide to reminiscence or revert to the past, that is their choice and not the facilitators. In contrast a lot of workshops in the UK are based on reminiscence and set eras such as the 1940’s which can result in both positive and negative outcomes. Participants can become confused and disorientated but could also be reassured and comforted by certain events. I do not think there is a right way of facilitating such projects and it can work differently for each group and individual. The main pointer is choice and leaving activities open ended for the participants to choose the journey and whether they feel comfortable to speak about their past.

In the USA there are equally as many activities set up for carers and families affected by Dementia as much as there is for the individual with Dementia. However in the UK there is minimal support for carers and families.

Steering groups, support groups and forums are a regular occurrence for families and carers affected with dementia in America. Dementia not only affects the individual but everyone close to them equally. I think it is imperative to have separate groups for carers and mixed groups with the individual too. In the UK today, Dementia Cafes are now popular which provide a safe and comfortable environment to share and be with others. This can be for individuals still living at home as well as in residential care; therefore there are no limitations whatsoever. Due to the lack of funding in the UK for activities, this is the type of activity individuals are willing to pay for. At these events there is usually a performance such as theatre or music, with socialising, food and quizzes.

In the USA they are positive about the Arts and their affects on people whereas in the UK it is a constant battle

In the UK there are few or no access programmes in museums or galleries, set up for individuals with Dementia however the UK soar in the development of Intergenerational work and projects.

I found it very interesting speaking to leading practitioners and clinicians in the US around Intergenerational projects. I only came across minimal intergenerational projects such as Kairos Dance and The Alzheimer’s Poetry Project. After many conversations it came to my attention that family relationships are not as strong as in the UK. And it is in fact, close friends that assist more with care or access programmes. However in the UK our museums are full of intergenerational projects similarly to family days. But we differ in the dementia access opportunities. How can we promote the successful practice of the arts, here in the UK? I think this is growing everyday


http://en.wikipedia.org/wiki/Health_insurance_in_the_United_States

http://en.wikipedia.org/wiki/Private_sector

http://en.wikipedia.org/wiki/Health

http://en.wikipedia.org/wiki/List_of_countries_by_total_health_expenditure_(PPP)_per_capita

through sharing findings with the US and Australia and with more people growing into the third and even fourth age this way of working will be essential and a definite need in care.

I wanted to acknowledge the groups of individuals and practitioners that are always available to help and assist with any queries or problems to those affected by dementia. There are plenty of both professional and community support and they would become stronger if they became a collective. Individuals feel less threatened by attending a local club or centre; therefore lawyers and geriatrics could share their knowledge and opinion in these venues and educate the wider community around dementia.

- Professional Support available: Alzheimer’s Association / Alzheimer’s Society Case Managers Geriatrics Neurologists Psychiatrists Counsellors Lawyers Financial Planners

- Community Support available: Place of worship / faith community Neighbours Friends Clubs Senior Centres Volunteer Organisations Gym

- Art Therapy v Creative Arts- Product v Process

Many people get confused between Art Therapy and the Creative Arts. They share a lot of similarities in final goals and outcomes of social health and well-being, but differ dramatically in the process and facilitation of an activity. Art Therapy is driven on the final product and process for analysis and evaluation, whereas the Creative Arts look at social interaction, engagement and participation with others and the well-being of the process in a group setting. Both art activities have an necessity in care but these become blurry to health practitioners. I believe it would be very interesting if an Art Therapist and a Creative Engagement Facilitator collaborated to form a session, so process and product were both outcomes. Would it become more clinical for the Creative Arts?

- Which Art Form is the most effective – considering costs, impact and improvement in positive health and well-being?

Music Music is classed as the ‘Quickening Cure’ for individuals with Dementia and can

provide quick positive outcomes. Outcomes can include Stimulation with activity and afterwards, joy and recognition, improved health and well-being and empowerment

Music is the cheapest to replicate and provide


Instant improvement to an individuals life

Visual Arts Can inspire multiple conversations / reminiscence ideas Making or creating something that will be an object Instant visuals Can be looked at and used more than once Can enhance fine motor skills (such as a paintbrush)

Poetry Uses the senses to associate and make links with words and phrases An instant way of empowering individuals through open and sensory questions to

create new and innovative ‘quick’ poetry Can be an avenue in to finding out more about the individual and their interests Low costs to facilitate

Storytelling Tapping into the imagination and creatively developing new stories Costs to facilitate storytelling projects can be varied dependent on hopes and

aspirations for outcomes The obvious action for reminiscence

Theatre Encourages movement and expression which can energise minimise joint and

muscle pains Can cause both anxiety and empowerment if performing to a wider audience A long process to write and develop a theatrical outcome

All of these activities incorporate group work and this can encourage an increase in positive health and well-being. It can be as important to be part of a group as taking part in the process.

Music tends to be the art form which can stimulate an individual the fastest but can also enable a rhythm to motivate other creative activity such as poetry or visual arts. Music can be the last part of the brain to diminish with dementia therefore a powerful tool to arouse further activity.

- Cross Collaborative Art Forms

Poetry and sensory based prompts can enthuse storytelling either around ones life or on an imaginary journey. The approach of poetry would be facilitated more openly with the flexibility to develop stories rather than lines of poetry.

Music and Poetry share the similarity of rhythm and music can quickly be depicted from a line of poetry, whether that’s one word, a phrase or a rhyme. Music lyrics can be seen as poetic and share many similarities in writing styles. These two art forms would be quite an obvious cross collaborative approach. But visual art could be applied to bring the poems to life through imagination and visuals. The more art forms used the more innovative the outcome and process will be. - An example of a Cross Collaborative Session

Theme = Identity One Hour Session Poetry and Visual Arts


Hand Casts using plaster and Alginate to pick up all small details Hand Massage using a variety of sensory based creams Sensory based objects passed round to stimulate phrases and thoughts on identity.

Objects could include shoe polish, lace, washing powder, leather and fur. – Open ended questions are then asked to inspire a poetry based outcome

Outcome – hand casts and a poem identifying all the individuals participating in the session

- Clean Language Methodology

The language we use with individuals living with dementia can be imperative to communication and engagement levels. Clean Language is a methodology put together by David J Grove, a Counselling Psychologist during the 1980’s and 1990’s. Clean Language techniques are aligned closely with enabling principles of empathy and understanding opposed to ‘manipulative’ influence through persuasion. This language is an easy way of conveying own meaning and it is free from emotional and distracting interpretation from others.

This is a questioning and discussion technique used for discovering, exploring and working with peoples personal metaphors. We use a metaphor to communicate complex ideas, i.e. / I am over the moon. It means listening attentively to the individual or resident and keeping your opinions and advice to yourself as much as possible. It begins with a sentence developed by the individual. Clean Language repeats the sentence directed around the metaphor for the conversation to develop. This way the individual is in control of the conversation and what they want to share. This means attentive listening is needed to accurately reproduce the sentence and to help recognition of what the individual has previously said. Metaphors are extremely common in our everyday speech and these can reveal the hidden depths of our thought processes. Clean Language brings thoughts we have not been conscious of into our awareness, where they can be shared, enjoyed and understood. This technique would be invaluable for individuals living with cognitive impairments. The Clean Language Methodolgy could also be used in all of the art forms to provide insight into the individuals life and thought processes.

- Clean Language Principles: Open Ended Questions Repetition Main words used to prompt Metaphors Flexibility Individual Led Listen attentively Keep opinions to yourself

- Person – Centred Care

Definition: An approach to care that respects and values the uniqueness of the individual and seeks to maintain, even restore, the personhood of individuals through the creation of a psychological, social and physical care environment that promotes personal worth, agency, social confidence and hope.

- How we can implement Person-Centred Care effectively: Building on the unique qualities of every person By promoting Social Confidence Recognising Self Worth


Inspiring Hope Treating every person with Respect Recognising that Engagement is a sign of well-being Supporting Independence

Today in the UK, a lot of the care facilities are short staffed, which makes it difficult to implement a person-centred approach, especially when statistics show the increase in older people. If the creative arts were highly recognised this could be an ideal opportunity for a health environment to put this method into practice. Anyone working in the field of older people need to be empathic to how this generation feel and are stigmatised. This generation taught us and who made us who we are today, therefore we need to recognise what they want and need in the third age of life.

- Questions we need to recognise: What do people want within a Care Facility? How do they feel when they are diagnosed with Dementia? What activities will provide cognitive stimulation and engage them back into their

everyday lives? What does our culture think of the older generation? How can we change the stigma associated with Dementia?

- The main problems we still face today:

Stages of Dementia and what happens during the Transition period Various Types of Dementia and Individual Needs Every person is different, various backgrounds and hobbies Carer and Family Support A set time period for activities – What happens if the participant is engaged? Engaging Health Staff in the Creative Working process Promoting the Arts as a successful tool Artists having Health credentials to be able to easily work in health environments

Our society at large today can discourage people with dementia to explore and express their ideas, this is due to the sense that people are fading away, damaged or loosing themselves and the fact that you don’t want to embarrass people by pointing out their deficits. Instead the possibilities should be recognised for personal growth. We are hanging onto the past and what they had instead of focussing on the present day and what could be. Individuals still have the ability to learn something new and create something that is innovative and motivated. We need to see the individual as If their abilities have never left rather than ‘there is something left’, changing the paradigm from negative to positive. The stigma around dementia today in the UK is slowly changing and rightly so. We need to move away from a ‘deficit’ approach that stresses the losses to an ‘asset’ approach that stresses strengths, potential and achievements. This generation needs to gain the respect of other generations as it will be the biggest age group in years to come, leading us. All people wish to grow older with dignity, living independent and purposeful lives for as long as possible. The arts are a key variable that provide meaning and true connection among families, individuals and communities.

Since the Fellowship

The Winston Churchill Travelling Fellowship has entirely changed and enriched my life. I came back to the UK with a driven passion to influence change and enthusiasm into providing stimulating and fascinating creative activities for individuals with dementia. I am now sharing skills and techniques with activity coordinators around the North East through training and observing, whilst facilitating cross collaborative art sessions. These have all been adapted around my new learning from the USA.


I have also disseminated my findings through written articles, journal entries and newspapers. Alongside written documents I have presented in various venues sharing and inspiring others to implement change and stimulating projects for this generation.In addition to the fellowship I now work part time in a specific dementia care centre organising activities and creative stimulation. I hope to work closely with NHS staff to form a collaborative relationship to create a powerful and essential creative programme. I am currently applying for an Arts Council grant to secure funding into further research around digital media and dementia.

Art has always been the touchstone of the soul. Everyone reacts to colours, shapes and textures, although those with a creative streak are generally more affected than others. As the disease slowly begins to destroy the brain cells, memory and language begin to fade, but for some reason other parts of the mind spring to life. People who have not been particularly creative in the past suddenly become avid museum or gallery goers or artists themselves, expressing insights and skills that have never appeared before. Everyone is capable of Creativity; we just need to collaborate with each other to educate and enable insight into the multiple venues to inspire successful Creative Aging.

Acknowledgements

Firstly I would like to give a big Thanks to Clive Parkinson, the Director of Arts for Health at Manchester Metropolitan University for his dedication and support in both applying and mentoring throughout the Winston Churchill Travelling Fellowship.

Also to both Anne Davis Basting and Carrie McGee for the advice and links they set up for me across the USA and in planning my initial itineraries for travel.

To the individuals and organisations who welcomed me into their programmes and supported my research and development throughout.

And most importantly to the Winston Churchill Memorial Trust for believing in my aspirations, improving and making a difference to the older generation.

Appendix .1.Press Release


Appendix.2.Itinerary


Appendix.3.Kairos Dance Media Recognition


Appendix.4.Examples Artwork used for ‘Meet Me at MOMA’ Programme

Appendix.5.


Alzheimer’s Poetry Project, Poetry Outcome

Van Gogh’s painting ‘Starry Night’ was the inspiration behind this poem. It was part of the ‘Meet Me at MOMA’ programme, working alongside poet Gary Glazner.

Starry Night

Appreciative.Very calm- and yet there’s turmoil.A little suspect, a little sinister, something evil about it, that plant.Confusing.

A star tastes delicious.A star tastes like a milky way.

If I had a thought, I would but you’re okay so you can get away.

A star smells like peanut butter.You’ve got to do it.

The stars sound like full heritage.Everyone looks at a star and dreams.

A star sounds like a symphony.

The painting is soothing you could sleep happily.I see bi-polar, I feel pity for the person describing his feelings in the painting.

You can read a lot into Van Gogh’s painting.

I like the sun the way it moves.Oh my goodness!Let me think about that now.

Not to count everything that you can use.

It looks like a storm.Blue’s my favorite color, as we can see.

Newsday, Monday, January 24th, 2011


Appendix.6.- Questions / Answers by Cynthia Epstein

(Answered by e-mail)

Questions1. What do you feel are the main difficulties with Dementia Care and Programming?2. What do you think are the main difficulties that face caregivers? What can be done to

overcome these?

Answers

1.- Underlying issues is that the dementia spectrum is not a very high priority and

that the elderly are a doubly devalued population.- There is not enough awareness of how much people with dementia know and

feel and the extent to which their retained strengths can be expressed. - Those who care for those who have dementia probably are not well paid or

educated to know about access art a programme which proves problematic.

2.- Caregivers miss the normative supports that come from being able to engage in

social interactions that maintain their sense of having a full life. Activities they can do with their ill spouse have special value.

- More family support and better home care services at an affordable cost would benefit the caregiver

- The system (Hospitals, nursing homes etc) give caregivers the feeling that they need to protect the person with dementia from the system, rather than feeling that they and the person with dementia are being cared for. This barrier needs to be overcome.

Appendix.7.


Books of Interest

The Creative Age, by Dr Gene Cohen

The Forgetting, by David Shenk

Alzheimer’s from the Inside Out, by Richard Taylor

Forget Memory, by Anne Basting

The Mature Mind, by Dr Gene Cohen

Reminiscence, by Roger Sim


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