WE LEARNT FROMFROM ONE ONE “ WE LEARNT ANOTHER AND ANOTHER AND THAT THAT OPENED OPENED DOORS.” DOORS’
EXPLORATIONS IN PARTICIPATION ‘
Artlink Edinburgh & the Lothians 2010/2011
INTRODUCTION
Artlink was supported by Creative Scotland during 2010/11 to explore experiences of older people in the arts and create new opportunities for meaningful participation. This work was commissioned in the context of an ageing population and the need to think positively about new roles for older people and the contributions that can be made to society. To explore this further Artlink supported three action research projects with older people with additional support needs. • A drama project with people with hearing loss providing opportunities to share experiences. • A gallery project with visually impaired participants which creatively describes the gallery space rather then the exhibits. • A music project with people with dementia developing shared activity that the group could benefit from beyond the length of the project.
2
INTRODUCTION
The projects investigated older people’s experiences of the arts and explored practical means to overcome barriers to participation informed by their experiences and ideas. In response to the wider context of the work we have considered the benefits of exploring older people’s input and ideas for artists, support workers and partner organisations. Underpinning all of the work is the belief that regardless of a person’s age or support need, there is always more to experience and more to share. The involvement of older people has been central to the projects at all stages. In setting up, developing and evaluating the projects we interviewed participants, support workers and artists, and tried to understand what has been beneficial about the projects from these different perspectives. It is these words that are used here, along with accounts of the projects by author Morven Crumlish. Shared in this way, the report does not present conclusions but we hope will support ongoing discussions.
3
E S S AY b y M O R V E N C R U M L I S H
Each group began with openness, and a flexibility regarding the outcome of the project. It was important that everybody remained open minded about the form the final work would take, so that the participation of the group remained constructive, rather than just paying lip service to the idea of consultation. For the participants, this meant that they were able to see their ideas and contributions take form; they were valued and listened to throughout the process. For the artists it meant working in sometimes surprising and unexpected ways, and discovering insights into their own practice. The benefits of working in this way shifted between those involved in each project, with learning, listening and decision making being a thoroughly two way process. A variety of art forms, a number of artists, a range of access requirements – these projects can be collated by the importance shown to listening to participants, and tailoring the artists’ approach to the work to suit the needs, tastes, and individualism of the people whose involvement makes each venture unique. 4
“ IT TAKES A DEEP BREATH TO TRY SOMETHING NEW.”
5
DRAMA
6
DRAMA
“ IT OPENS YOU UP TO EXPRESS THINGS YOU WOULDN’T.”
7
DRAMA
The drama group was made up
which, along with the communication
of people with hearing loss.
support, helped the group to feel at
During a consultation day, some
ease. Because hearing loss was a
people had expressed feelings
shared concern for everyone in the
of vulnerability and isolation as
group, they were able to collaborate
a result of being hard of hearing.
to find successful ways of working,
The group was supported by a Notetaker, and a hearing loop system – simple, practical solutions which
for example, when groupwork meant that the notetaker’s support was not possible.
meant that communication barriers
Working with a performance artist,
were immediately reduced.
the group produced tableau style
Many of the people in the group were nervous about taking part – along with concerns about being able to communicate with each other, there were preconceptions about what it meant to be involved in drama. Just coming along to the group was a daunting prospect. Jenna’s workshops were structured to provide continuity and repetition, 8
photographs describing some of the unique situations and difficulties that hard of hearing people encounter in trying to access mainstream arts venues. Sharing, and dramatising, similar experiences was a cathartic and confidence building process.
DRAMA
do with not wanting to show “ Ityourself is partlyastohaving vulnerability. You can have the
image of being confident and quite together, but you know you are missing a whole lot and putting yourself in embarrassing positions because you mishear.
PARTICIPANT
�
9
DRAMA
of the unique opportunities of this group “ One is working with peers with hearing loss and
we have helped each other contribute. We have had to work out strategies to make sure everyone is managing.
PARTICIPANT
”
of drama workshops is being able to “ The take value your own experiences and work through
them at one stage removed. It opens you up to express things you wouldn’t. I would think every one of us has felt upset because of the barrier of hearing loss – inevitably that can come out and sometimes really surprises you – it seems fun, then something hits you.
PARTICIPANT 10
”
11
12
DRAMA
was about interaction, adaptations “ Because took placeit during the performance. I mingled
a bit before the performance, which is very different to the way I would usually present work. I know it’s scary for people who are walking into a one to one interactive performance piece, to know what the rules are and how to behave. I sat close to one woman so she could lip read me while I spoke the instructions to her; I made the piece accessible to an individual, rather than for a group of people who are hard of hearing.
ARTIST
”
13
GALLERY
“ YOU HAVE AN IDEA, THEN IT WOULD BE MODELLED TO TAKE SHAPE.”
14
G
DRAMA
GALLERY
15
GALLERY The project that became
Once the poem had been written, it
Pandora’s Light Box began with a
was recorded, and the decision was
group of visually impaired people
made that it would be placed in the
working with poet Ken Cockburn
gallery space as an audio installation.
to develop a poem which would
Ceramic artist Frances Priest was
describe the Talbot Rice Gallery.
brought in to make the earpieces,
A series of workshops delved into physical and sensory descriptions of the gallery, as well as its history, and the many associations which these triggered. The name of the poem was suggested by a member of the group, following a word association exercise which explored the space of the gallery. Many of the images and descriptions in the poem came from the ideas and conversations shared within the group. Discussions had a freedom and scope due to
or listening devices, which would house the speakers. After initial consultation sessions, the final format of hand held earpieces rather like old fashioned telephones was agreed on. Settling on the best form for the listening devices was a collaborative process, in which the artist found her initial inclination to pieces whose shape and texture reflected the physical gallery space was put aside, in favour of the practicalities and simplicity of the final design.
participants feeling comfortable and
This project was constantly shaped
confident in the group and trusting
and carried forward by the ideas and
that their ideas would be listened to
input of the group, whose contribution
and acted on.
has resulted in a distinctive piece of collaborative art.
16
GALLERY
were invited to come along and make a “ We contribution to something that would be in
the gallery. Artists were commissioned to amalgamate the ideas. For me it’s very important to have the chance to participate in a contributing way and that people will listen.
PARTICIPANT
”
17
a lot from participants, the central ideas “ Iin drew [the Round Room] section all came out of the conversations in workshops. The Round Room is about our experiences of the room, and then extending them or finding a form.
POET 18
�
that was afforded everyone “ Itthat wasI gotthealistening lot out of. We had to listen to one
another, we learned from one another, and that opened doors. It was being involved. You have an idea, then it would be modelled to take shape. The ideas reflect all of us.
PARTICIPANT
�
19
20
GALLERY
interesting is the difference in response, “ What’s that’s where I learn and everyone in the group learns from it. ” POET
that has come out of the project “ One for meof isthehowthings much more I’ve started to look at things because I’ve had to describe them. I feel through this project I’ve learned to look at things.
”
on board with an approach relating to “ Imy came own practice; those ideas were blown out of the water in the second consultation process. In many ways I’m surprised about what’s been made, that’s really exciting for me.
ARTIST
”
21
MUSIC
22
MUSIC
“ A CLANG INSTEAD OF DRAMA A BANG!”
23
MUSIC
When Artlink approached the
benefited by learning from each
dementia day care service,
other and the artist. By sharing the
there was an inclination towards
experience of music, barriers and
a music group; however, many
frustrations were reduced, and the
of the members of the group
group built and recognised new
enjoyed craft activities. It was
relationships. Individual histories and
decided that both of these routes
personalities were re-established by
should be explored.
the associations and recollections
After taster sessions in both crafts and music, it was agreed that music had a more inclusive appeal. The music groups were simply structured: different musical pieces were introduced, and then played. Participation was varied – some people sang, danced, or joined in with instruments; others took part simply by sitting and listening. Musical talents and knowledge were discovered and shared among the group, support staff and participants 24
triggered by different pieces of music. The contributions and preferences of the group influenced the final outcome: a music box, housed in the shell of an old fashioned gramophone, along with a selection of music. While the recognisable appearance of the music box was important, emphasis was placed on the sound quality of the final object. The musical selections were chosen with consideration for the tastes of the group, and recognising the success of the format of the workshops.
areas of life people with dementia “ Indon’t so many have a choice – in the workshops there
is an open atmosphere, there is choice. People with dementia get a huge amount from being in the moment. They may not have short term recollection but if they enjoy something a feeling of wellbeing will stay with them.
”
SUPPORT WORKER
”
25
MUSIC
you can be sitting with your eyes “ With shut, music still taking part. Some people will hum
along, tap their feet – lots of people have been dancing.
”
artist always introduced the music – “ The sometimes people would recognise the title,
sometimes the composer, there were different routes in which was important. It’s a safe space – if someone did a clang instead of a bang it didn’t matter.
”
SUPPORT WORKER
26
MUSIC
I do. When I’m feeling low I play “ Imusic love music. slowly, I like to think about it and if you close your eyes you can float away. ” feeling yourself. You’re letting yourself “ Music go andisenjoying it. ” PARTICIPANT
PARTICIPANT
whole project has been about creating “ The something that they will have to keep. It’s
been getting to know the group and the staff, and building up relationships, which wasn’t something I had thought about at the start. It’s not for them, or me, or staff; it’s for everyone. We all benefit, really.
ARTIST
”
27
MUSIC
28
PA R T I C I PA N T S
5 consultations 30 workshops 1 training session 2 public events
41 participants 286 attendances 14 participants 60 attendances
38 sessions 401 attendances
29
LOOKING FORWARD
In this report we have presented
tour informed by visually impaired
perspectives not conclusions.
participants. We are developing
Each project suggests further
projects which arise from specific
possibilities, raises new questions
experiences but which look outward
which we are continuing to
and connect with people in positive
explore. We have not solved a
ways.
set of problems but developed insights and ideas that are informing new areas of work.
listened to, but within a supportive environment we should challenge all
From the projects detailed here we
involved and expect to be challenged.
learnt that as artists engage with
Artlink looks forward to the new
older people with different support
opportunities that the current work
needs, new creative possibilities,
will undoubtedly present.
not problems arise. By focusing on unexpected and high quality experiences, we can present responses which have a wide interest. This learning is now informing our approach to a writing project presenting the experiences of hard of hearing theatre goers and a walking 30
There are personal benefits to being
PA R T N E R S
ORGANISATIONS
STAFF
FIND OUT MORE
Edinburgh University Eric Liddell Day Care Services Festival Theatre Hearing Concern Link Scottish Poetry Library Talbot Rice Gallery
Jan-Bert van den Berg Director
If you would like to find out more about Artlink or you are interested in volunteering please feel free to contact us by either telephone, e-mail or in writing.
ARTISTS Ken Cockburn Morven Crumlish Lauren Hayes Jung In Jung Lorna Irvine Martin Parker Frances Priest Jenny Smith Laura Spring David Stinton Andrea Walsh Jenna Watt Ronnie Watt
Anna Chapman Programme Support Worker Morven Crumlish Arts Access Worker Susan Humble Audience Development Officer
This publication is available in PDF, Braille, audio CD and large print formats, please contact Artlink for your copy.
Sally Primrose Arts Access Co-ordinator Nicky Regan Designer FUNDERS Creative Scotland South Central Neighbourhood Partnership
31
Artlink Edinburgh & the Lothians 13a Spittal Street Edinburgh EH3 9DY Telephone: 0131 229 3555 E-mail: info@artlinkedinburgh.co.uk Website: www.artlinkedinburgh.co.uk Social Media: www.facebook.com/ArtlinkEdinburgh Artlink is a company registered in Scotland No. 87845 with charitable status, Scottish Charity No. SC006845