Creative Giving Stories of Motivation, Training, and Retention of Art Volunteers Ricci Justis Summer 2015
Voices From The Field
"It's rewarding to see people give of themselves. It's a beautiful thing to see." Tania Becker "I don't know everything. Share your thoughts so we can have a conversation. If I ask you a question and you don't know what to say, come up with something. Chances are you know more than you think." Millie Fuller
"Once you get to a place where this one kid, who's a problem kid, finally did something and he's like 'oh it's cool' you see a smile and a light that's the instant gratification." Tim DeGroot
"It's the patient not the painting that's important." Barbara Banta
Table of Contents Introduction..............................................................................7 Tania Becker and Arts4Alzheimer's...........................................9 Tim DeGRoot and Bright Futures Atlanta..................................13 Barbara Banta and The Foundation for Hospital Art..................17 Docents and The High Museum of Art.......................................21 Take Aways...............................................................................25 Suggestions...............................................................................27 About the Author........................................................................29 References................................................................................30
"Arts4Alzheimer's Angel" Print by Tania Becker
As an artist, art educator, art volunteer and researcher I attest to the powerful value of giving of oneself creatively. I have had experiences and observed that despite a consumer driven world, experiences of giving remind us that there is more to life than acquiring things, positions, and prestige.
Art volunteers are individuals who give their time and energy to assist others in making and appreciating art. I studied individuals and organizations utilizing art volunteers. I aimed to answer three questions:
Introduction
WHAT DRIVES PEOPLE TO VOLUNTEER WITH ART ORGANIZATIONS? WHAT DO ORGANIZATIONS DO TO HELP PREPARE ART VOLUNTEERS TO WORK WITH THEIR PROGRAMS? WHAT KEEPS ART VOLUNTEERS COMING BACK TO VOLUNTEER WITH THE ORGANIZATION? I found that art volunteers desire to connect with and edify others while edifying themselves intellectually, emotionally, and socially. I also found that their abilities and dedication must be harnessed by transformational leaders who prepare for, guide, inspire, train, encourage and thank them. Finally I found that volunteers continue their service when they experience clear expectations and expressed gratitude. Artists, art volunteers, art educators, museums, art collaboratives and community art centers can benefit from this document. They can learn valuable knowledge to inform decisions impacting the success of their endeavors through the unique, personal, and dynamic stories of those currently working in the field.
Arts4Alzheimer's Connecting through creativity arts4alzheimers.com
Tania Becker is the founding director of Arts4Alzheimer's. She created and developed it in conjunction with the Museum of Modern Art in New York. It is now implemented in multiple locations including Spruill Art Center, The Centers for Disease Control, Fountain View, and Columbus Museum of Art.
Tania Becker
Founding Director
Tania is a transformational leader who is prepared, organized, demonstrative, inspirational, encouraging and expressively thankful. The program provides a social outlet, intellectual stimulation and art therapy for volunteers,caregivers and individuals with Alzheimer's “constantly told me how wonderful it was” (T. Becker, personal communication, June, 2, 2015). Tania takes time to get to know her potential art volunteers to see if they are a good fit. She thoughtfully looks for calm, patient people who will be able to go with the unique flow of an individual with Alzheimer's. Once Tania confirms a person has the skills and psychological stance that benefit individuals with Alzheimer’s, she begins the mentoring process.
VOLUNTEERS, CAREGIVERS AND INDIVIDUALS WITH ALZHEIMER'S “CONSTANTLY TOLD ME HOW WONDERFUL IT WAS”
First, volunteers sit with Tania to observe and discuss master art volunteers working with the individuals with Alzheimer’s. Next, Tania and the new volunteer work in tandem with these individuals while reflecting and discussing successes and challenges. Then, the new volunteer strikes out on her own for brief periods of time, reflecting on and discussing progress and setbacks. Finally, this volunteer works with individuals independently, while Tania is present, but attending other concerns. Sometimes, though art volunteers are properly prepared and are satisfied, stresses outside of their volunteering come into effect. Challenges such as calendar conflicts can make it a struggle for Tania. Despite this struggle she continues to develop committed volunteers, Arts4Alzheimer's continues to grow.
TANIA LAMENTED THAT “YOU KNOW SOMETIMES THINGS COME UP. SOMETIMES PEOPLE NEED TO GO TO EVENTS THAT CONFLICT WITH THEIR VOLUNTEERING. SOMETIMES VOLUNTEERS GET SICK OR OTHER THINGS. SOMETIMES IT’S JUST ME WITH THE INDIVIDUALS WITH ALZHEIMER’S” (T. BECKER, PERSONAL COMMUNICATION, JUNE, 2, 2015).
MOTIVATION: CONNECTING WITH AND EDIFYING OTHERS TRAINING: GUIDED, ORGANIZED, DEMONSTRATIVE, INSPIRING RETENTION: MODERATE AND CONSISTENT DUE TO COMFORTABLE EXPECTATIONS AND GRATIFICATION CONTRASTING WITH INTENSE NATURE OF THE VOLUNTEERING WORK
Bright Futures Atlanta Real Life Direction bfatl.org
Bright Futures Atlanta was formed in 2002 in order to promote the spiritual, academic and physical growth of its youth participants and their families through year-round programs. After working with a local non-profit ministry for three years, Philip and Gail Ross (founders) decided to concentrate their efforts on the youth of the community. Since its inception BFAtl has witnessed underserved youth of the community become self-sufficient, successful young people in college, military and full time employment.
In progress artwork by students of Tim DeGroot at Bright Futures of Atlanta
Tim DeGroot Tim DeGroot
"WHAT’S THE EXPECTATION? WHAT’S THE TIME? I WANT IT ALL WRITTEN OUT." Tim DeGroot was the sole art volunteer for eleven years at Bright Futures of Atlanta (BFAtl). Being the only volunteer, Tim felt he needed to go beyond what he initially agreed to do. Due to the challenges facing the organization, he discovered that logistics changed in an unpredictable manner. He found that he needed to define the expectations so that he was clear on his tasks. With no one at fault, training and preparation could have alleviated some of this struggle, easing his distress, allowing him to focus on the aspects of art volunteering. He explains that as he goes into a new situation, " I want it all written out. I want the business plan, whatever, logistics, I want it all: what’s the expectation? what’s the time? I want it all written out." (T. DeGroot, personal communication, May, 28, 2011).
Tim and the directors, with hearts full of hope, initiated Tim's art volunteering without expectations, preparation, or support. Phillip and Gale were grateful for Tim's work ethic, skill set, and passion. They see that this bolstered him to grow a successful art program for under-served children. Tim volunteered for years in this logistically frustrating situation, with the empathy of the directors "Because the reward is that in the long run, seeing that success pay off, having that relationship" (T.DeGroot, personal communication, May, 28, 2015). Now, he is taking all he has gleaned and preparing to pour it out in a new art volunteering opportunity.He uses his new found wisdom to define boundaries, expectations, and set forth clear communication. All for the reward of seeing lives changed for the better and in keeping with his faith.
MOTIVATION: CONNECTING WITH OTHERS IN COMMUNITY TRAINING: SELF-TAUGHT, REFLECTING ON THE BEST PRACTICES OF OTHERS AND HIS OWN SUCCESSES RETENTION: STEADY FOR OVER A DECADE. MOVING ONTO A NEW ORGANIZATION TO SHARE HIS EXPERTISE WITH OTHERS
"THE REWARD IS THAT IN THE LONG RUN, SEEING THAT SUCCESS PAY OFF, HAVING THAT RELATIONSHIP”
The Foundation For Hospital Art hospitalart.org
John Feight, founding director of The Foundation for Hospital Art (TFHA) was inspired by his grandfather to care for those in hospitals without charging them. This example led John to devote his time to those in hospitals. He discovered patients staring at blank walls, surrounded by machines, depressed and in pain. He responded to this by creating TFHA's mission to provide comfort and love to those in hospitals by painting blank walls into walls of color and interest. Photo Credit: John Feight
Barbara Banta
As the lead artist for The Foundation of Hospital Art, TFHA, Barbara Banta guides all mural painting volunteers by first building an informed rapport with them. She explains the process of painting murals for hospitals. Potential mural painting volunteers who are interested are given a volunteer painting date that best suits their needs as an individual or as a group. Barbara reaches out to encourage and thank the volunteers a week before their event. Once arriving on site, volunteers are warmly greeted, guided, and responded to. After the art volunteering event, Barbara sends handwritten thank you notes to the individuals reinforcing to them “the important and privileged gift to have people who give of their time” (B. Banta, personal communication, June, 8, 2015).
BARBARA REINFORCES TO HER VOLUNTEERS "THE IMPORTANT AND PRIVILEGED GIFT TO HAVE PEOPLE WHO GIVE OF THEIR TIME".
The environment of TFHA displays appreciation for volunteers' time. It is organized and prepared for them to paint hospital murals when they arrive on their painting date. Barbara then shares a video that inspires volunteers with meaningful stories about the value of what they have chosen to do. Next, Barbara builds their confidence saying, “don’t worry about making a mistake. I will be here to help you, but you will do great. There is nothing that we can’t fix” (B. Banta, personal communication, June, 8, 2015). She continues on with clear and simple demonstrations before launching the volunteers.Barbara is a constant reassuring presence. She makes participating easy and fun for volunteers. Multiple volunteers share that they love being here at the TFHA’s studio and that it’s relaxing. Volunteers at TFHA are satisfied and eager to return on a consistent basis.
“DON’T WORRY ABOUT MAKING A MISTAKE. I WILL BE HERE TO HELP YOU, BUT YOU WILL DO GREAT. THERE IS NOTHING THAT WE CAN’T FIX” .
MOTIVATION: CONNECTING WITH AND EDIFYING OTHERS TRAINING: TIMELY, FRIENDLY, ORGANIZED, INSPIRING RETENTION: HIGH AND ONGOING DUE TO COMFORTABLE, EASY, ATTAINABLE EXPECTATIONS AND GRATIFICATION
The High Museum of Art Atlanta high.org
The High Museum of Art in Atlanta is a leading art museum in the Southeastern U.S. The High is dedicated to supporting and collecting works by southern artists, including folk artists such as Howard Finster and Nellie Mae Rowe. It houses 14,000 permanent works and an extensive 19th-20th century American decorative anthology. It also has a significant holding of European paintings and a growing development of African American art, Modern and Contemporary art, photography, and American art.
Docents at The High, like Leslie Tripp, provide guided tours and in-gallery talks to a wide range of audiences. She expresses an authentic appreciation for being the face of the museum and creating meaningful museum experiences with patrons. She shares camaraderie, enjoyment of personal enrichment, comfort with engaging patrons and sharing her knowledge.
Docents
"I CHOSE TO BE A DOCENT FOR THE INTELLECTUAL STIMULATION, AND HAVE FOUND THE SOCIAL PART OF IT VERY SATISFYING TOO."
Leslie's motivations were to be intellectually stimulated, connected with others in a meaningful way, and to give and to share with their community. She shared that "I was new to the area and my kids were grown and I wanted to connect, meet people" (L. Tripp, personal communication, June, 18, 2015). Another docent said "I chose to be a docent for the intellectual stimulation, and have found the social part of it very satisfying too" (B. Brooks, personal communication, June, 18, 2015).
The training program is foundational for docents, such as Leslie. It includes techniques to engage patrons in conversation and critical thinking. Leslie explained that this individual research allows for docents to express their own style and interests. She emphatically shares that participating in sharing best practices, encouragement, and meaningful relationship with other docents cultivates her expertise. Docent Leslie explains “I have no art background. I had to learn about these things. Nobody told us...they gave us a skeleton. I was a little frustrated when I discovered how much work I had to do for this” (L. Tripp, personal communication, June 18, 2015). Docent Millie shares that “Leslie is really good. I love the way she talks about perspective. I’m still working on that” (M. Fuller, personal communication, June, 18, 2015). Leslie, over the course of my visit, expressed multiple times how much she had learned from Millie. This mutual edification that is provided through friendship help to enhance the docents' abilities.
“LESLIE IS REALLY GOOD. I LOVE THE WAY SHE TALKS ABOUT PERSPECTIVE. I’M STILL WORKING ON THAT.”
MOTIVATION: CONNECTING WITH OTHERS AND PERSONAL INTELLECTUAL EDIFICATION TRAINING: DETAILED, COMMUNITY BASED, ONGOING RETENTION: HIGH AND ONGOING DUE TO RELATIONSHIPS AND GRATIFICATION
Take Aways These stories show that “volunteers are more satisfied with their service when team leaders are inspirational, involve them in decisions, and focus on the meaning of their work� (Dwyer, Bono, Snyder, Nov, and Berson, 2013, p. 98). Leaders who encourage art volunteers by celebrating their courage, empathetically talking with them, refraining from imposing ideals and convincing them that one cares and is interested in what they are doing, nourishes volunteer satisfaction (Dunn-Snow & D’Amelio, 2000, p. 49.) Art volunteers who know where things are and how to best use them are facilitated in their endeavors leading to greater satisfaction and gratification (Cane, 1983).
Transformational leadership is the key element indicating the trajectory of volunteer experiences and their decisions to continue giving.
Transformational leadership includes: Thoughtfully getting to know volunteers' motives before training in order to assign them to the most beneficial opportunity Techniques integrating progressive instruction, encouraging guidance, flexible definitions of success, developed curricula and responsive curricula based on the needs of individuals and contexts Cultivation of bonds between art volunteers facilitating best practices and shared knowledge benefitting volunteers and those they serve
Suggestions for Art Volunteers Evaluate your situation in order to determine a good fit for yourself. Ask the organization pertinent questions that address your needs and concerns. Questions could include time, location, financial, and task expectations. Needs could include breaks, support, training, and vital logistical information. These are just a few suggestions of how art volunteers in such a position can establish beneficial expectations to help define boundaries and maintain agreeable logistics.
Artwork by Ricci Justis
Suggestions for Leaders of Art Volunteers If you lead art volunteers you can cultivate greater success by considering their needs, expressing simple, clear, consistent expectations, nurturing relationships, and setting beneficial boundaries. Develop clear and concise expectations, rules, and environments if they do not already have these in place. A webpage with pertinent volunteer items can be created and reviewed on a consistent basis to reconfirm that everyone feels that their experiences line up with their expectations. This practice is helpful by ensuring that volunteers feel valued and comfortable.
Meaningful Inspiration
Cultivating Connections
Acts of Appreciation
Leaders can connect their art volunteers with the meaning of the work they do. Volunteers who see the value of their service are more likely to look past slight unprofessional mishaps or difficulties that may occur. Volunteers who see the value of their work are also more likely to give again in order to invest further in it.
Leaders who cultivate opportunities for art volunteers to connect with others will also see a higher rate of volunteer retention. Leaders can build in reoccurring social times or social events. Leaders can also take time to get to know volunteers in order to introduce them to each other and facilitate relational engagement. Social media can also be integrated to facilitate connections among volunteers.
Writing thank you notes, praising, and highlighting successes of volunteers are also great ways to strengthen art volunteers sense of connection and gratification. Social media can be used to celebrate successes, individuals, and groups of volunteering efforts. Simple acts such as things can become part of the fabric of a volunteers experience binding thing to an organization.
About the Author
I am a artist, art educator, and art volunteer. I want to share what I’ve learned about uncovering and experiencing artistic adventure with others. The culmination of my experiences has developed my understanding of best practices of art education, experience, and appreciation. I am grateful that we are able to explore and experience ourselves and others through art. I strive to invite others to uncover and experience life and what it offers through art. I continue my research aimed at developing best practices to extend this gift to everyone.
Ricci Justis
Special Thanks..... To my sweet Jamie, RiRi, Ondrian, Lynssey and Papa Jon. You are my color and light. ....to Jodi Kushins, who has a heart for art no matter where or how ....to Craig Roland, who loves art education so much he inspired an explosion of art educators
riccijustisart.com/ Cover Art by Ricci Justis
References: Cane, F. (1983). The artists in each of us. Craftsbury Common, VT: Art Therapy Publications. Dunn-Snow, P., & D’Amelio, G. (2000). How art teachers can enhance art making as a therapeutic experience: Art therapy and art education. Art Education 53(3), 46-53. Dwyer, P.C., Bono, J.E., Snyder, M., Nov, O.& Berson, Y. (2013). Sources of volunteer motivation: transformational leadership and personal motives influence volunteer outcomes. Nonprofit Management & Leadership, 24(2), 182-205.