ERIC ED417523: A Guide To Setting Up a Creative Art Experiences Program for Older Adults with Developmental Disabilities.

56 Pages·1992·1.5 MB·English

by  ERIC

DOCUMENT RESUME
EC 306 265
ED 417 523
AUTHOR
Harlan, Jane E.
A Guide To Setting Up a Creative Art Experiences Program for
TITLE
Older Adults with Developmental Disabilities.
Indiana Univ., Bloomington. Inst. for the Study of
INSTITUTION
Developmental Disabilities.
Administration on Developmental Disabilities (DHHS),
SPONS AGENCY
Washington, DC.
1992-00-00
PUB DATE
NOTE
61p.
OHDO7DD0266-09
CONTRACT
Program on Aging and Developmental Disabilities, Institute
AVAILABLE FROM
for the Study of Developmental Disabilities, 2853 E. 10th
Street, Bloomington, IN 47405; telephone: [phone]; fax:
812-855-9630.
Guides
Non-Classroom (055)
PUB TYPE
EDRS PRICE MF01/PC03 Plus Postage.
Adult Basic Education; *Art Activities; *Art Education;
DESCRIPTORS
Creative Art; *Developmental Disabilities; Group Activities;
Lesson Plans; *Mental Retardation; *Older Adults; Program
Development; Rehabilitation
ABSTRACT
This guide is intended to help agencies serving older adults
with mental retardation and other developmental disabilities in setting up a
relatively inexpensive creative art program. The first section presents a
rationale for creative art experiences for this population and then provides
specific information on program development, including setting up the group,
appropriate materials, promoting successful art experiences, the role of the
group leader, responding to the art work, motivation, and accommodating
various disabilities. Fifteen activity plans are included. Each one lists the
materials needed, necessary preparation for the activity, instructions for
participants, and suggestions for the group leader. The activity plans
include exploring clay, painting to music, stimulus images including a head
and shoulders or a vase/container, house cut-outs, stamp pad printing, paper
and fabric collage, sponge printing, fish collage, cardboard construction,
stencil painting, mural with cut-out images, masks, group collage, and body
tracing. Appended are lists of art materials and additional resources.
(DB)
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Reproductions supplied by EDRS are the best that can be made
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A GUIDE TO SETTING UP
A CREATIVE ART EXPERIENCES PROGRAM
FOR OLDER ADULTS
WITH DEVELOPMENTAL DISABILITIES
Jane E. Harlan, M.A.
U.S. DEPARTMENT OF EDUCATION
Office of Educational Research and Improvement
ED CATIONAL RESOURCES INFORMATION
CENTER (ERIC)
Institute for the Study of Developmental Disabilities
This document has been reproduced as
received from the person or organization
originating it.
A University Affiliated Program
Minor changes have been made to
improve reproduction quality.
Indiana University
Points of view or opinions stated in this
document do not necessarily represent
official OERI position or policy.
Bloomington, Indiana
AVAILABLE
BEST COPY
4
A GUIDE TO SETTING UP A CREATIVE ART EXPERIENCES PROGRAM
FOR OLDER ADULTS WITH DEVELOPMENTAL DISABILITIES
Jane E. Harlan, M.A.
Institute for the Study of Developmental Disabilities
A Univasity Affiliated Program
Henry J. Schroeder, Ed.D., Director
Indiana University
Bloomington, Indiana
11 II 111
1 I
Program on Aging and Developmental Disabilities
Barbara A. Hawkins, Re.D., Director
The author gratefully acknowledges the advice of Robert Rominger and Phyllis Kultgen, as well
is indebted to the older persons
as the assistance of Sheryl Rader, in the preparation of this guide. She
with developmental disabilities whose art work is reproduced herein.
This project was supported, in part, by award number OHD07DD0266-09 from the
Administration on Developmental Disabilities, Department of Health and Human Services,
Washington, D.C., 20201. Grantees undertaking projects under government sponsorship are encouraged
to express freely their findings and conclusions. Points of view or opinions do not, therefore, necessarily
represent the official Administration on Developmental Disabilities policy.
Additional copies may be ordered from:
Program on Aging and Developmental Disabilities
Institute for the Study of Developmental Disabilities
2853 E. 10th Street
Bloomington, Indiana 47405
[phone]
FAX: [phone]
©1992 Indiana University, Institute for the Study of Developmental Disabilities
Copyright
Cover painting by Don.
Table of Contents
Part One: Making the Art Program Work
Introduction
1
The Creative Art Approach
2
Benefits of Creative Art Activities
3
Developmental Issues and the Art Work of
5
Persons with Mental Retardation
Setting Up the Group
7
Appropriate Materials
10
Promoting Successful Art Experiences
11
Role of the Group Leader
13
Responding to the Art Work
16
Motivation
17
Working with Disabilities
19
References
21
Part 'livo: Activity Plans
How to Use the Activity Plans
23
The Plans:
Exploring Clay
25
Painting to Music
27
Stimulus Image: Head and Shoulders
28
Stimulus Image: Vase/Container
29
House Cut-Outs
31
Stamp Pad Printing
32
Paper and Fabric Collage
33
Sponge Printing
34
Fish Collage
35
Cardboard Construction
36
Stencil Painting
37
Mural with Cut-Out Images
39
Masks
41
Group Collage
43
Body Tracing
45
Appendix A: Art Materials List
47
Appendix B: Additional Resources
49
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PART ONE: Making The Art Program Work
Page 1
strengthen independent functioning, and
INTRODUCTION
communicate emotional concerns will find the
"how to's" needed to set up a relatively
Why art experiences? As individuals, we all
inexpensive creative art program.
have the right to fully explore our capabilities, to
pursue a vision and to express our unique
identities.
In our society, older persons
Content of the guide. After a discussion of the
rationale for creative art experiences, specific
frequently use retirement as a time for personal,
information needed to set up and maintain an art
creative pursuits. Yet this opportunity is typically
denied to persons with developmental
program will follow.
Techniques of effective
group leadership, motivation of participants,
disabilities, who may have spent much of their
accommodation of disabilities, and response to
lives devoted to vocational training and work
the art work will be covered. At the conclusion
activities. Although many are likely to have been
of the guide, 15 activity plans are provided to aid
exposed to craft activities, far fewer have had the
the individual who plans the art experience
chance to express themselves through painting,
Lists of suggested art materials and
groups.
drawing and sculpture.
sources of additional information are appended.
Needs of persons who are aging. Older adults
with developmental disabilities face some of the
same challenges as other elderly people. They
may experience changes in health, reduced
stamina, hearing or vision losses, and chronic
medical conditions such as arthritis or
hypertension. They must adapt to changes in
appearance that accompany the aging process,
such as graying of the hair, wrinkling of the skin,
etc. Persons with developmental disabilities may
find these physical changes and health problems
When persons with developmental
somewhat hard to understand.
disabilities are given access to quality art
experiences it becomes evident that impressive
In addition, they experience the emotional
creative achievement can coexist with significant
losses of later life, including the deaths of aging
mental and physical challenges. In spite of these
parents, siblings or friends, and the departure of
challenges, many individuals bring to their art
roommates or beloved staff members. Losses
work delightful qualities and strengths which are
may occur through transitions as well, when
the envy of quite a few professional, traditionally
seniors discontinue vocational activities or
trained artists.
experience disruptive residential transfers.
Purpose of the guide. This guide is designed
Although the impact of these events can be
for the staff of agencies who seek to address the
lessened by sensitive planning and careful
particular needs of older adults with mental
attention to the needs of aging individuals, some
retardation and other developmental disabilities.
loss in later life is inevitable.
Promoting the
Service providers who wish to offer their older
individual's self-expression with art materials
clients an opportunity to enhance self-esteem,
provides a coping mechanism in that some of the
8
Page 2
A Guide to Setting Up a Creative Art Experiences Program
standards. In contrast, the approach discussed
accompanying emotions can be externalized.
here stresses the importance of the process of
Communication of feelings through art work may
art-making as equal to or greater than that of the
be perceived as "safer" than talking, and is one of
final product. The work is not judged. Although
those who
a very few expressive channels open to
information about the technical aspects of art
lack verbal abilities.
materials may be provided by the art group
further the
leader when needed to
When experiencing a loss, we all need to go
self-expression of the individual, this is not an
through a process of bereavement in order to
end in itself.
prevent more serious mental health problems.
Creative art experiences may be a particularly
Difference from craft activities. These creative
effective part of the grieving process for persons
art experiences also differ from craft projects in
with mental retardation (Harlan & Hawkins, in
several respects. Successfully crafted objects, for
press), whose need to actively cope with loss is
example a woven scarf or a ceramic coffee mug,
just beginning to be recognized (Wadsworth &
require the completion of a series of specific
Harper, 1991).
be a
steps. The end result is often intended to
useful, functional item. In art activities, there is
proceed.
no one right or wrong way to
Experimentation and imagination are more
THE CREATIVE ART APPROACH
important than technique. The end result may be
unpredictable and not particularly useful. An
The art experiences described in this guide
additional difference between art and crafts is
are designed to promote the creative
that communication of feelings and thoughts is
self-expression of the individual within a group
painting
more readily accomplished by making a
The approach is based upon the
setting.
basket-making, for
or clay sculpture than by
assumption that everyone has the potential to use
example.
art materials and to be creative, regardless of
Open-ended
training, experience, or "talent".
n art activities there is no one
activities allow the participant to determine the
outcome of the art experience to as great an
right or wrong way
proceed.
Based upon some of the
extent as possible.
Experitnentation and imagination
principles of art-as-therapy (Kramer, 1971;
ortant
tha
re
Rubin, 1984), these art experiences offer
mo:
a>
participants an opportunity for communication,
technique
.
enhancement of self-esteem and strengthening
of the individual's ability to make his or her own
decisions.
Summary
Difference from an art class. As the primary
EVERYONE HAS THE POTENTIAL
goal is self-expression, the art experiences
TO USE ART MATERIALS AND TO
discussed here differ from those which might
BE CREATIVE, REGARDLESS OF
The goals of
occur in an art class, for example.
TRAINING, EXPERIENCE OR
art education usually focus upon the attainment
of knowledge, skills and techniques. The art
'TALENT'.
work which is made is judged by certain external
Page 3
A Guide to Setting Up a Creative Art Experiences Program
THE APPROACH EMPHASIZES
Eye-hand coordination and manual skills, such as
fine motor dexterity, are also employed.
OPEN-ENDED ACTIVITIES
WHICH ARE DESIGNED TO
PROMOTE SELF-EXPRESSION.
painting or sculpture like our
handwriting, is an extension of
DIFFERING FROM THE GOALS
ourselves and is unique.
OF AN ART CLASS OR OF CRAFT
PROJECTS, THE ART
EXPERIENCES ARE INTENDED
TO FOSTER COMMUNICATION
Self-esteem. A painting or a sculpture, like our
AND A POSITIVE SELF-CONCEPT,
handwriting, is an extension of ourselves and is
AS WELL AS TO ENHANCE
unique. When we feel good about what we have
made, we feel good about ourselves. The work
INDEPENDENT FUNCTIONING.
can be seen, touched, and retained for future
reference. It can be shared and displayed, which
may lead to expressions of interest or admiration
from other persons.
BENEFITS of
CREATIVE ART EXPERIENCES
Sense of autonomy. From picking up a brush
to choosing a color to making a mark on the page,
When undertaken in a positive, supportive
every step in the art making process involves
atmosphere, art activities can be pleasurable and
Practice in making choices and
decisions.
There are additional benefits achieved
fun.
expressing preferences strengthens the ability of
through art making which go beyond these
the individual to function independently.
recreational advantages.
Gains may be
Persons who experience limited opportunities
experienced in the following areas:
for exerting control over their lives may
especially appreciate an activity in which they can
Communication. When we draw or sculpt, we
achieve a sense of mastery.
share our feelings and ideas with others. As the
saying goes, "a picture is worth a thousand
Socializing may occur
Social interaction.
a picture is an effective way to
words";
spontaneously as individuals work together at a
communicate things we are unable or unwilling
table, or it may be structured into an activity such
to express verbally. The communication value of
Social interaction can also
as mural-making.
art work may be even more important for persons
occur nonverbally as participants share imagery
with intellectual and physical challenges who
or draw each other's portraits.
have difficulty speaking.
Summary
Cognitive stimulation and manual skills. The
task of making art, no matter at what level of
PARTICIPATION IN CREATIVE ART
development, engages many of our mental
EXPERIENCES CAN ENHANCE THE
capacities. We use our perception, our memory,
EMOTIONAL, MENTAL AND
our ability to organize, and our judgment.
I C
Drawing by Thelma Bocock
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