Participatory arts, older people and living with dementia – Guest blog

Since 2010, the Baring Foundation has focused on improving older people’s quality of life through opportunities to participate in the arts. The Foundation is small and so its work aims to influence policy and practice through projects, partnerships and publications. It has supported a very wide range of work in the past six years, which is documented on its own website and the Age of Creativity website. My own work on older artists, Winter Fires, was published by the Baring Foundation in 2012, and I subsequently joined them as a trustee, which has given me more insight into the range and quality of participatory art work being done with older people, not only in the UK, but in other European countries, the USA, Japan and elsewhere.

cARTrefu is an outstanding programme, supported by the Baring Foundation and Arts Council Wales. It is managed by Age Cymru, who also run Gawnwyn, Wales’Creative Ageing Festival, and works to make the arts a regular part of life in residential care. Launched in 2014, cARTrefu offers care homes short residencies by artists working in poetry, music, performance and visual art. Typically, the activity lasts a couple of hours each week and leads to a celebratory event in the final session. An evaluation of the first phase of work has shown very promising results, with 25% of homes commissioning the artists to continue their work after the initial residency.

cartrefu-2

Work like this is often unknown beyond the circle of those involved. By its nature, it is sensitive, intimate. It is very far from the dramatic shows that can happen in public space or art institutions. Its values are enacted not rhetorical. The art itself may seem, at a distance, rather ordinary. But that is to mistake surface – the big, splashy, ‘professional’ – for substance. Anyone who spends a little time participating in the kind of work the cARTrefu  artists do will understand what is happening between the people involved and how profound the experiences enabled by such artistic communication can be.

That is one reason why the opportunity to come together in conferences and festivals is so important in the field of art and older people. It not only gives the people involved a chance to meet and learn from others working in the field – it also provides a vital platform to showcase the work to society more widely. Emma Robinson, Age Cymru’s  Arts and Creativity Programme Manager, and Reg Noyes, cARTrefu Programme Manager recently attended the Alzheimer Europe conference in Denmark. Emma’s account of the experience, which I reproduce below with her permission, gives a valuable glimpse into growing world of participatory arts practice. We are an ageing country in an ageing continent. How we rise to that challenge – to that opportunity – will influence the lives of us all, which is one reason to be glad for the work described below.

cartrefu-4

10 things I learnt at the 26th Alzheimer Europe Conference: Excellence in Dementia Research and Care, 31 October – 2 November 2016, Copenhagen

Emma Robinson, Age Cymru

1

Seeing Core Act perform in a care home in Helsingor, Northern Denmark, near Hamlet’s castle. Core Act, a performance duo formed by Anika Barkan and Helene Kvint, create, share and collect stories and set up a realistic living space (kitchenette, living room, table) to talk with residents in free-flowing improvisations, using the residents comments as impetus for progressing the stories narratives. The stories are recorded and Anika and Helen then work with a sound artist to prepare sound files which are then shared online with the residents and their carers and families, with a view to schools using them as an educational social history resource.

One performer in the show wore an animal mask and interacted with residents non-verbally.  Anika and Helene explained that some residents, especially those who do not communicate verbally, find the presence of the deer comforting and feel more comfortable communicating with the animal than a performer, as the expectation to speak and be bombarded with a lot of questions that they potentially would have difficulty answering, isn’t there.  The emphasis is on the gentle non–verbal communication that people could roll with, to whatever level they wanted.

We’d like to see the cARTrefu gang working together to create a mobile installation, like Core Acts living space, that can be left out in the care homes in between the times they are there and includes elements from all four art forms for residents and staff to enjoy.

cartrefu-3

2

Seeing a conference about dementia attended by people with dementia – quite a rarity to see this and to see it being done as integral to the conference, not just a tokenistic ‘add on’

3

Realising that cARTrefu is huge! Most of the other projects presented alongside cARTrefu displayed results from 7 care homes, 12 care homes, 20 care homes, etc. cARTrefu’s nationwide, 128 care home-reach was seriously impressive and made cARTrefu stand out as perhaps one of the largest arts and dementia projects in Europe. Wow!

4

Picked up some practical tips on auditing your space to become more Dementia Friendly from Paul Hudson from Festival City Theatre Trust; when carrying out an audit of your space take the photos in black and white so you can see the contrast better, or more importantly notice the lack of contrast like on the stairs that may be more of a difficulty for someone with dementia. Also, put signage higher than you think you need it, signage in an empty foyer vs a foyer of  100s of people blocking out wall space.  Simple stuff that can easily be changed for the benefit of all, not just people with dementia.

5

It’s all about perspective… Pat McGonigal from the Scottish Dementia Working Group shared his granddaughter’s thoughts of his care home; ‘My granddad must be well rich, he lives in a great big house, all his mates live with him AND he has servants!’

6

Hearing more about peoples’ experiences of living with dementia. It’s not just a case of memory loss but can also be coupled with loss of emotion  and lack of emotional reaction too, in certain types of dementia – something that will be really useful to share with our cARTrefu artists as they carry out their residencies in Welsh care homes

7

The art of adaption: it was inspiring listening to various speakers talk honestly about their projects, both their successes, failures and surprises. Paolo Prolo’s presentation about the sensory garden designed by Enrico Sassi in Switzerland contained a long ramp that led residents living with dementia to a circular garden they could walk around. Residents though focused their attention on the long ramp as it was their way ‘back home’ again. The emphasis of the garden was re-designed so that the ramp included a view to the bowling green outside the care home, which rekindled memories of Pétanque.

8

Various presentations at the conference opened our eyes to the incredible partnerships in dementia happening all over the world, such as the Dutch police force working with regional dementia groups to promote a special water-tight box that people living with dementia keep inside their fridge and which contains information about their condition, medical history and next of kin in order to help the increasing number of people living alone with dementia from leaving home, becoming confused and going missing.

9

It’s just the little things but it also helps if you know how to do them! Nienke Van Wezel from the Dutch dementia friendly movement, Samendementievriendelijk screened some wonderful animated commercials that explain how you can ‘lend a hand’ to someone living with dementia as people do want to help, but they often don’t know how. These advertisements showed examples like how to keep an eye on a neighbour, opening the door or helping someone with dementia pick an item in a supermarket.  Small steps but all helps to break the stigma of dementia and acts an easy entry point into the work of the charity.

10

Tak til Baring Foundation for deres støtte og til Dr. Kat Algar på Bangor University for at gøre det hårde bit! Thanks to Google translate for this one as finally, always overwhelmed by the language skills of my mainland European colleagues, I sadly have to admit to the realisation that I am never going to master another language!

cartrefu-1

Sharing control in participatory art

we-are-here-blackpool-1

Participatory art is normally spoken about in terms of how people are changed by being involved. There are problems (at least for me) with some of the assumptions behind that, but I’ll come back to them another time. Just now, I’m wondering why we don’t talk more about how the artists and organisations who want to do participatory work might change.

It’s a simple test. Does a theatre company or visual arts organisation developing a participatory project expect to be changed by doing it? Will the work itself be different – unpredictable even – because it has emerged from a participatory project? The answer varies, of course. Sometimes yes; sometimes no. Both can be good artistically and ethically – provided the terms of participation are clear and honest. But at the heart of the distinction is where control lies: is it held exclusively by the artist or can it be shared?

sea-of-hull

Spencer Tunick’s Sea of Hull project seems to be a project that might change the people who take part but not the professionals who create it. Like all his work, it involves asking people to be photographed naked in a city’s public spaces. In the latest version, the people were painted different shades of greenish blue – hence ‘Sea of Hull’. The resulting photographs are odd and rather beautiful, if somewhat repetitive. Being naked among strangers gave participants different feelings and thoughts: it could be challenging, liberating, simple or even understood politically. What seems clear though is that their contribution was limited to being there and doing what they were told. It would have made no substantive difference to the art if 3,000 other people had turned up for the photographs.

The same might be said of Jeremy Deller and Rufus Norris’ commemoration of the centenary of the start of the Battle of the Somme, ‘we’re here because we’re here’. Again, thousands of volunteers stood silently in public places, in the uniform of British soldiers, waiting. This time the photographers were passers-by who shared their impressions on social media. The results are impressive and moving: the experience will surely stay with both participants and spectators for years. But again, the participants’ contribution was essentially their presence.

we-are-here-blackpool-2

The work of National Theatre Wales is very different. From its very creation in 2009 the organisation was shaped around the ideal of reaching everyone, everywhere in Wales – at least in principle. So, like the National Theatre of Scotland before it, NTW chose not to base itself in a theatre building. Its offices are in a shopping arcade in the centre of Cardiff. As a result, its productions have to be made in partnership, if only because a site is needed for them to happen in.

Some are professional shows. Some involve both professional and non-professional performers. Some are wholly created with and by communities. In the case of the last two – from huge productions like The Passion to The People’s Platform Merthyr – the work comes into being through the active creative input of participants. Each production is what it is only because of who is there.

In developing an approach rooted in co-creation, NTW has become a different kind of theatre company – but arguably one  better able to respond to the complex interests, identities and desires of contemporary communities. It might sell tickets, but it is not selling a pre-packaged product. Because its theatre is made with and often by its audiences, and in many different ways, its evolving story is one of shared exploration. NTW’s distinctive value lies in the work’s essential unpredictability. What will happen in the next year, in the next production, in the next performative moment is uncertain because the company is willing to share control.

ntw-merthyr

Participatory work can happen without sharing control and, as Sea of Hull and we’re here because we’re here’ show, it can be beautiful, moving and affect those who take part and who see it. It can be equally successful when artists commit to co-creation, shared authorship and listening to unheard voices. But it’s important not to underestimate what is different in these approaches and the different meanings and results they produce.

For me the most interesting and transformative work happens when artists share their authority – for the artists as much as anyone else. After all, if you’re always in control, the best you can hope for is to achieve what you’ve planned.