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Harlan, Jane E. A Guide To Setting Up a Creative Art Experiences Program for Older Adults with Developmental Disabilities. Indiana Univ., Bloomington. Inst. for the Study of Developmental Disabilities. Administration on Developmental Disabilities (DHHS), Washington, DC. 1992-00-00

61p.

OHDO7DD0266-09 Program on Aging and Developmental Disabilities, Institute for the Study of Developmental Disabilities, 2853 E. 10th Street, Bloomington, IN 47405; telephone: 812-855-6508; fax: 812-855-9630. Guides Non-Classroom (055) MF01/PC03 Plus Postage. Adult Basic Education; *Art Activities; *Art Education; 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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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 University Affiliated Program Indiana University Bloomington, Indiana

U.S. DEPARTMENT OF EDUCATION Office of Educational Research and Improvement ED CATIONAL RESOURCES INFORMATION

CENTER (ERIC) This document has been reproduced as received from the person or organization originating it.

Minor changes have been made to improve reproduction quality.

Points of view or opinions stated in this document do not necessarily represent official OERI position or policy.

BEST COPY AVAILABLE 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 as the assistance of Sheryl Rader, in the preparation of this guide. She is indebted to the older persons 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

(812) 855-6508 FAX: (812) 855-9630

Copyright ?1992 Indiana University, Institute for the Study of Developmental Disabilities

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

6 Drawing by Joan Moroney BEST COPY AVM BLE

PART ONE: Making The Art Program Work

Page 1

INTRODUCTION

Why art experiences? As individuals, we all have the right to fully explore our capabilities, to

pursue a vision and to express our unique identities. In our society, older persons

frequently use retirement as a time for personal, creative pursuits. Yet this opportunity is typically

denied to persons with developmental

disabilities, who may have spent much of their lives devoted to vocational training and work activities. Although many are likely to have been exposed to craft activities, far fewer have had the chance to express themselves through painting, drawing and sculpture.

strengthen independent functioning, and

communicate emotional concerns will find the

"how to's" needed to set up a relatively

inexpensive creative art program.

Content of the guide. After a discussion of the

rationale for creative art experiences, specific information needed to set up and maintain an art program will follow. Techniques of effective group leadership, motivation of participants, accommodation of disabilities, and response to the art work will be covered. At the conclusion of the guide, 15 activity plans are provided to aid the individual who plans the art experience groups. Lists of suggested art materials and sources of additional information are appended.

When persons with developmental disabilities are given access to quality art

experiences it becomes evident that impressive creative achievement can coexist with significant

mental and physical challenges. In spite of these challenges, many individuals bring to their art work delightful qualities and strengths which are the envy of quite a few professional, traditionally trained artists.

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 somewhat hard to understand.

In addition, they experience the emotional losses of later life, including the deaths of aging parents, siblings or friends, and the departure of roommates or beloved staff members. Losses may occur through transitions as well, when seniors discontinue vocational activities or experience disruptive residential transfers.

Purpose of the guide. This guide is designed for the staff of agencies who seek to address the

particular needs of older adults with mental

retardation and other developmental disabilities. Service providers who wish to offer their older clients an opportunity to enhance self-esteem,

Although the impact of these events can be

lessened by sensitive planning and careful

attention to the needs of aging individuals, some loss in later life is inevitable. Promoting the individual's self-expression with art materials

provides a coping mechanism in that some of the

8

A Guide to Setting Up a Creative Art Experiences Program

Page 2

accompanying emotions can be externalized.

Communication of feelings through art work may be perceived as "safer" than talking, and is one of a very few expressive channels open to those who lack verbal abilities.

When experiencing a loss, we all need to go through a process of bereavement in order to prevent more serious mental health problems. Creative art experiences may be a particularly effective part of the grieving process for persons with mental retardation (Harlan & Hawkins, in press), whose need to actively cope with loss is just beginning to be recognized (Wadsworth & Harper, 1991).

THE CREATIVE ART APPROACH

The art experiences described in this guide

are designed to promote the creative

self-expression of the individual within a group

setting. The approach is based upon the

assumption that everyone has the potential to use

art materials and to be creative, regardless of training, experience, or "talent". Open-ended activities allow the participant to determine the outcome of the art experience to as great an extent as possible. Based upon some of the principles of art-as-therapy (Kramer, 1971;

Rubin, 1984), these art experiences offer

participants an opportunity for communication, enhancement of self-esteem and strengthening of the individual's ability to make his or her own decisions.

standards. In contrast, the approach discussed here stresses the importance of the process of art-making as equal to or greater than that of the final product. The work is not judged. Although information about the technical aspects of art materials may be provided by the art group

leader when needed to further the

self-expression of the individual, this is not an

end in itself.

Difference from craft activities. These creative art experiences also differ from craft projects in

several respects. Successfully crafted objects, for example a woven scarf or a ceramic coffee mug,

require the completion of a series of specific steps. The end result is often intended to be a useful, functional item. In art activities, there is

no one right or wrong way to proceed.

Experimentation and imagination are more

important than technique. The end result may be

unpredictable and not particularly useful. An additional difference between art and crafts is that communication of feelings and thoughts is

more readily accomplished by making a painting

or clay sculpture than by basket-making, for

example.

n art activities there is no one

right or wrong way proceed.

Experitnentation and imagination

re mo: a>

ortant tha

technique.

Summary

Difference from an art class. As the primary

goal is self-expression, the art experiences discussed here differ from those which might

occur in an art class, for example. The goals of art education usually focus upon the attainment of knowledge, skills and techniques. The art

work which is made is judged by certain external

EVERYONE HAS THE POTENTIAL TO USE ART MATERIALS AND TO

BE CREATIVE, REGARDLESS OF TRAINING, EXPERIENCE OR 'TALENT'.

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