Explorations in Participation

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.

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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.

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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.

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“ IT TAKES A DEEP BREATH TO TRY SOMETHING NEW.”

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DRAMA

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DRAMA

“ IT OPENS YOU UP TO EXPRESS THINGS YOU WOULDN’T.”

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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

�

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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

”

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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

”

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GALLERY

“ YOU HAVE AN IDEA, THEN IT WOULD BE MODELLED TO TAKE SHAPE.”

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G

DRAMA

GALLERY

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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.

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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

”

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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

�

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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

”

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MUSIC

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MUSIC

“ A CLANG INSTEAD OF DRAMA A BANG!”

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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

”

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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

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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

”

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MUSIC

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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

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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

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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