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Live and  Learn  Evaluation  Report  

Live  And  Learn        

Full Evaluation  Report  


  April  2014    


Live and  Learn  Evaluation  Report  

Contents 1        





An Introduction   Collective  Encounters   Background  to  our  work  with  dementia   Live  and  Learn  

The Statistics   Planned  and  achieved  outputs   Workshop  and  performance  venues   Partnerships   Funding  

Description, Evaluation  and  Analysis   Third  Age  Theatre:  creative  workshops     Third  Age  Theatre:  performances   Working  with  an  arts  and  dementia  consultant   Developing  the  Toolkit  for  Carers   Research:  process,  outputs  and  dissemination   Overall  impact  and  successes  

The Future   Recommendations  for  Collective  Encounters’  practice   Moving  Forward    





Live and  Learn  Evaluation  Report  

1 An  introduction     Collective  Encounters   Collective  Encounters  is  a  professional  arts  organisation  specialising  in  theatre  for  social  change   through  collaborative  practice.  We  use  theatre  to  engage  those  on  the  margins  of  society,  telling   untold  stories  and  tackling  the  local,  national  and  international  concerns  of  our  time.  There  are  three   main  areas  to  our  work:   • Participatory  workshops:  we  work  with  young  people,  homeless  people  and  older  people   locally  using  theatre  to  build  confidence,  develop  skills  and  explore  the  issues  and  ideas  which  

• •

matter to  them;  we  also  work  more  widely  across  the  north  of  England  with  marginalised   communities   Productions:  we  mount  exciting  productions  that  explore  pressing  social  and  political   concerns,  often  transforming  non-­‐theatre  spaces  into  magical  performance  places   Research:  through  academic  and  practical  research  we  contribute  to  the  wider  national  and   international  field  of  theatre  for  social  change  and  spearhead  best  practice  in  the  UK  

Toolkit  workshop,  Leighton  Dene  Day  Centre  2013  

Background to  our  work  with  dementia   In   2010   PSS   (a   national   social   enterprise   providing   social   and   health   care   services)   commissioned   Collective  Encounters  to  produce  a  new  play  Now  And  Then,  that  was  to  use  theatre  to  explore  and   platform   the   experiences   of   people   with   dementia   and   those   who   care   for   them.   Collective   Encounters   undertook   both   practical   and   desk-­‐based   research   into   the   situation   facing   those   with  


Live and  Learn  Evaluation  Report   dementia  and  their  carers;  and  ran  a  drama  workshop  programme  to  support  this  process.  Now  and   then   became   a   40-­‐minute   piece   of   forum   theatre,   which   told   the   story   of   one   woman's   journey   through  the  stages  of  dementia  and  the  experience  of  her  daughter,  who  became  her  carer.   The  piece  was  created  and  performed  by  members  of  Collective  Encounters'  Third  Age  Theatre  group   (3AT)   and   one   carer;   supported   by   a   professional   director/facilitator,   designer   and   composer.   It   reached   over   400   people,   playing   at   conferences,   training   sessions   and   health   care   events.   96%   of   audience   members   considered   it   to   be   a   high   quality   piece   of   theatre,   81%   said   it   helped   them   to   understand   the   situation   differently   and   100%   felt   the   subject   matter   was   well   handled.     An   evaluation  of  Now  and  Then  can  be  found  at:  http://collective-­‐     The   project   was   extremely   successful,   and   the   collaboration,   which   brought   together   two   organisations  with  very  different  expertise  and  skill-­‐sets  but  a  shared  ethos  and  value  system,  worked   well.     The   project   enabled   both   partners   to   identify   some   key   gaps   in   provision   locally   and   specific   needs  in  relation  to  taking  a  more  creative  approach  to  dementia  care.    These  gaps  and  needs  directly   informed   the   development   of   ideas   for   Collective   Encounters   Live   and   Learn’   project;   and   PSS   was   to   be  a  key  partner  in  this  new  initiative.  

3AT  performers  at  In  Our  Times,  2012  

Live And  Learn   Some  of  the  key  findings  that  informed  Live  and  Learn  were:  that  there  was  little  or  no  professional   arts  provision  in  care  homes  on  Merseyside;  that  there  were  very  few  opportunities  for  people  with   dementia  and  their  carers  to  engage  in  fun,  creative  activities  together;  that  there  was  not  a  wide-­‐ spread  understanding  of  how  creative  activity  could  be  beneficial  to  people  with  dementia;  that  there  


Live and  Learn  Evaluation  Report   were  very  few  opportunities  on  Merseyside  for  people  in  their  third  age  to  act  as  positive  role  models   or  deliver  creative  training  to  others;  and  finally,  that  understanding  of  dementia  amongst  the  wider   public  was  very  limited  and  largely  negative.   Live  and  Learn  aimed  to  combine  research  into  new  and  emerging  practices  in  the  field  of  arts  and   dementia,  with  practical  delivery.    It  hoped  to  impact  on  people  with  dementia  and  their  carers  (both   family  and  professional)  and  to  have  a  wider  impact  on  the  third  age  community  as  well  as  resonate   with  the  wider  public.    Building  on  the  successes  of  Now  and  Then  we  wanted  to  combine  our  work   with  people  with  dementia  with  our  regular  provision  for  our  3AT  Company.    We  aimed  to  work   closely  with  health  and  care  sector  partners  to  help  us  identify  potential  participants,  and  ensure  that   our  creative  work  was  relevant  in  a  health/care  context.    As  we  were  relatively  new  to  the  field  of  arts   and  dementia,  we  would  employ  an  experienced  consultant  to  support  the  project.   Live  and  Learn’s  objectives  were  to:     1. Provide  high  quality  arts  experiences  for  3AT  participants,  involving:  theatre  and  creative   reminiscence  training;  inter-­‐disciplinary  collaborations  with  professional  artists  &  dementia   specialists;  performance  opportunities.     2. 3. 4. 5. 6. 7. 8.

Provide high  quality  creative  interventions  with  people  with  dementia  in  care  homes  and  private   homes  which  break  isolation  and  enable  enhanced  communication  with  those  without  dementia.   Provide  a  high  quality  creative  training  experience  to  both  paid  and  family  carers.   Provide  high  quality  performances  by  3AT  actors,  which  raise  awareness  of  dementia  and  related   issues,  validate  lived  experience  and  are  performed  in  non-­‐traditional  venues.   Provide  a  platform  for  3AT  participants  to  function  as  positive  role  models.   Carry  out  research  into  the  benefits  of  and  best  practice  in  arts  and  dementia.     Disseminate  research  findings/case  studies  through  (inter)national  and  regional  networks  with  a   view  to  contributing  to  the  development  of  the  field  and  its  knowledge  base.   Use  taster  workshops  to  prepare  the  groundwork  for  the  2½  year  body  of  Live  and  Learn.  

3AT  performers  at  In  Our  Times,  Crofts  Social  Club,  2013  


Live and  Learn  Evaluation  Report  

2 Statistics     Outputs   Planned  Outputs  

Outputs Achieved    

1) 10  people  will  participate  in  3AT  and  be  accredited  

15 people  attended  3AT  sessions  regularly    

2) 25  people  living  with  dementia  in  their     own  homes  will  benefit  from  a  workshop  

3 people  each  had  two  workshops    

3) 25  family  carers  of  people  with  dementia  living  in   their  own  homes  will  benefit  from  training  

21 family  carers  benefited  from  training    

4) 12  paid  care  workers  will  be  trained  in  creative   techniques  

11 paid  care  workers  benefited  from  training      

5) 65  people  with  dementia  living  in  Care  Homes  will   benefit  from  a  workshop  

134 people  with  dementia  took  part  in  a  CE   workshop    

6) 50  workshops/training  sessions  will  be  delivered  per   annum  (to  include  3AT  and  dementia  outreach/training   sessions)  

140 workshops/training  sessions  

6) 300  people  in  care  homes  benefit  from  performances  

356 people  in  Care  Homes/Day  Centres  benefited   from  a  CE  performance    

7) 6  shows  created  and  performed  

The Third  Age  Company  produced  8  shows  

8) 1  toolkit  published    

Toolkit published  5th  November  2013  to  provide   support  for  carers  post-­‐intervention  

9) 1  (inter)national  publication   10)  Stakeholder  Events   11)  150  audience/participants  at  stakeholder  sharing   events   12)  Different  venues  used  for  performances  and  events  

2 publications  were  produced  and  3  conference   presentations  were  made  (Manchester,  Slovenia   and  Ontario)   9  Stakeholder  events  took  place  during  the   project     334  audience  members  attended  a  stakeholder   event   11  different  venues  were  utilised  during  the   project    

14) Deliver  40  outreach  workshops  as  part  of  a  taster   programme  

42 outreach  workshops  were  delivered    

15) Recruit  20  third  age  volunteers  to  the  project  

15 third  age  volunteers  were  recruited  

Venues Workshop  venues  included:       • • • •  

Hope University  (Dementia  Hub)   Redholme  Memory  Care  Home   Leighton  Dene  Day  Centre   Norris  Green  Day  centre   6  

Live and  Learn  Evaluation  Report     Performance  venues  included:     • • • • • • • •

The Bluecoat   Hope  University   Redholme  Memory  Care  Home     Leighton  Dene  Day  Centre   Liverpool  City  centre  Bandstand   The  Casa   The  Croft  Social  Club   The  North  West  Pensioner’s  Convention  

Partnerships Partnerships  developed  included:   • • • •

PSS –  Liverpool  Personal  Service  Society  Inc.   Redholme  Memory  Care  Home   Leighton  Dene  Day  Centre   League  of  Welldoers  

Funders Live  and  Learn  was  funded  through  a  3  year  grant  from  Baring  Foundation;  with  additional  funds  from   Collective  Encounters’  core  funding  fromo  Liverpool  City  Council  and  Arts  Council  England.    

3 Description,  Evaluation  and  Analysis   3AT  Creative  Workshops   Introduction   Collective  Encounters’  Third  Age  Theatre  (3AT)  is  a  participatory  company  of  older  people  who  meet   once  a  week  at  Collective  Encounters  workshop  space  to  take  part  in  Theatre  for  Social  Change   workshops.      These  sessions  use  drama  as  a  tool  to  explore  the  ideas  and  issues  that  are  relevant  to   participants,  and  to  develop  new  skills  whilst  having  fun.    They  are  both  an  end  in  themselves,  and  a   means  to  create  new  theatre  that  enables  participants  to  have  a  public  voice:  using  theatre  to  air  their   concerns;  or  to  make  work  that  responds  to  a  particular  topic.    Workshops  use  drama  games,  theatre   exercises,  master-­‐class  training  and  discussion;  and  are  supported  by  a  theatre  trips  programme.   Throughout  Live  and  Learn  we  delivered  a  two-­‐hour  session  every  Tuesday  afternoon,  between  2pm   and  4pm,  39  weeks  of  the  year.  Although  there  was  some  movement  (some  people  joining  and  some   leaving)  the  group  average  remained  between  7  and  9  members;  with  a  total  of  15  attending  regularly   at  different  points  in  the  project.    There  was  an  initial  recruitment  drive  with  outreach  workshops   taking  place  across  Liverpool  with  older  people’s  organisations,  but  because  the  outreach  work  did  


Live and  Learn  Evaluation  Report   not  continue  throughout  the  project,  the  group  dynamic  became  quite  static  as  the  project   progressed.      

Feedback/evaluation methodology   Collective  Encounters  has  a  policy  not  to  overload  participants  with  feedback  forms.    Our  Quality  and   Evaluation  Framework  ensures  that  we  collect  feedback  regularly  but  that  most  of  this  takes  place   within  a  session,  is  conducted  creatively  and  is  recorded  by  the  lead  artist.    Twice  a  year  our  core   groups  (which  include  3AT)  undertake  a  creative  evaluation  session,  exploring  their  progress  towards   key  aims,  their  feelings  about  the  process  and  their  ideas  for  development  of  the  work.    These  use   both  creative  and  discursive  methods  and  are  recorded.      

Some participant  feedback  and  the  evolving  process   The  following  looks  at  feedback  from  the  group  relating  to  their  participation  at  weekly  sessions.    It   will  describe  the  findings  that  came  out  of  this  feedback/evaluation  and  how  our  evaluation  processes   changed  through  the  course  of  the  project  to  respond  to  the  needs  of  the  group  and  the  project.   At  the  beginning  of  the  project  feedback  was  collected  every  session  on  an  informal  basis.    When   participants  offered  a  comment  or  statement  that  referred  to  their  direct  experience  of  taking  part  in   a  session,  the  lead  artist  would  ask  if  she  could  record  it  for  feedback  purposes.  Examples  include:   “It  was  interesting  to  discuss  a  mixture  of  memories.”   “At  first,  it  went  a  little  bit  over  my  head.  I  thought,  ‘Am  I  in  the  right  place?’  I  enjoyed  being   with  the  women  here.  As  I’m  getting  older,  I’m  like  a  sponge  –  I  don’t  want  anything  to  pass   me  by.”   “It  was  really  good.  It  was  nice  getting  ideas  from  other  people  in  your  team.”   “I  wanted  to  get  stuck  in.  I  found  myself  getting  aggressive.  I  thought  I  was  in  Parliament.”   Although  this  approach  allowed  spontaneous  responses  it  did  not  offer  us  any  consistency,  so  we   looked  at  how  we  might  introduce  a  regular  feedback  exercise  into  each  session.  It  was  important  that   the  feedback  exercise  was  fun,  that  it  integrated  into  the  overall  activity  of  the  session  and  that  all   participants  knew  that  the  responses  were  being  recorded  for  reporting  purposes.         The  first  exercise  introduced  involved  asking  participants  for  just  one  word  to  describe  their  feelings  at   the  end  of  each  session.    Some  examples:     “Hilarious”;  “Interesting”;  “Inspiring”    


Live and  Learn  Evaluation  Report  

3AT  performer  In  Our  Times,  2012  

Although  the  single  word  evaluation  exercise  was  interesting,  on  reflection  we  all  felt  that  it  was  too   limiting.    Also  the  information  that  it  offered  was  open  to  multiple  interpretations.    We  recognised   that  we  needed  some  sort  of  measure,  a  way  to  find  out  what  participants  felt  at  the  beginning  of   each  session,  and  what  they  felt  at  the  end.  This  would  then  enable  us  to  interpret  the  results  and   identify  what  sort  of  impact  our  work  was  having  on  individual  participants.     So,  we  introduced  two  interventions,  asking  participants  to  describe  their  feelings  at  the  beginning,   and  then  at  the  end,  of  each  session.    Often,  we’d  ask  people  to  describe  themselves  as  a  piece  of   clothing,  a  piece  of  fruit,  etc.    Here  are  some  examples:     Before:     After:    

I feel  like  a  switched  off  TV      I  feel  horny  now!!!    I  haven’t  laughed  all  week  but  today  I’ve  laughed  so  much.     A  really  good  session.    

Before:   After:      

I feel  like  a  fish.     I  feel  marvellous!  Like  a  shark!  

Before:   After:      

I feel  like  a  nice  Steak.     I’m  now  ready  for  Afters!  

Before:     After:      

I feel  like  a  lemon.     Tired  –  well  squeezed.  

These exercises  integrated  well  into  the  overall  session  and  once  introduced  they  indicated  that  most   people  felt  an  increase  of  happiness  at  the  end  of  each  session.      


Live and  Learn  Evaluation  Report   In  addition  to  this  weekly  feedback  we  ran  bi-­‐annual  creative  evaluation  session.    Feedback  from   these  included:   •    

Feedback on  the  programme  of  work     100%  of  participants  felt  artistically  challenged.     100%  of  participants  felt  their  ideas  were  incorporated  into  the  programme.  

Feedback on  the  quality  of  the  work     85%  of  all  participants  felt  the  quality  of  the  weekly  sessions  was  excellent    

90% of  all  participants  felt  the  quality  of  the  performances  was  excellent  

Feedback on  personal  development     90%  of  all  participants  reported  an  increase  in  confidence    

100% of  all  participants  felt  empowered  

Ideas for  future  programming     90%  of  all  participants  recognised  that  their  ideas  for  future  programming  were     incorporated.   “I  feel  that,  initially,  when  I  joined  the  group  I  realised  that  people  had  been  together  for  a   long  time.  And  I  just  wondered  how  I  would  fit  into  it.  But  as  the  weeks  have  gone  along,  I  feel   that  any  ideas  I’ve  had  to  contribute  towards  things  have  been  listened  to  and  taken  on  board.   So  I’m  really  happy  about  that  and  I  think  there’s  a  lot  of  sharing  of  ideas.”   “I  didn’t  know  where  to  begin  but  now,  I’ve  got  a  lot  of  confidence.  And  you  get  listened  to.   You  can  put  your  opinion  over  and  people  take  it  on  board.  And  I  just  love  being  with  the  girls.   So  fantastic.    I  wouldn’t  do  without  them.  Just  like  one  happy,  big  family.”                 3AT  Company  Members  

Toolkit  workshop,  Leighton  Dene  Day  Centre  2013  


Live and  Learn  Evaluation  Report   Initially,  we  created  exercises  to  enable  the  group  to  show  and  discuss  their  responses  to  set   questions.  As  a  company,  we  are  reluctant  to  offer  standard  forms  as  a  means  to  gather  feedback,   because  not  everyone  is  comfortable  completing  such  forms  and  often  the  question  and  answer   option  is  too  limiting.  Creative  activity,  followed  by  discussion,  offers  us  a  clearer  picture  of  the  real   issues.    For  example,  in  the  January  2013  evaluation  the  lead  artist  felt  that  there  were  some  group   dynamic  issues  and  wanted  to  identify  a  positive  way  forward.    A  discussion  took  place  about  each   core  participant’s  relationship  with  the  group  that  resulted  in  all  saying  the  group  was  equal  and   inclusive.  However,  when  asked  to  create  a  still  image  of  their  group,  the  result  showed  elements  of   hierarchy.  The  lead  artist  then  asked  them  to  create  the  image  of  a  perfect  group  and,  without   hesitation,  they  formed  a  circle.  The  lead  artist  then  asked  what  they  needed  to  do  to  change  the   hierarchical  group  picture  into  the  perfect  group  picture.  It  was  at  this  point  that  core  participants   recognised  that  they  needed  to  improve  the  way  they  worked  and  new  group  rules  were  identified   and  adopted.     By  undertaking  the  creative  evaluation  sessions,  the  lead  artist  acknowledged  that  discussion-­‐based   activities  did  not  always  highlight  all  issues.  They  were  concerned  that  perhaps  some  people  found  it   hard  to  disagree  or  offer  a  negative  comment  in  front  of  other  participants.    A  short  questionnaire,   consisting  of  five  questions,  was  put  together  and  people  completed  these  anonymously.    As   suspected,  a  few  people  illuminated  some  issues  that  were  not  discussed  openly  within  the  group.                 Finally,  at  the  end  of  each  evaluation,  participants  identified  subjects  they  would  like  to  look  at  in  the   future,  or  art  forms  they  would  like  to  explore.    These  ideas  and  suggestions  were  then  worked  into   the  programme,  wherever  possible.    At  the  beginning  of  the  next  evaluation  the  suggestions  were   reviewed  and  participants  could  see  how  their  suggestions  had  been  included.    We  recorded  that  90%   of  all  participants’  suggestions  were  acted  upon  by  being  included  in  the  following  six-­‐month   programme.      

Analysis of  the  Project  Coordinator/lead  artist   Participants  needed  a  long  time  to  work  on  development  of  ideas,  the  group  didn’t  respond  well  to   changing  focus  too  often.    Successful  delivery  resulted  when  clear  plans  were  introduced  to  the  group   at  the  beginning  of  a  term  and  when  sessions  were  comfortable  and  not  too  outcome  focused.   The  group  enjoyed  developing  characters  and  performance  ideas.    However  I  did  find  that  it  was   important  to  offer  a  structured  approach.     Many  participants  had  real  problems  learning  and  retaining  lines,  although  styles  of  performance  that   didn’t  require  a  traditional  script  based  learning  approach  were  introduced,  there  was  resistance.  In   rehearsal  these  approaches  were  embraced  but  when  it  came  to  preparing  for  performance,   participants  wanted  to  set  a  scene  or  monologue,  set  it  so  much  that  they  started  to  take   improvisational  notes  and  use  them  as  script  and  begin  to  learn  lines.    This  had  the  potential   consequence  of  making  the  scene  flow  less  well,  feel  less  authentic,  but  although  participants   watching  each  other  could  see  this,  the  fear  of  being  on  stage  without  knowing  what  to  do  or  say   overcame  most  individuals.       Longer  rehearsal  periods  worked  best  with  a  final  intense  period  of  rehearsal  prior  to  performance.    


Live and  Learn  Evaluation  Report  

3AT Performances   Introduction   Throughout  Live  and  Learn  the  3AT  created  three  different  kinds  of  performance  for  three  different   audiences:  performances  in  care  homes;  performances  for  training/health  care  sector  settings  and   public  performances.   The  performances  in  care  homes  were  specifically  for  people  with  dementia.    Members  of  the  3AT   interwove  the  performance  of  poems  that  had  been  created  during  workshops  with  people  with   dementia  (see  below);  songs  they  had  developed  and  written  themselves;  and  dancing  with  audience   members  to  pre-­‐existing  songs  that  audience  members  were  familiar  with.    Often  pre-­‐performance   sessions  were  held  in  centres  to  identify  songs  that  would  be  appropriate  and  pleasurable  in  this   context.  

Toolkit  workshop,  Leighton  Dene  2013  

Performances  in  training/health  care  sector  settings  involved  performing  scenes  that  highlighted   issues  connected  with  dementia;  scenes  drawn  from  their  existing  play  Now  and  Then;  personal   memories,  monologues  and  poems  that  connected  to  the  work  they’d  been  doing;  new  sketches   specifically  created  to  address  issues  related  to  caring  practice;  and  were  occasionally  preceded  by   elements  of  ‘invisible  theatre’  (where  the  audience  does  not  know  if  they’re  watching  a  performance   or  if  the  situation  is  real).    Events  were  for  carers,  health  care  professionals  and  those  with  an  interest   in  dementia.  


Live and  Learn  Evaluation  Report   Public  performances  included:  participation  in  Collective  Encounters’  annual  event  In  Our  Times,   which  tackles  issues  of  poverty  and  inequality  in  the  UK;  performances  at  Liverpool’s  public  Bandstand   (Summer  and  Christmas);  for  which  the  3AT  created  new  songs  and  satirical  sketches.    They  have  also   created  a  series  of  podcasts:  the  Hetty  podcasts,  which  present  a  satirical  agony  aunt  who  tries  to   tackle  pressing  issues  of  pensioner  poverty;  and  Bits  that  Stick  to  Your  Mind,  recorded  readings  of  the   poems  that  were  created  by  people  with  dementia.    The  podcasts  were  released  monthly  on  our   website  over  the  past  two  years.    Hetty  has  also  been  performed  live.  

Feedback/evaluation methodology   Feedback  from  3AT  participants  was  gathered  at  the  following  weekly  session,  notes  were  taken  and   inputted  into  the  lead  artist  diary.  Further  feedback  was  gathered  during  the  6  monthly  creative   evaluations,  where  participants  were  prompted  to  reflect  on  each  production  undertaken.       Collective  Encounters  is  committed  to  taking  theatre  to  new  audiences  and  consequently  many  of  our   performances  are  in  non-­‐traditional  spaces.    During  this  project  the  3AT  company  performed  at  Day   Centres,  at  a  Working  Men’s  Club,  at  a  Trade  Union  Centre,  on  a  bandstand  in  the  centre  of  Liverpool,   at  a  regional  pensioners  convention,  and  in  several  gallery  spaces.    Because  of  the  nature  of  the   performance  spaces  and  the  nature  of  the  audiences  (sometimes  drifting  in  and  out,  sometimes  not   physically  able  to  complete  printed  forms)  most  of  the  feedback  gathered  was  from  direct   interviewing  immediately  after  the  performance.  Very  occasionally  audience  feedback  questionnaires   were  used.  

Performances in  care  homes:  participant  feedback   The  3AT  Company  members  first  engaged  in  a  Collective  Encounters  performance  in  2011  when  they   attended  a  poetry  reading.  The  readings  had  been  produced  by  care  home  residents  working  with   poet  Karen  Hayes,  which  were  then  performed  by  her  and  the  lead  artist.    Participants  watched  the   performances  and  then  talked  to  the  care  home  residents  who  had  written  the  poems.  Responses   were  mixed,  some  were  inspired  by  the  poetry  produced,  others  were  upset  by  perceptions  of  the   restrictions  that  were  operating  within  the  care  home  setting  and  some  were  deeply  affected  by   conversations  they  had  with  some  of  the  residents:   “The  hardest  thing  for  me  was  in  the  nursing  home,  there  was  a  lady  there,  pretty  young  really  to  be  in   a  nursing  home  with  dementia.  She  was  talking  to  me  and  Edna  and  the  fear  –  she  wanted  to  get  out  –   the  fear  in  her  eyes…  No  matter  how  much  you  tried  to  talk  to  her,  she  didn’t  have  much  of  a  voice  so   she  was  pulling  on  our  hands  and  on  our  clothes  and  stuff  to  get  out  of  there.  We  tried  to  cheer  her  up   and  find  out  what  she  was  saying  for  a  long  while,  but  all  I  can  remember  is  in  the  end,  she  just   laughed  because  she  knew  she  weren’t  getting  through  to  us.  She  couldn’t  get  through  to  us.  I  and   Edna  spoke  about  it  afterwards  and  her  eyes  and  her  face  will  stay  with  us  all  our  lives.  I  don’t  think   we’ll  ever  forget  her.  Because  –  I  know  it  sounds  a  bit  thingy-­‐o  –  she  was  so  attractive,  but  so   frightened.  You  know,  you  thought,  ‘Thank  God  that’s  not  me.’  I  know  it  sounds  a  bit  thingy-­‐o,  but  you   wouldn’t  want  to  wish  that  on  anybody.  That  was  the  hardest  thing  out  of  everything  for  me.”   3AT  Participant  


Live and  Learn  Evaluation  Report     In  relation  to  the  poetry  performances  at  Leighton  Dene,  the  3AT  company  members,  in  general,  had   positive  experiences.  However,  during  the  development  of  the  piece,  participants  were  unclear  as  to   why  they  were  being  asked  to  perform  poems  written  by  people  with  dementia  rather  than  material   generated  by  the  group.  This  issue  was  discussed  in  detail  and  once  it  was  understood  that  by   performing  these  works  they  were  giving  voice  to  those  without  a  voice,  group  members  supported   the  idea.  This  was  based  on  the  premise  that  they  also  had  opportunities  to  perform  their  own  work,   with  their  own  messages,  at  other  events.  

3AT  Performers,  Live  and  Learn  Launch  Event  2011  

Performances  in  care  homes:  audience  feedback   The  3AT  Company  always  received  a  warm  welcome  at  whatever  day  centre  they  performed  at.   Performances  were  often  in  response  to  a  request  by  the  day  centre  for  the  group  to  perform  to   celebrate  a  specific  date  or  occasion.  In  preparation  for  such  events  staff  would  work  with  Day  Centre   users  to  collate  song  lists  and  prepare  visual  material  to  support  the  performance.  As  a  company  we   always  ensured  we  arrived  in  plenty  of  time  and  that  we  fitted  into  the  timetable  of  the  day  centre   itself  i.e.,  performances  were  usually  requested  to  begin  at  1.30pm,  after  lunch  and  to  finish  by  3pm   before  people  started  to  leave.    Staff  were  always  supportive  offering  cups  of  tea  to  the  company  and   helping  setting  up  seating.  Day  Centre  users  often  directly  engaged  with  the  performances  by  vocally   calling  out,  dancing  to  the  music  and  on  a  few  occasions  requesting  the  microphone  and  singing  along.     “I  liked  the  dancing”  –  Frank,  Day  Centre  User  


Live and  Learn  Evaluation  Report   “Are  you  coming  again?”  –  Elsie,  Day  Centre  User    “Really  enjoyed  the  show.”    -­‐  Irene,  Relative  of  Day  Centre  User  

Performances in  care  homes:  lead  artist’s  analysis   Performances  in  Day  Centres  were  popular  and  we  were  able  to  respond  directly  to  a  number  of   requests  to  perform  to  celebrate  a  specific  day  or  event.  In  relation  to  the  poetry  readings  at  Leighton   Dene  we  hadn’t  been  sure  whether  the  audience  members  would  listen  to  or  enjoy  the  poems.   Recognising  this  risk  we  had  designed  the  performances  so  that  a  popular  recording  of  a  song  from   the  1940’s,  50’s,  60’s  or  70’s  followed  each  poem.  A  lot  of  work  has  been  done  to  demonstrate  that   music  and  dancing  to  music  is  a  successful  performance  medium  for  people  with  dementia  and  so  by   interspersing  the  poems  with  songs  we  felt  that  the  audience  would  engage  at  some  level.  However   when  the  poems  were  read  there  was  a  high  level  of  concentration  and  engagement  from  most   people,  some  people  even  shushed  others  so  that  they  could  hear  better.   One  benefit  of  this  approach  to  performance  was  that  it  didn’t  require  a  long  rehearsal  period  or   much  preparation.    As  long  as  participants  had  a  session  to  rehearse  readings  and  discuss  which  song   they  would  like  to  follow  their  poem,  no  extra  time  was  required.    All  participants  were  given  a   running  order  and  their  own  specially  prepared  poem  on  arrival  at  the  venue;  the  shows  were   technically  straightforward  and  ran  smoothly.       The  real  impact  of  these  performances  is  that  they  demonstrate  how  sophisticated  performance   material  that  directly  engages  the  audience  can  be  successfully  delivered  to  people  with  dementia.  To   ensure  successful  performances,  performers  need  a  microphone,  music  needs  to  be  played  through  a   good  PA  system  and  seating  must  be  organised  so  that  audience  members  can  easily  get  up  and  join  in   with  the  dancing.  

Performances in  training/health  sector  settings:  participant  feedback   The  3AT  Company  developed  a  number  of  pieces  specifically  designed  to  support  training  and   development  of  carers  working  either  professionally  or  non-­‐professionally  with  people  with  Dementia.   These  included  the  Launch  Event  at  The  Bluecoat  in  2011  and  three  further  events  which  were   delivered  in  partnership  with  PSS  at  Hope  University  in  2012.     Participants  in  general  enjoyed  the  experience  of  performing  to  Health  Care  Professionals  and  working   in  a  training  environment.  They  felt  that  their  work  was  informative  and  productive  and  valued  the   opportunity  to  share  their  own  research  and  personal  experience  with  others.    However,  in  one  or   two  cases  there  were  some  room  changes,  which  meant  the  company  had  to  move  at  the  last  minute   prior  to  the  performance,  and  this  did  leave  some  people  feeling  unsettled.      

Performances in  training/health  sector  settings:  audience  feedback   At  all  events  the  audience  responded  well  to  the  performances,  they  took  part  in  the  debates  that   resulted  from  the  invisible  theatre  interventions  and  participated  in  the  forum  elements  of  the  plays.    


Live and  Learn  Evaluation  Report  

Performances in  training/health  sector  settings:  lead  artist’s  analysis   The  performances  created  by  3AT  Company  designed  to  be  delivered  for  Health  Care  settings  had  a   strong  impact  and  were  highly  effective  as  training  interventions.  They  were  based  on  research  that   had  been  undertaken  by  3AT  Company  members  which  was  both  desk  based  and  active  i.e.  They  had   met  and  talked  to  a  number  of  people  working  as  carers  both  professionally  and  non-­‐professionally.       There  were  some  technical  issues  in  the  delivery  of  the  performances,  for  example,  in  some   performances  there  was  no  access  to  microphones  which  meant  that  the  company  members  could   not  be  clearly  heard  and  occasionally  there  were  room  changes  which  meant  last  minute  moves/set   ups  etc.  On  reflection  I  believe  that  many  of  these  issues  could  have  been  resolved  if  a  Stage  Manager   could  have  been  brought  in  to  ensure  smooth  running  of  all  such  aspects.       If  we  were  asked  to  do  similar  work  again  I  would  recommend  that  our  current  model  of  a  long,  well-­‐ funded  research  period  followed  by  creative  development  and  performance  should  be  once  again   adopted  with  the  addition  of  a  small  performance  budget  allowing  us  to  employ  a  Stage  Manager  to   offer  full  technical  support.        

Public performances:  participant  feedback   The  three  act  public  performances  consisted  of  two  In  Our  Times  events  2012/2013,  in  which  the   three  act  company  worked  collaboratively  with  other  participant  groups  and  professional  performers   to  present  a  show  in  a  working  mans  club;  two  city  centre  bandstand  events,  these  were  in  response   to  an  open  culture  request  for  performances  to  be  held  at  the  centre  of  Williamsons  Square  on  an   octagon  shaped  wooden  structure,  with  technical  support;  and  the  Hetty  podcasts,  a  character   created  by  the  group  initially  developed  as  scratch  pieces  which  were  ultimately  professional  recorded   and  published  online  and  on  local  radio.    During  the  process  of  the  two  In  Our  Times  performances  all   participants  enjoyed  the  intense  development  and  rehearsal  period  leading  up  to  the  performance.     Participants  had  also  enjoyed  the  opportunity  to  work  collaboratively  with  the  other  Collective   Encounters  groups.    Despite  the  overall  success  of  these  events  there  were  additional  pressures   during  this  period  for  company  members,  to  learn  new  lines  and  new  blocking  in  a  short  time  frame,   which  some  participants  found  difficult.     The  bandstand  performances  were  challenging  for  participants  as  the  time  frame  between  being   invited  to  perform  and  the  performance  itself  was  restricted,  there  was  no  offstage  for  people  to   change  costume  and  as  audience  members  could  view  from  all  sides,  choreography  and  blocking  was   key.  Although  the  rehearsal  periods  for  both  were  intensive,  participants  agreed  that  the  final   performances  were  very  successful  and  were  happy  that  they  had  managed  to  attract  large  audiences.       In  the  production  of  the  podcasts,  all  enjoyed  creating  the  character  of  Hetty  and  loved  playing  her  as   they  did  in  the  original  scratch  performances.    However  for  the  professional  recordings,  for  the  sake  of   continuity,  it  was  decided  that  a  professional  actress  would  play  Hetty.  Some  participants  were  upset   about  this  decision  but  most  accepted  that  ,from  an  audience  perspective,to  have  one  person  playing   her  made  more  sense.    There  were  some  concerns  about  the  use  of  comedy  that  resulted  in    


Live and  Learn  Evaluation  Report   discussions  exploring  who  was  being  targeted.  What  were  we  laughing  at  and  why?  Generally  it  was   agreed  that  the  comic  target  was  not  the  person  asking  for  the  advice,  but  the  character  of  Hetty,  rich   and  privileged,  never  having  had  to  live  on  a  pension  or  a  budget  of  any  kind,  using  her  influence/her   connections  to  get  work  and  power.  Her  advice  was  therefore  out  of  touch  and  irrelevant  to  everyday   life.  Most  felt  happy  that  they  had  got  across  what  they  had  wanted  to  say.            

3AT Summer  of  Love  Bandstand  Performance  2012  

Public  performances:  audience  feedback   The  3AT  Company  had  good  responses  to  their  public  performances.  The  two  In  Our  Times  events,   (Summer  2012  &  Summer  2013),  were  both  held  in  Working  Men’s  Clubs  and  so  had  a  restricted   audience.  The  3AT  Company  performed  alongside  other  Collective  Encounters  groups  and  received   strong  support  from  the  audience.  In  the  case  of  the  two  Bandstand  performances  (Summer  2012  &   Christmas  2012),  the  3AT  Company  were  working  independently  and  in  a  street  setting  and  so  had  to   engage,  attract  and  secure  a  passing  audience.     The  following  responses  were  gathered  by  Collective  Encounters  Artists  and  Volunteers  from  passers   by  at  the  two  Bandstand  performances  in  2012:    “Good  to  see  older  people  taking  control!”     “Loved  the  colourful  costumes.    What  they  had  to  say.”   “You  got  the  biggest  audience  of  the  week!”       “Very  good,  what  you’re  doing  here.  They  don’t  usually  allow  politics,  but  it’s  time  people  had  their   say.  A  very  good  effort.”  


Live and  Learn  Evaluation  Report   “Political  content  is  great.  Spot  on  about  the  cuts.  Good  to  see  people  doing  theatre  like  this  even  at   Christmas.”  

Public performances:  lead  artist’s  analysis   The  bandstand  performances  offered  the  3AT  Company  an  opportunity  to  challenge  a  mainstream   audience  about  its  perception  of  older  people.  They  offered  participants  the  chance  to  work  in  a   street  theatre  context,  develop  new  material  as  a  group,  utilise  some  existing  pieces  and  to  make   personal  statements,  both  in  written  form  and  in  the  choice  of  their  costume.     The  most  challenging  for  the  company  was  learning  the  choreography  that  enabled  participants  to   circle  the  whole  stage  and  show  audience  members  on  all  sides  the  various  slogans.    In  addition,  we   had  to  practise  passing  the  five  microphones  between  each  other  in  the  rehearsal  room  as  we  had  no   dress  or  tech  in  the  space.         The  key  learning  from  developing  work  for  these  performances  was  the  creation  of   storytelling/performance  structures  that  enabled  participants  the  opportunity  to  communicate  their   ideas,  both  as  a  group  and  individually.  In  each  case,  after  initial  discussions,  the  lead  artist  introduced   the  concept  in  which  the  ideas  voiced  could  be  effectively  communicated.  For  example,  for  the   Christmas  Bandstand,  the  group  wanted  to  discuss  the  potential  impact  of  the  forthcoming  cuts  and   look  at  the  effect  they  would  have  on  the  citizens  of  Liverpool.  The  concept  introduced  by  the  lead   artist,  in  order  for  them  to  do  this,  was  a  street  theatre  version  of  Scrooge,  where  Scrooge   represented  the  Government.       The  key  learning  from  the  two  In  Our  Times  performances  was  that  song  and  dance  is  highly  effective   in  a  cabaret  style.  However,  for  this  to  be  effective,  the  3AT  company  needed  several  months   performing  both  in  writing  and  learning  the  song/dance  in  question.  For  example,  in  the  2012  show,   the  group  wrote  a  song  ‘Stand  Up’,  written  with  the  support  of  a  professional  musician  between   February  and  March.  Once  the  song  had  been  written,  the  group  then  rehearsed  it  once  a  week  as  a   warm-­‐up  during  March  to  June  in  preparation  for  the  performance.  This  process  enabled  the  group  to   perform  the  song  confidently  and  effectively.  In  the  2013  event,  the  idea  was  that  a  group  song  would   be  written  by  all  participants  three  days  prior  to  performance.  Although  the  idea  was  to  be  inclusive  of   all  Collective  Encounters  participants,  3AT  company  members  struggled  to  learn  both  words  and  tune   in  such  a  short  period.  This  meant  that  some  people  were  quite  stressed  during  the  performance  of   the  song.  Therefore,  in  preparation  for  any  such  work,  it  would  be  recommended  that  3AT   participants  had  plenty  of  time  to  learn  and  rehearse  prior  to  performance.       The  character  of  Hetty  was  developed  through  a  serious  of  improvisations  between  September  and   December  2012.  In  response  to  the  learning  from  the  development  of  the  Christmas  Bandstand,  the   lead  artist  edited  the  material  into  script  format  prior  to  the  first  rehearsal  in  April  2013.  Participants   were  encouraged  to  change  lines  if  they  wanted,  even  to  improvise,  but  having  the  scripts  from  the   beginning  gave  everyone  more  confidence.    Line-­‐learning  for  the  3AT  company  members  was   normally  an  issue  but,  in  this  instance,  as  the  pieces  were  being  recorded  professionally  as  audio   podcasts,  participants  could  work  directly  from  script.    


Live and  Learn  Evaluation  Report  

3AT  Performers,  In  Our  Times  2012  

Working with  an  Arts  and  Dementia  Consultant   Introduction   Karen  Hayes  was  employed  on  a  two-­‐year  contract  and  undertook  a  number  of  workshops  in   Redholme  Memory  Care  Home,  Leighton  Dene  Day  Centre  and  in  the  homes  of  people  with  dementia   modelling  her  process  of  creating  poetry  with  people  with  dementia  to  train  Collective  Encounters  in   this  approach.    Through  a  series  of  structured  discussions  she  also  offered  a  wider  set  of   understandings  and  capacity  building  to  artists  within  Collective  Encounters  around  working  through   the  arts  in  a  dementia  specific  context.    Karen  contributed  to  the  development  of  our  toolkit;  and  ran   a  six-­‐week  training  course  for  3AT  members  focusing  on  exercises  and  creative  interventions  designed   to  work  with  people  with  dementia.      

Karen’s poetry  workshops   Karen  and  the  lead  artist  in  2011  undertook  a  series  of  workshops  at  Redholme  Memory  Care  Home.   They  worked  with  individuals  and  Karen  consequently  produced  a  number  of  finished  poems  that  we   later  performed  within  the  care  home  setting.   In  2012  Karen  worked  with  a  new  lead  artist  at  Leighton  Dene  Day  Centre.  The  Day  Centre  users   worked  on  a  1-­‐1  basis  with  Karen,  during  their  conversation  Karen  took  extensive  notes.  Day  Centre   users  were  fully  engaged  and  appeared  to  enjoy  their  conversation  with  Karen.  Although  she  informed   them  that  they  were  working  with  her  to  create  poems  it  was  obvious  that  most  were  unaware  of   how  this  was  to  be  achieved.  When  she  returned  to  present  them  with  the  poems  and  read  them  in   front  of  the  others,  they  were  overwhelmed.    May,  in  particular,  took  her  poems  away  and  held  on  to   them,  reading  them  and  holding  them,  as  though  they  were  very  precious  things.    


Live and  Learn  Evaluation  Report   “It  was  lovely  to  hear  my  poem  read  out.  I  couldn’t  believe  I’d  written  it.”      May,  Day  Centre  User,  Leighton  Dene     We  visited  three  different  individual’s  homes;  one  person  was  very  welcoming.  He  had  met  the  lead   artist  already  and  understood  that  he  was  doing  some  poetry  writing  in  his  own  home,  but  the  other   two  ladies  were  suspicious.    Where  possible,  we  separated  the  person  with  dementia  (and  the  person   caring  for  them)  on  the  second  visit  as  we  felt  this  would  enable  Karen  to  form  a  1-­‐1  relationship  with   the  person  with  dementia,  enabling  them  to  talk  more  freely  to  her  on  their  own.    This  worked  well  in   one  case  but,  in  the  other  case,  the  person  with  dementia  became  quite  negative.    

Training the  3AT   In  the  Autumn  of  2012  Karen  worked  over  a  period  of  6  weeks  with  the  3AT  Company  delivering  a   series  of  Arts  based  training  workshops  designed  to  be  tried  and  tested  within  a  day  centre/care  home   setting.  The  sessions  included  an  introduction,  drama  skills,  creative  writing,  singing  and  visual  arts.   The  sessions  helped  develop  company  members  in  two  ways,  firstly  it  helped  the  group  develop  new   material  and  secondly  it  enabled  participants  to  develop  facilitation  skills.        “I  loved  the  sessions.  At  first  I  was  very  anxious  as  to  what  to  expect  about  the  group.  After   the  first  session  I  was  very  excited  to  come  again.  I  loved  how  Karen  is  versatile  and  how  she   pushed  us  to  use  our  own  imagination.”   “I  thought  that  the  atmosphere  was  so  friendly  and  exciting.  The  sessions  reminded  me  of   being  in  school,  and  having  the  enjoyment  of  learning.  The  workshops  have  beaten  the   expectation  I  had.  Karen  is  lovely,  patient  and  has  clear  instructions  and  is  very  encouraging.   Overall  the  workshops  have  been  homely  and  very  inclusive.               3AT  Participants,  6-­‐Week  3AT  Training  Course     At  the  end  of  the  training  period  the  group  performed  some  of  the  work  they  had  developed   alongside  Karen  at  Leighton  Dene  Day  Centre.  Later  in  the  Spring  and  Summer  of  2013  a  number  of   3AT  Company  Members  worked  regularly  alongside  the  lead  artist  in  Day  Centre  settings,  during  the   testing  period  of  the  Toolkit.  

3AT Workshops  in  care  homes/day  centres   In  the  Autumn  of  2011,  Karen  and  the  Lead  Artist  performed  a  series  of  poetry  readings  of  work   created  by  residents  at  Care  Homes  in  Liverpool.  The  3AT  Company  were  invited  to  join  the  audience   and  to  meet  the  residents  who  had  taken  part  in  the  project  after  the  show.  Some  company  members   found  this  experience  quite  difficult;    


Live and  Learn  Evaluation  Report   Later  in  2013  after  some  Arts  &  Dementia  Facilitation  Training  from  Consultant,  Karen  Hayes,  a   number  of  3AT  Company  Members  elected  to  support  the  Toolkit  testing  within  a  Day  Centre  setting.   The  Toolkit  testing  took  place  over  16  sessions  during  which  we  worked  with  a  variety  of  different   groups.  All  Company  Members  that  took  part  engaged  fully  and  enjoyed  supporting  the  work.    

“Great to  see  everyone  come  alive.”  

“Very enjoyable,  made  us  happy.”  

“I enjoyed  listening  to  everyone’s  stories.”        

3AT Company  Members,  2013  

  Project  Coordinator/lead  artist  Analysis   At  the  beginning  of  the  Live  &  Learn  Project  in  2011  we  recognised  that  although  we  had  previously   undertaken  one  Arts  &  Dementia  project,  effectively  the  company  were  embarking  on  a  new  area  of   work.  As  a  research  lead  organisation  we  wanted  to  develop  a  deeper  understanding  of  the  field  and   insure  that  our  arts  practice  was  of  the  highest  standard.  We  consequently  took  a  two-­‐pronged   approach:  We  commissioned  a  literary  review,  undertaking  desk  based  research  increasing  our   academic  understanding;  We  employed  an  experienced  Artist  to  support  us  in  a  consultancy  role  to   support  the  lead  artist  development  and  to  offer  Artistic  guidance.     Karen  Hayes  is  a  poet  with  more  that  20  years  experience  of  working  in  the  field  of  Arts  and   Dementia.  She  was  able  to  share  with  us:     • • • •

Her understanding  of  best  practice.   Her  knowledge  of  how  to  work  effectively  and  creatively  with  people  with  dementia.   Her  understanding  of  how  to  work  in  various  day  care  and  care  home  settings.   Her  understanding  of  how  to  engage  with  both  professional  carers  and  home  carers.  

• • •

Her practice  by  enabling  the  lead  artists  to  observe  her  working  on  a  range  of  settings.   By  offering  3AT  Company  Members  facilitation  training.   Her  practice  by  directly  co-­‐writing  the  development  of  the  toolkit.  

Having access  to  Karen’s  thinking  and  practice  enabled  the  lead  artists  to  contextualise  the  desk  based   research  and  their  own  experience  giving  them  a  broad  understanding  of  the  field.  Karen  also  offered   them  the  opportunity  to  discuss  and  explore  in  detail  complex  ideas,  ways  of  working  and  new   approaches.     The  relationship  between  Collective  Encounters  and  Karen  was  generally  positive,  difficulties  that   arose  were  mainly  due  to  the  fact  the  Karen  lived  in  Bristol  and  consequently  had  to  travel  quite  a   distance  to  undertake  workshops  or  training  sessions  in  Liverpool.  The  cost  of  Karen’s  travel  also  had  a   financial  impact  on  the  project.  However  Karen  was  employed  as  a  consultant  because  she  is  one  of  a    


Live and  Learn  Evaluation  Report   very  few  leading  practitioners  in  the  field  and  her  contribution  to  the  Live  &  Learn  Project  and   Collective  Encounters  in  general  has  been  hugely  beneficial.  I  therefore  suggest  that  we  should  adopt   a  similar  model  when  working  in  relatively  new  areas  and  support  such  work  by  incorporating  a   substantial  travel  budget  to  enable  us  to  work  with  the  best  leading  artists,  wherever  they  are   geographically  based.     Working  with  Karen  offered  Collective  Encounters  the  unique  opportunity  to  interrogate  in  practical   terms  best  practice  in  the  area  of  Arts  &  Dementia.  Ensuring  that  the  artistic  work  we  offered  to   people  with  Dementia  and  their  carers  was  of  the  highest  quality.        

Toolkit  Workshop,  Leighton  Dene  Day  Centre  2013  

Developing the  Toolkit  for  Carers   Introduction   We  made  the  decision  to  design  a  toolkit  as  a  resource  for  carers  as  we  felt  that  this  would  have  the   most  positive  impact  in  relation  to  people  with  dementia  accessing  regular  creative  interventions.     From  the  beginning  of  the  project  we  were  interested  in  looking  at  how  creative  activity  could  be   more  firmly  integrated  into  regular  caring  practice,  rather  than  being  a  stand-­‐alone  activity  requiring   the  entry  of  a  professional  artist.    Since  we  wanted  the  toolkit  to  be  user-­‐friendly,  design  was   important:  we  created  a  pocket-­‐sized  book  with  wipe-­‐able  pages  and  a  spiral  binding.    We  also  colour   coded  the  sections  to  make  it  easy  to  use.    All  these  design  points  were  tested  out  and  were  positively   endorsed.  We  included  sections  on  best  practice  and  person-­‐centred  care  to  support  and  underpin   the  creative  sections.  In  the  spring  of  2013  Karen  and  the  lead  artist  wrote  a  draft  Toolkit.  


Live and  Learn  Evaluation  Report  

Developing and  testing  the  Toolkit   Developing  a  Toolkit  as  part  of  the  Live  &  Learn  Project  was  a  pre-­‐identified  outcome.  However,   determining  whom  the  Toolkit  would  be  for  and  what  it  would  contain  was  left  open  so  that  we  could   respond  directly  to  the  needs  identified  during  the  project.     At  the  beginning  of  2013  the  lead  artist  worked  with  Karen,  alongside  Collective  Encounters’  Artistic   and  Executive  Directors  to  ascertain  who  the  Toolkit  was  for,  what  it  would  contain,  how  it  would  be   used  and  what  format  it  would  be  produced  in.  The  following  was  agreed:   • • •

The Toolkit  would  be  designed  to  be  used  by  both  professional  and  home  carers.   The  Toolkit  would  contain  easy  to  follow  creative  exercises  and  ideas.   The  Toolkit  would  offer  tips  on  how  to  introduce  creative  practice  as  part  of  a  daily  care  

• •

routine. The  Toolkit  would  be  designed  to  be  used  both  in  professional  and  home  settings.   The  Toolkit  would  be  pocket  size,  colour  coded  and  printed  on  wipe  clean  paper.

Once the  parameters  had  been  agreed,  Karen  and  the  Lead  Artist  wrote  a  draft  Toolkit  for  testing   purposes.  The  exercises  and  ideas  that  were  included  were  mainly  drawn  from  personal  delivery   experience.   Once  the  draft  Toolkit  had  been  completed  the  lead  artist  introduced  it  to  Care  Staff  at  Leighton  Dene   Day  Centre.  The  centre  Manager  and  Care  Staff  agreed  to  support  the  testing  of  the  toolkit  and  the   Lead  Artists  proceeded  to  run  a  series  of  approximately  16  sessions  to  run  the  various  exercise  and   activities  with  a  range  of  day  centre  users.    A  number  of  3AT  Company  members  supported  these   workshops  and  their  feedback  and  advice  supported  the  development  of  the  final  product.     Some  of  the  key  feedback  points  from  carers  had  included:     “I’m  worried  about  leading  sessions,  worried  it  will  be  too  much  of  a  struggle.”   “I’m  not  sure  who  is  supposed  to  lead  the  session,  me  or  the  service  users.”   “I  wouldn’t  want  to  run  any  exercise  that  upset  people  or  brought  up  bad  memories.  I  wouldn’t   want  to  have  to  deal  with  that.”     Feedback  from  participants  with  dementia  in  the  testing  workshops  included:   “I  liked  that  everybody  could  join  in”        “I  liked  talking  about  places  I  haven’t  been  to  for  a  while”        “Everything  was  good.  Everything  fitted  in  –  even  the  exercises.”       “Very  enjoyable.  Made  us  happy.”       “Joining  in.  Being  sociable.  The  sing-­‐song.  More  entertainment  like  this  is  needed.”    


Live and  Learn  Evaluation  Report   “Being  together,  exchanging  each  other’s  lives.  Nice  to  know  about  people  you  sit  next  to-­‐day-­‐   to-­‐day.”     After  the  testing  process  a  number  of  exercises  had  to  be  changed  or  re-­‐worked.  The  key  learning   from  the  process  included:     • Any  game  that  was  viewed  as  ‘childish’  was  disliked.   • Any  game  that  included  someone  having  to  tell  a  lie  was  disliked,  it  made  people  very   uncomfortable.   • Any  game  that  involved  too  many  instructions  became  unworkable  

At the  end  of  the  testing  period  the  Lead  Artists  had  a  meeting  with  care  staff  and  managers  to  reflect   on  the  process.  Both  the  Care  Staff  and  Managers  all  felt  that  the  workshops  had  been  successful  and   that  the  impact  of  the  creative  interventions  had  led  to  and  increased  communication  between  staff   and  Day  Centre  users.     “Brilliant!  The  Service  Users  have  found  it  brilliant  –  they  loved  it!”   Care  Worker,  Leighton  Dene     Joan  Lightbody,  Leighton  Dene  Manager,  subsequently  wrote  the  following  letter  of  support:     Dear  Collective  Encounters   The  workshops  that  you  have  delivered  have  had  a  very  positive  impact  on  our  service  users.  I   think  it  is  fair  to  say  that  they  really  enjoyed  the  sessions  and  that  service  users  who  are   normally  reticent  in  speaking  out  in  a  group,  suddenly  found  their  voices  and  felt  comfortable   and  confident  enough  to  share  their  experiences.  In  one  of  the  workshops  someone  had  talked   about  a  certain  food  that  they  had  last  eaten  many  years  ago.  Her  daughter  was  very   surprised  that  she  had  remembered  this  and  was  still  talking  about  it  when  she  went  home.   Her  daughter  therefore  went  out  and  bought  it  for  her….result!  Because  people  were  sharing   experiences  in  a  group  setting,  service  users  and  staff  learned  new  things  about  each  other.   The  workshops  have  given  staff  experience  and  the  confidence  to  facilitate  similar  sessions   themselves  using  the  toolkit.    

Disseminating the  Toolkit   On  November  5th  2013  we  published  the  final  revised  version  of  the  Toolkit,  having  produced  a  run  of   50  hard  copies.  We  also  made  it  available  to  download  free  from  the  Collective  Encounters  website   and  from  the  Baring  Foundation  ‘Age  Of  Creativity’  website.      


Live and  Learn  Evaluation  Report   The  publication  date  coincided  with  the  lead  artist  running  a  demonstration  workshop  at  The  Baring   Foundation  ‘Coming  Of  Age’  Best  Practice  conference  in  Manchester.  This  launch  event  was  to  start   the  dissemination  process  of  the  Toolkit  amongst  the  wider  sector.   Between  November  2013  and  March  2014  the  lead  artist  ran  a  series  of  workshops  for  both  home   carers  and  professional  carers  promoting  the  Toolkit.    Feedback  included:    “Loved  it.  I  love  trying  to  find  the  talking  point,  so  this  really  helped.  The  activities  are  really   useful.”   “Love  the  simplicity  of  the  booklet,  certainly  going  to  use  poetry  exercise.”   “Loved  it.  Go  with  the  flow  of  person’s  reality,  great  lesson.  Really  good  morning.”   “Lots  of  laughs,  great  to  have  a  break  from  dementia  based  work,  would  love  to  know  about     more  work.”   “I  can’t  thank  you  enough  for  giving  me  the  details  of  the  arts  workshop  for  dementia.  Bill  and   I  had  a  lovely  afternoon  with  really  nice  friendly  people.  We  laughed  so  much  and  it  was  a  real   tonic.    At  the  end  of  the  session  we  had  written  a  poem  of  Liverpool,  which  gave  me  goose   bumps!    To  be  honest,  most  of  my  life  now  revolves  around  Alzheimer's.    Everywhere  we  go   and  all  the  events  and  every  conversation  I  have  is  about  Alzheimers  but  today  was  2  hours  of   complete  relaxation.  Thank  you  so  much.”     At  the  end  of  this  process  all  fifty  pocket  guides  have  been  disseminated.  The  next  stage  of  the   research,  yet  to  be  undertaken,  will  be  to  contact  all  those  who  have  a  Toolkit  to  analyse  they  have   been  utilised.       We  also  intend  to  seek  further  funding  to  roll  the  toolkit  out  further    

Project Coordinator/lead  artist  Analysis   The  Toolkit  has  been  designed  to  be  used  by  carers  who  may  not  have  had  any  arts  based  training  and   the  exercises  contained  are  standard  drama,  creative  writing,  movement  or  music  exercises.  We  have   not  created  new  ways  of  working,  but  exercises  have  been  chosen  because  they  are  simple  to  use  and   have  been  proven  to  work  with  people  with  Dementia.  Whenever  we  introduce  the  Toolkit  to  a  Care   Home  or  Day  Centre,  we  are  clear  to  make  the  point  that  the  Toolkit  is  designed  to  introduce  creative   practice  on  a  regular  basis  and  not  to  replace  work  undertaken  with  professional  artists  when  the   opportunity  arises.   The  Toolkit  is  Unique  because  we  have  made  it  freely  available  to  download  to  anyone  supporting   someone  who  is  living  with  Dementia.  It  has  been  colour  coded  so  that  it  is  easy  to  use  and  offers  a   range  of  activities  that  have  been  proven  to  work.     The  testing  of  the  Toolkit  was  hugely  successful  and  consequently  the  final  product  was  dramatically   different  from  the  original  draft.  However  the  process  was  not  without  it’s  challenges  or  difficulties.   During  the  project  it  had  been  difficult  to  develop  relationships  with  care  homes  and  day  centres  so   once  we  had  established  a  strong  link  with  Leighton  Dene  we  decided  to  test  the  Toolkit  at  this  one   Day  Centre.    When  the  Toolkit  was  initially  introduced  to  staff  there  was  a  lot  of  nervousness  and  


Live and  Learn  Evaluation  Report   some  reluctance  to  the  idea.  However,  because  of  the  relationship  we  had  developed,  people  were   open  to  supporting  us  and  by  the  end  of  the  process  staff  were  completely  committed  to  using  the   Toolkit  themselves.     The  next  challenge  with  the  Toolkit  is  to  increase  it’s  dissemination  and  gather  feedback  to  identify   whether  it  is  having  a  positive  impact.  

Research: Process,  Outputs  and  Dissemination   Introduction   There  is  a  vast  body  of  academic  and  grey  literature  pertaining  to  arts  and  health,  and  some  key   publications  related  specifically  to  arts  and  dementia,  but  very  little  that  pulls  this  together  and  makes   it  useful  to  either  artists  or  health  care  professionals  who  might  consider  using  the  arts  with  people   with  dementia.    The  first  stage  of  our  research  then  was  to  commission  a  research  intern  to  undertake   a  literature  review  and  pull  together  the  findings  about  the  benefits  of  arts  and  dementia;  and  good   practice  guidelines  in  relation  to  this  emergent  area  of  work.    This  was  an  internal  document:  An   evidence  review  of  arts  in  dementia  care.    The  review  drew  on  more  than  60  published  texts,  as  well  as   many  case  studies  of  existing  good  practice.    The  next  stage  was  to  create  a  series  of   publications/advice  sheets  that  made  the  information  accessible.  

Arts and  Dementia:  Bringing  Professional  Arts  Practice  into  Care  Settings   This  publication  is  targeted  at  health  care  professionals  and  care  home  managers.    It  highlights  the   evidenced  benefits  of  using  the  arts  in  a  dementia  context;  it  connects  the  potential  of  the  arts  to   current  UK  thinking  about  dementia  and  addresses  how  the  arts  can  help  health  professionals  achieve   government  dementia  targets;  and  offers  case  studies  to  illustrate.   The  publication  has  been  made  available  on  our  website  and  on  arts  and  health  related  sites  in  the   UK.    We  are  currently  developing  our  dissemination  strategy  for  this  document,  which  is  likely  to   include  targeting  care  home  managers  directly,  as  well  as  presenting  at  conferences  and  events.  


Live and  Learn  Evaluation  Report  

3AT Performance,  In  Our  Times  2013  

Master class  Programme   Collective  Encounters  has  begun  to  run  a  bi-­‐annual  master  class  in  Arts  and  Dementia  which  shares   our  knowledge  and  experience  with  artists  who  are  interested  in  working  in  the  sector;  and  provides   take-­‐away  support  materials  including:  an  introduction  to  Dementia;  Good  Practice  in  Care  Settings;   and  Advice  for  Using  the  Arts  for  People  with  Dementia.   In  evaluation  of  this  training  to  date  100%  of  participants  have  said  they  learned  new  things  and  felt   inspired  by  the  training.    Feedback  has  included:   “The  practical  guides  on  the  issues  that  might  come  up  when  working  collaboratively  with   people  with  dementia,  the  government  policy  information  and  guidance  on  the  best  way  to   approach  potential  partners  in  the  sector  with  this  info.”   “Clear,  practical  ideas  of  how  to  plan  and  deliver  arts  workshops.  Exercises  given  which  I  am   confident  will  work  in  these  settings.”   “Felt  the  ethics  were  spot  on  and  everything  else  followed.”   “A  really  informative  and  engaging  session  –  thank  you.”  


Live and  Learn  Evaluation  Report    

3AT  Performer  preparing  for  Summer  of  Love  Bandstand  performance,  2012  

Overall  Impact  and  Successes   Objective  1:  To  provide  high  quality  arts  experiences  for  3AT  participants,   involving:  theatre  and  creative  reminiscence  training;  inter-­‐disciplinary   collaborations  with  professional  artists  &  dementia  specialists;  performance   opportunities.     The  3AT  six-­‐monthly  evaluations  explored  the  issue  of  quality  relating  to  weekly  sessions  based  on  the   definitions  outlined  in  Collective  Encounters  Quality  Indicators,  which  states  that  drama  processes   should  be:  inclusive,  creative,  challenging,  empowering,  responsive  and  developmental.    All  agreed   that  the  weekly  sessions  offered  were  of  a  high  quality  by  these  standards.   The  3AT  worked  with  the  Arts  and  Dementia  consultant  both  at  Redholme  in  the  autumn  of  2011  and   over  a  six-­‐week  training  course  in  the  autumn  of  2012.    Although  not  all  enjoyed  the  work  at   Redholme,  because  of  the  care  home  setting,  all  enjoyed  the  training  course.    The  course  offered  by    


Live and  Learn  Evaluation  Report   Karen  was  of  a  high  standard,  introducing  exercises  and  activities  that  resulted  in  the  creation  of   strong  and  relevant  pieces.     The  3AT  Company  have  delivered  twelve  performances  with  seven  different  shows.    They  particularly   enjoyed  working  with  a  professional  musician  to  write  the  ‘Stand  Up’  song,  also  with  a  professional   actress  to  record  the  Hetty  podcasts;  and  performing  live  with  her  for  ‘In  Our  Times’  2013.  They  also   enjoyed  working  with  the  other  Collective  Encounters  participatory  groups  and  the  professional  actors   involved  in  the  two  ‘In  Our  Times’  events.    

Product     For  Collective  Encounters,  a  high  quality  product  is:       Exciting:  in  its  theatricality,  invention,  ambition  and  communication  of  ideas;  reinforcing  the  value   and  distinctiveness  of  live  performance.    The  3at  performances  were  diverse  in  their  settings  and   exciting  in  their  use  of  space  and  in  their  range  of  theatrical  approaches.    Ideas  were  communicated   dramatically  with  the  spoken  word,  visually  with  props  and  costume,  Audibly  with  sound  and  music.           Provocative:  in  stimulating  its  audience  to  think  in  new  ways,  ask  questions  they  might  otherwise  not   have  asked,  offering  new  insights  to  old  problems,  and  challenging  the  status  quo.  The  ambitions  of   the  3AT  performances  were  evident  in  the  themes  they  covered.    Exploring  the  issues  of  dementia,   how  society  views  and  dismisses  older  people  and  challenging  the  financial  cuts  that  they  believed   would  have  a  huge  effect  on  families  an  children  in  Liverpool.  .    Performances  also  offered  individual   performers  to  express  personal  concerns,  these  included  participants  who  wanted  an  end  to  all  wars,   participants  who  wanted  to  still  be  regarded  as  sexy  and  attractive  and  participants  who  wanted  to  let   people  know  that  being  older  didn’t  mean  you  couldn’t  still  have  fun.    Overall  messages  from  the   whole  group  that  were  communicated  with  all  performances:  older  people  wanted  to  be  visible;  older   people  wanted  to  be  involved  in  the  community  and  supporting  other  people;  older  people  still  have   opinions.       Technically  accomplished:  demonstrating  an  appropriate  level  of  technical  expertise,  sound   production  values  and  seamless  delivery.  Most  of  the  3AT  performances  had  no  additional  budget  and   therefore  no  specific  technical  support.    The  group  and  the  director  generated  all  sound,  props  and   costume.    The  quality  of  the  overall  performances  was  good  but  could  have  been  better  if  such  support   had  been  available.           Important:  in  helping  us  to  make  sense  of  our  place  in  the  world,  lifting  the  audience  above  the   realm  of  the  day  to  day,  offering  something  beyond  simple  entertainment;  and  holding  the  possibility   of  change.  The  3AT  performances  were  important  and  challenging  to  audiences  as  they  placed  older  people,   and  issues  relating  to  older  people  on  stage.  Over  a  third  of  the  UK’s  population  are  over  50  and  yet  we  rarely   see  older  people  taking  the  lead  and  setting  the  agenda.  The  Live  and  Learn  project  enabled  older  people  to   use  theatre  to  identify  changes  they  wanted  made  within  the  current  social  and  economic  structures,  and  gave   them  the  forum  in  which  to  explore  the  possibilities  of  such  change.    


Live and  Learn  Evaluation  Report  

Objective 2:  To  provide  high  quality  creative  interventions  with  people  with   dementia  in  care  homes  and  private  homes,  which  break  isolation  and  enable   enhanced  communication  with  those  without  dementia.   The  3AT  Company  performed  3  times  in  Leighton  Dene  Day  Centre  and  the  work  was  well  received.   The  Arts  and  Dementia  consultant  worked  creating  poems  with  individuals  in  Redholme  care  home,   Leighton  Dene  Day  Centre  and  in  three  people’s  homes.    The  poems  created  were  of  an  extremely   high  quality  and  all  involved  stated  that  they  were  very  pleased  with  the  whole  experience.   The  lead  artist  has  delivered  a  series  of  workshops  with  the  support  of  the  3AT  Company  at  Leighton   Dene  and  also  with  home  carers  at  the  Merseyside  Play  Action  Council  building.     Feedback  has  demonstrated  that  the  creative  work  undertaken  with  people  with  dementia  has  had  a   positive  impact  on  both  them  and  the  people  who  care  for  them,  forging  a  stronger  relationship  and   an  increased  understanding.    

Objective 3:  To  provide  a  high  quality  creative  training  experience  to  both  paid   and  family  carers.   In  November  2013  we  offered  a  series  of  four  Toolkit  workshops  to  both  professional  and  non-­‐ professional  carers.  The  training  sessions  took  place  at  MPAC  and  were  marketed  in  partnership  with   PSS.    Home  carers,  professional  carers  and  some  people  with  dementia  attended  them.  The  training   consisted  of  and  introduction  to  our  work,  a  demonstration  workshop,  and  a  Q  &  A  and  all  attendees   received  a  free  copy  of  the  toolkit.  In  April  2014  we  also  undertook  a  toolkit  workshop  for  professional   carers  at  Sedgemoore  DementIa  Hub.  

Objective 4:  To  provide  high  quality  productions  by  3AT  actors  that  raise   awareness  of  dementia  and  related  issues,  validate  lived  experience,  for   performance  in  non-­‐traditional  venues.   The  3AT  Company  have  performed  a  number  of  high  quality  productions  that  highlight  some  of  the   issues  for  people  with  dementia  such  as:  a  launch  event  in  November  2012;  three  performances  for   PSS  in  January  2012;  and  three  poetry  performances  at  Leighton  Dene  Day  Centre  in  the  spring  and   summer  of  2012.    They  have  also  undertaken  several  performances  that  explore  issues  relating  to   being  an  older  person.   The  3AT  Company  have  performed  in  a  range  of  non-­‐traditional  theatre  spaces  including  art  galleries,   trade  union  centres,  day  centres  and  the  Liverpool  Bandstand  and  have  reached  an  audience  of  729   people  with  their  work.  

Objective 5:  To  provide  a  platform  for  3AT  participants  to  function  as  positive   role  models   3AT  Company  have  offered  positive  role  models  at  all  their  performances.  Throughout  this  project   Liverpool  Community  Radio  has  interviewed  3AT  Company  members  and  they  have  had  their  ‘Teatime   With  Hetty’  podcasts  broadcast  on  Liverpool  Community  Radio.  The  3AT  Company  have  also   performed  their  song  ‘Stand  Up’  at  the  regional  Pensioners  Convention.        



Live and  Learn  Evaluation  Report  

Objective 6:  To  carry  out  research  into  best  practice  in  arts  and  dementia     We  have  undertaken  a  major  literature  review  and  condensed  this  vast  information  into  useful   formats  for  both  health  care  professionals  and  artists.    In  addition  we  have  engaged  with  artists  and   companies  internationally  to  discuss  their  practice  and  look  at  innovative  models.  

Objective 7:  To  disseminate  research  findings/case  studies  through   (inter)national  and  regional  networks  with  a  view  to  contributing  to  the   development  of  the  field  and  its  knowledge  base.   Collective  Encounters  has  produced  an  Evidence  Review  of  the  benefits  of  Arts  And  Dementia  Care;   and  has  published  and  disseminated  a  Toolkit  for  Carers;  has  published  Arts  and  Dementia:  Bringing   Professional  Arts  into  Care  settings;  and  a  series  of  advice  sheets  for  artists.   We  have  presented  at  conferences  and  events  on  our  findings  through  the  Live  and  Learn  project  and   have  begun  a  programme  of  master  classes  to  up-­‐skill  the  sector.  

Objective 8:  To  use  taster  workshops  to  enable  and  prepare  the  groundwork  for   the  2  ½  year  body  of  Live  and  Learn.   Collective  Encounters  used  taster  workshops  at  the  beginning  of  the  project  at  Redholme  Memory   Care  Home  with  the  Arts  and  Dementia  consultant,  supported  by  the  3AT  Company.   Collective  Encounters  decided  to  utilise  the  second  series  of  taster  workshops  to  test  out  the  Toolkit,   which  they  did  at  Leighton  Dene  towards  the  end  of  the  project.  

Conclusions The  Collective  Encounters  Live  And  Learn  project  has  made  significant  progress  in  its  aim  to  create,   test  and  evaluate  new  models  of  creative  practice  with  people  with  dementia.  Through  the   development  and  publication  of  the  Arts  And  Dementia  Toolkit,  it  has  introduced  creativity  into  the   lives  of  people  with  dementia.    Designed  to  be  used  by  carers,  the  Toolkit  offers  the  opportunity  to   introduce  creative  activities  to  engage  and  develop  relationships  with  those  people  they  care  for.    By   empowering  carers  to  use  creative  practice  with  people  with  dementia,  we  hope  that  the  identified   benefits  will  become  widespread  and  improve  the  overall  quality  of  life  for  people  in  residential  care,   day  care  and  those  being  cared  for  at  home.    Through  the  relationships  built  with  care  homes  and  the   publication  of  the  Arts  and  Dementia  report  (Arts  and  Dementia:  Bringing  Professional  Arts  into  Care   Settings)  we  continue  to  work  strategically  to  influence  the  care  sector.   During  this  project,  Collective  Encounters  has  achieved  most  of  the  original  Live  And  Learn  targets   and,  in  a  couple  of  instances,  targets  have  been  exceeded.    For  example,  the  target  to  provide   workshops  for  people  with  dementia  in  Care  Homes  and  Day  Centres  was  more  than  doubled,  three   more  shows  were  created  than  planned,  and  audience  numbers  trebled.    However,  there  were  some   instances  where  targets  had  to  be  re-­‐examined  in  response  to  participants  or  because  we  were  unable   to  reach  the  people  we  had  originally  planned  to  reach.    For  example,  there  was  an  original  target  to   offer  10  3AT  Company  members  accreditation,  but  participants  didn’t  want  to  undertake  a  formal   qualification  (although  they  did  want  the  training).    We  therefore  offered  a  six-­‐week  course  run  by  our   Arts  and  Dementia  consultant  which  15  people  attended.    Also,  the  original  project  aimed  to  deliver   arts  intervention  in  people’s  own  homes,  but  we  found  it  difficult  accessing  any  data  which  would    


Live and  Learn  Evaluation  Report   enable  us  to  contact  people  who  were  Caring  at  home.    We  managed  to  gain  access  to  a  number  of   home  carers  through  Leighton  Dene  and  from  those  we  met  during  performances,  but  we  were   nowhere  near  achieving  the  target  we  had  originally  set.    To  offer  an  alternative,  we  ran  workshops  at   Merseyside  Play  Action  Council  for  home  carers  and  we  had  an  excellent  response  to  this.    This   enabled  us  to  almost  achieve  the  target  relating  to  home  carers  but  we  were  unable  to  find  an   alternative  approach  to  engage  directly  with  people  who  have  dementia,  in  their  own  homes.   The  intense  period  of  delivery  over  a  three-­‐year  programme  has  enabled  us  to  develop  a  greater   understanding  of  how  to  work  successfully  in  the  field  of  Arts  and  Dementia  and  of  how  to  fully   support  and  run  a  3AT  company  producing  high  quality  and  relevant  performances.    We  have  gained  a   better  understanding  of  how  to  monitor  and  evaluate  this  work  and  have  developed  specific   approaches  and  creative  responses  to  engaging  directly  with  participants  to  tackle  difficult  questions   and  identify  appropriate  solutions.    We  have  also  produced  an  Arts  and  Dementia  Toolkit  as  a  legacy,   to  offer  continuing  support  for  all  carers  working  with  people  with  dementia.  

The Future   Recommendations  for  future  Collective  Encounters’  practice   1. That,  to  support  a  healthy  3AT  group  dynamic,  we  need  to  run  short  outreach  programmes   with  older  people’s  groups  alongside  the  core  delivery.       2. That  scripts  should  be  structured,  within  which  creative  moments  occur  that  are  either   devised  or  supported  in  some  way  so  that  large  numbers  of  lines  do  not  have  to  be  learned.         3. When  creating  a  new  production,  a  long  development  period  of  about  three  months  is   recommended.     4. That  rehearsal  schedules  are  written  up  in  advance  and  the  final  two  weeks  prior  to   performance  has  a  more  intense  programme.   5. That  to  ensure  high  quality  performances  where  the  participants  are  well  supported,  we  need   to  include  small  production  budgets  against  each  production  target,  to  cover  the  cost  of  a   Stage  Manager,  plus  basic  set  and  costume.     6. That  work  is  less  stressful  for  participants  if  the  lead  artist  introduces  clear  performance   structures,  or  edited  scripts,  based  on  improvised  work  the  group  has  already  undertaken,  at   the  beginning  of  a  rehearsal  period.       7. That  volunteers  or  other  company  members  need  to  be  available  prior  to  performances  to   offer  individual  support.     8. Bringing  in  an  Arts  and  Dementia  consultant  to  work  alongside  the  lead  artist  was  highly   effective  and  it  is  recommended  that  Collective  Encounters  continues  to  take  this  approach   when  working  in  a  relatively  new  field.   9. The  3AT  company  of  older  performers  did  not  always  respond  well  to  the  work  with   dementia,  therefore  it  is  recommended  that  in  future  we  develop  distinct  projects  for  the  3AT   and  the  arts  and  dementia  work.     10. The  testing  of  the  Toolkit  was  hugely  valuable  and  it  is  recommended  that  Collective   Encounters  would  undertake  a  similar  approach  for  any  future  practical  publication.  


Live and  Learn  Evaluation  Report   11. That  workshops  designed  to  reach  those  with  dementia  living  at  home,  and  the  people  caring   for  them,  should  be  offered  at  an  external  accessible  venue  within  easy  reach  rather  than  in   their  own  homes.     12. We  should  develop  a  dissemination  strategy  for  research  earlier  on  in  the  process  so  that  as   soon  as  publications  are  ready,  we  are  poised  for  appropriate  dissemination.  

Moving Forward   Although  this  three-­‐year  project  is  coming  to  a  close,  we  believe  that  we  are  only  at  the  beginning  of   our  creative  journey  in  this  field  and  plan  to  continue  to  grow  our  understanding  and  develop  our   practice.      Since  the  conclusion  of  Live  and  Learn  we  have  been  commissioned  by  National  Museums   Liverpool  to  create  an  an  innovative  experience  that  would  educate  carers  about  dementia  and  new   thinking  in  best  caring  practice;  as  well  as  encourage  them  to  use  objects  as  a  tool  for  reminiscence   and  to  aid  communication.  The  piece  is  a  five-­‐hour  long  immersive  theatre  experience  and  an   innovative  model  of  Theatre  for  Social  Change,  integrating  character-­‐driven  drama,  documentary   theatre  and  audience  intervention.  The  piece  toured  Liverpool,  Birmingham,  Nottingham  and   Leicester  in  2014.  Feedback  has  been  overwhelmingly  positive  with  carers  stating  that  it  was  the   “most  valuable  training”  they  had  ever  experienced;  that  it  was  “unique”  and  “extremely  powerful”.     In  our  2014-­‐18  Business  Plan  we  state  that  we  will  to  go  on  to  develop  our  work  in  the  field  of  arts  in   dementia  care  and  have  identified  this  as  a  key  part  of  our  programme.    We  plan  to  continue  our  two-­‐ stranded  approach  working  with  both  the  Third  Age  Theatre  Company,  and  people  with  dementia  and   those  who  care  for  them;  we  will  do  at  both  grass  roots  and  strategic  levels.  There  is  only  one  other   professional  arts  organisation  offering  practical  opportunities  for  local  older  people,  and  only  a   handful  of  organisations  nationally  working  to  improve  the  quality  of  life  for  people  living  with   dementia  by  influencing  care  practice.  We  aim  to  increase  our  understanding  of  best  practice  by   observing  international  work,  such  as,  the  radical  approach  to  dementia  care  offered  by  Hogewey  in   the  Netherlands,  and  to  use  this  learning  to  directly  influence  our  future  practice.      


Live and learn full evaluation  

Full evaluation of Live and Learn: a three year project developing arts activities for people with dementia.

Live and learn full evaluation  

Full evaluation of Live and Learn: a three year project developing arts activities for people with dementia.