‘WE LEARNT FROM ONE ANOTHER AND THAT OPENED DOORS’

Artlink Edinburgh & the Lothians

2010/2011

“�WE LEARNT FROM ONE ANOTHER AND THAT OPENED DOORS.”

EXPLORATIONS IN PARTICIPATION

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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I N T R O D U C T I O N

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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I N T R O D U C T I O N

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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E S S AY � b y � M O R V E N � C R U M L I S H

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

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DRAMA

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

DRAMA

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The�drama�group�was�made�up��

of�people�with�hearing�loss.�

During�a�consultation�day,�some�

people�had�expressed�feelings��

of�vulnerability�and�isolation�as��

a�result�of�being�hard�of�hearing.�

The group was supported by a

Notetaker, and a hearing loop system

– simple, practical solutions which

meant that communication barriers

were immediately reduced.

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,

which, along with the communication

support, helped the group to feel at

ease. Because hearing loss was a

shared concern for everyone in the

group, they were able to collaborate

to find successful ways of working,

for example, when groupwork meant

that the notetaker’s support was not

possible.

Working with a performance artist,

the group produced tableau style

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.

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D R A M A

“ It is partly to do with not wanting to show yourself as having 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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D R A M A

“ One of the unique opportunities of this group 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

“ The value of drama workshops is being able to take 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

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D R A M A

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“ Because it was about interaction, adaptations took place 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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D R A M A

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

GALLERY

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GALLERY

DRAMA

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GALLERY

The�project�that�became�

Pandora’s�Light�Box�began�with�a�

group�of�visually�impaired�people�

working�with�poet�Ken�Cockburn�

to�develop�a�poem�which�would�

describe�the�Talbot�Rice�Gallery.�

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

participants feeling comfortable and

confident in the group and trusting

that their ideas would be listened to

and acted on.

Once the poem had been written, it

was recorded, and the decision was

made that it would be placed in the

gallery space as an audio installation.

Ceramic artist Frances Priest was

brought in to make the earpieces,

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.

This project was constantly shaped

and carried forward by the ideas and

input of the group, whose contribution

has resulted in a distinctive piece of

collaborative art.1 6

G A L L E R Y

“ We were invited to come along and make a 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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G A L L E R Y

“ I drew a lot from participants, the central ideas in [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

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“ It was the listening that was afforded everyone that I got a 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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“ What’s interesting is the difference in response, that’s where I learn and everyone in the group learns from it.” POET

“ One of the things that has come out of the project for me is how 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.”

“ I came on board with an approach relating to my 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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G A L L E R Y

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MUSIC

DRAMA

“�A CLANG INSTEAD OF A BANG!”

MUSIC

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When�Artlink�approached�the�

dementia�day�care�service,�

there�was�an�inclination�towards�

a�music�group;�however,�many�

of�the�members�of�the�group�

enjoyed�craft�activities.�It�was�

decided�that�both�of�these�routes�

should�be�explored.�

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

benefited by learning from each

other and the artist. By sharing the

experience of music, barriers and

frustrations were reduced, and the

group built and recognised new

relationships. Individual histories and

personalities were re-established by

the associations and recollections

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.2 4

M U S I C

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“ In so many areas of life people with dementia don’t 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”

“ With music you can be sitting with your eyes shut, still taking part. Some people will hum along, tap their feet – lots of people have been dancing.”

“ The artist always introduced the music – 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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M U S I C

“ I love music. I do. When I’m feeling low I play music slowly, I like to think about it and if you close your eyes you can float away.”PARTICIPANT

“ Music is feeling yourself. You’re letting yourself go and enjoying it.”PARTICIPANT

“ The whole project has been about creating 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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M U S I C

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M U S I C

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5 consultations 41 participants

30 workshops 286 attendances

1 training session 14 participants

2 public events 60 attendances

��38�sessions� �401�attendances

PA R T I C I PA N T S

In�this�report�we�have�presented�

perspectives�not�conclusions.�

Each�project�suggests�further�

possibilities,�raises�new�questions�

which�we�are�continuing�to�

explore.�We�have�not�solved�a�

set�of�problems�but�developed�

insights�and�ideas�that�are�

informing�new�areas�of�work.

From the projects detailed here we

learnt that as artists engage with

older people with different support

needs, new creative possibilities,

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

tour informed by visually impaired

participants. We are developing

projects which arise from specific

experiences but which look outward

and connect with people in positive

ways.

There are personal benefits to being

listened to, but within a supportive

environment we should challenge all

involved and expect to be challenged.

Artlink looks forward to the new

opportunities that the current work

will undoubtedly present.

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L O O K I N G � F O R W A R D

ORGANISATIONS

Edinburgh University Eric Liddell Day Care Services Festival Theatre Hearing Concern Link Scottish Poetry Library Talbot Rice Gallery

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

STAFF

Jan-Bert van den Berg Director

Anna Chapman Programme Support Worker

Morven Crumlish Arts Access Worker

Susan Humble Audience Development Officer

Sally Primrose Arts Access Co-ordinator

Nicky Regan Designer

FUNDERS

Creative Scotland

South Central Neighbourhood Partnership

FIND�OUT�MORE

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.

This publication is available in PDF, Braille, audio CD and large print formats, please contact Artlink for your copy.

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PA R T N E R S

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