instructor’s manualm4.wyanokecdn.com/c9ae3ce69912f9cbca3f7d760dc4008c.pdf · life” (figure...

Carol Crellin Tubbs, MA, OTR/LUniversity of Mississippi Medical Center

Jackson, Mississippi

Margaret Drake, PhD, OTR/L, ATR-BC, LPAT, FAOTARetired Professor

University of Mississippi Medical CenterJackson, Mississippi

Instructor’s Manual

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Carol Crellin Tubbs and Dr. Margaret Drake have no financial or proprietary interest in the materials presented herein.

All rights reserved. No part of this book may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission from the publisher, except for brief quotations embodied in critical articles and reviews.

The procedures and practices described in this publication should be implemented in a manner consistent with the professional standards set for the circumstances that apply in each specific situation. Every effort has been made to confirm the accuracy of the information presented and to correctly relate generally accepted practices. The authors, editors, and publisher cannot accept responsibility for errors or exclusions or for the outcome of the material pre-sented herein. There is no expressed or implied warranty of this book or information imparted by it. Care has been taken to ensure that drug selection and dosages are in accordance with currently accepted/recommended practice. Off-label uses of drugs may be discussed. Due to continuing research, changes in government policy and regulations, and various effects of drug reactions and interactions, it is recommended that the reader carefully review all materi-als and literature provided for each drug, especially those that are new or not frequently used. Some drugs or devices in this publication have clearance for use in a restricted research setting by the Food and Drug and Administration or FDA. Each professional should determine the FDA status of any drug or device prior to use in their practice.

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Contents

Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4

Chapter 1 Therapeutic Crafts in Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Chapter 2 Putting Crafts in Perspective . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

Chapter 3 Analyzing and Grading Crafts and Creative Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8

Chapter 4 Documenting the Use of Crafts and Creative Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10

Chapter 5 Using Crafts and Creative Media in Practice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

Chapter 6 Paper Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14

Chapter 7 Mosaic and Glass Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16

Chapter 8 Beading and Macramé . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Chapter 9 Metal Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Chapter 10 Traditional Occupational Therapy Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Chapter 11 Needlework . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Chapter 12 Cooking as a Craft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Chapter 13 Gardening and Nature Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Chapter 14 Crafts From Found and Recycled Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Chapter 15 Crafting With a Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32

Chapter 16 Expressive Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33

Chapter 17 Therapy Tools . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

Appendix I Practical Examination for Crafts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Appendix II Supplementary Materials . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

PrefaCe

The exemplary occupational therapy educator should model for students an attitude of curiosity and a commitment to lifelong learning. A teacher stimulates interest in learning through creative teaching approaches and presentation of the information through multiple senses and from diverse viewpoints. Like their clients, students learn best by doing and benefit greatly from independent investigation of topics, trying things out for themselves, and teaching others. The follow-ing lesson plans to accompany Crafts and Creative Media in Therapy, Fifth Edition, suggest a variety of ways to accomplish this such as audiovisual aids, hands-on student projects, group work, and interactive discussions. Instructors should use the alternative methods and activities that best fit their personality and teaching style but also consider the spectrum of learning styles of the students and be willing to challenge their own comfort level. Obviously, curricula across educational programs will differ in scope and length, so instructors should choose those learning activities that are most relevant and make the best use of the students’ time and energy.

Intended Objectives for use of the text and suggested learning activities are listed at the beginning of each lesson. Many of the lesson plans begin with an audiovisual such as a video since contemporary students are used to operating in a screen-oriented environment. Although class time does not always allow for a full-length video, a vignette is often enough to spark an interest that sets the tone for the rest of the class. Or alternatively, the students could be given a link to access and view the video prior to coming to class. Teachers should always preview any audiovisual material and have firmly in mind what they want students to gain from it. A quality video can often impart more information in a short interval than can be covered via a traditional lecture in an equal amount of time. Some are useful for showing processes or techniques in a way that the whole class can see at once, rather than students crowding around the instructor. Others tell artists’ stories, demonstrate historical use of a craft, or are fictional stories with symbolic relevance. Videos are readily available from bookstores, libraries, catalogs, and the Internet. Large web-based retailers are good (and inexpensive) sources, especially for older videos. Websites featuring visual tutorials or creative inspiration focused on crafts are virtually endless; several examples are listed at the bottom of this page. Instructors should try to choose videos and teaching activities that they themselves enjoy most because their enthusiasm is one of the greatest sources of motivation for students. A video presenta-tion should not fully replace demonstration by the instructor. Students are encouraged in their own success by watching the instructor do a craft in real time. This is also an excellent opportunity for the teacher to model for the student methods of instructing clients.

Because each occupational therapy curriculum is different, the format for organizing the class or craft labs will be highly variable. Nonetheless, it is important for each student to have an opportunity for hands-on work with the media being discussed. If the instructor has time, space, and/or assistance necessary for leading small lab groups, he or she can follow the format suggested in Chapters 6 through 17: start with a presentation of samples and demonstration, allow time for hands-on practice, and conclude with a class discussion. Because many programs now have large numbers of students and tools and supplies may be limited, it is common for different groups of students to be working concurrently on differ-ent crafts. This is a good lesson for students, who will soon have to function within the contextual limitations of a treat-ment setting. When the teacher is able to organize activities and schedules to utilize tools, space, and time most efficiently and equitably, it serves as an example for students about how to do the same in the clinic. It may be possible to have some students doing craft work while other students work in small groups to answer the Discussion Questions or complete the suggested auxiliary learning projects.

Remember that learning is enhanced in an environment of relaxation and enjoyment; the instructor can model this attitude toward crafts by participating along with the students.

Craft Video Sites●● www.pinterest.com ●● www.craftbits.com ●● www.craft-fair.co.uk ●● http://www.diynetwork.com/how-to/make-and-decorate/crafts●● www.americanart.si.edu (Smithsonian American Art Museum)●● www.hgtv.com ●● www.craftster.org●● www.youtube.com (enter appropriate search term)●● www.ehow.com

Copyright SLACK Incorporated, 2017. Tubbs, C. C., & Drake, M. Crafts and Creative Media in Therapy, Fifth Edition. Thorofare, NJ: SLACK Incorporated; 2017.

objeCtives

●● To understand the role of crafts in history and as part of culture

●● To know the historical development of crafts use in occupational therapy

●● To understand and be able to articulate the therapeutic value of crafts/creative media

Possible lesson sequenCe

1. Have samples/pictures of attractive and/or functional handicrafts displayed for student inspiration.

2. Show photographs or slides of early occupational therapy clinics where patients are doing crafts.

3. Discuss an archival occupational therapy article about crafts use, available from the American Occupational Therapy Foundation (http://www.aotf.org/resourceswl-wlibrary/archivesofoccupationaltherapy.aspx).

4. Show a video clip from “Expression of Common Hands” about Pennsylvania Dutch craftspeople dis-cussing the meaning of their crafts while doing them (https://www.youtube.com/watch?v=bdupOFZ36IY). Fanlight Productions also offers several feature length videos about special needs artists (www.fanlight.com).

5. Have student do an interest checklist individually or administer it to each other in pairs. Examples are the NPI Interest Checklist from the American Journal of Occupational Therapy (Volume 23, pp. 323-328) by J. Matsutsuyu or the Modified Interest Checklist avail-able for free from the MOHO website (http://www.cade.uic.edu/moho/productDetails.aspx?aid=38).

6. Present the traditional occupational therapy “Pie of Life” (Figure 1-1), then have a discussion in which stu-dents compare their own occupational profile with this “ideal” life balance. Discuss that a “balanced” life looks different for different individuals.

DisCussion questions

1. What are your own favorite leisure activities/crafts?2. What do you know about the history of your favorite

leisure activity/craft?3. How balanced is your life? Compare your current

situation with your situation before starting college/occupational therapy school.

4. How might the categories of work and leisure overlap, for example, when an activity that is work for one per-son is leisure for another?

5. Do think crafts belong in occupational therapy inter-vention? Or in another discipline? Explain.

6. In what way does our culture reinforce gender stereo-types related to crafts?

Possible ProjeCts anD learning aCtivities

●● Make a bulletin board of photos of patients in early occupational therapy clinics using crafts. For sources, see Additional Considerations for the Teacher, or as part of the project, have students contact the librarian at the American Occupational Therapy Association library to explore other sources for photos.

Therapeutic Crafts in Context

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●● Visit a retail outlet of a craft guild or a local craftsman and explore the variety of fine crafts available.

●● Visit a retail craft supply outlet and explore the costs of assorted craft supplies.

●● Look for examples of other alternative and comple-mentary therapy methods on the Internet (current) or in books on the history of medicine (historical).

●● Interview occupational therapists registered before 1980 about their work life in the clinic and their views on crafts.

●● Interview more recent occupational therapy graduates and ask about their practices in the clinic, including why they do, or do not do, crafts.

●● Have students research and present a list of “Fair Trade” crafts, including the makers and the beneficia-ries of these initiatives.

aDDitional ConsiDerations for the teaCher

A wealth of pictures depicting early occupational therapy clinics, including the use of crafts in action, are available on Google images (search occupational therapy history) or in Occupational Therapy: The First 30 Years by Virginia A. M. Quiroga, published by the American Occupational Therapy Association (1995).

Figure 1-1. Sample “Pie of Life” chart.

6 Chapter 1


objeCtives ●● To be able to cite examples of the benefits of crafts and

articulate research evidence that supports this ●● To be able to describe how and why creative activities

are motivating and, as such, are relevant to changing therapy service delivery models


1. Ask students to explain, in their own words, how cre-ative processes assist in healing.

2. Make a comprehensive list of categories of occupa-tional therapy intervention, including crafts. For each, explain why it is or is not occupation based.

3. Discuss the difference between adjunctive, enabling, purposeful, and occupational activities and give exam-ples of the legitimate use of each.

4. Have students brainstorm or use the Internet to find com-munity programs or agencies that incorporate arts/crafts.

5. Randomly divide students into groups and hold a pros and cons debate on whether or not crafts should be an occupational therapy intervention method.


1. How do creative activities promote health and wellness?2. Describe your personal feelings about crafts use in

occupational therapy. When should an occupational therapist not use crafts?

3. How are crafts consistent with the concept of “occupation”?

4. Have you heard practicing occupational therapists speak either supportively or negatively about the use of crafts? Give examples.


●● Have individuals present personal testimonies on how crafts/creative pursuits have benefited them or their friends or family members.

●● Have students look for examples of therapeutic use of crafts/creative media projects in current occupational therapy texts, journals, or other sources, such as maga-zines, newspapers, and the Internet. Do not confine examples to occupational therapy.

●● Have students complete a craft of choice (at home), then present their subjective experience at a later class.

●● Have students locate and present or write a report on articles related to brain plasticity or other neuroscience findings cited in this text (or other articles that support the use of creative, engaging activities to enhance brain function).


Concepts presented in this chapter, such as the roles of attention and activity relevance in learning, the meaning of occupation in client-centered practice, creative engagement and wellness, and so on, should be revisited throughout the course of study, and applied to other modes of intervention in addition to crafts or creative media.

Putting Crafts in Perspective

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objeCtives

●● To understand the origins of activity analysis●● To articulate the value and limitations of activity

analysis ●● To be able to differentiate between grading and adapt-

ing and explain the relationship between these terms and remediation/compensation

●● To be able to perform an activity analysis on a craft for a hypothetical client

●● To describe the general process of grading an activity and give specific examples

Materials requireD for eaCh stuDent

●● A handout of the Activity Analysis Form (Appendix III in the text), provided through a paper copy, email, or a network student drive.

●● Craft examples: one or more crafts done at different levels of complexity to demonstrate the analysis and grading processes.


1. Using a PowerPoint slide of the Activity Analysis Form, review it with the entire class, giving examples of each item as needed. Appendix III in the text contains a blank copy of the form. Explain any language that may be new to students. With the entire class or in small

groups, select a few craft activities and make a list of ways to grade each up and down.

2. Provide the students with a brief case study. Have them work in small groups to choose a simple craft or other creative activity appropriate for the client in the case, then analyze that activity and complete the form. This provides an opportunity for them to share ideas and ask questions that they might hesitate to bring up with the whole class.

3. Have each small group briefly share their results, espe-cially any problems or questions they could not resolve.

4. Have a discussion with the entire class using the Discussion Questions below.

5. An alternative is to complete the Activity Analysis Lab provided at the end of this Instructor’s Manual.

6. Read the completed Activity Analysis included in the chapter, then have the class offer any changes or addi-tions they might make.


1. How do you decide when to grade and when to adapt an activity? Give several examples.

2. How can a therapist best determine the activity demands of a given craft activity?

3. Why is activity analysis such an important skill for occupational therapy practitioners?

4. How/why could grading or adapting an activity cause it to lose personal meaning for an individual?

Analyzing and Grading Crafts and Creative Media

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●● Collect as many “activity analysis” forms as possible from different textbooks, new and old, and compare how they have changed over time. Compare each to the current Occupational Therapy Practice Framework, Third Edition ([OTPF-III] American Occupational Therapy Association, 2014).

●● Do a cost, time, and supply analysis of selected crafts. Use print or online catalogs to determine cost. Make a list of crafts that can be done in one session, two sessions, or that require multiple sessions and/or long waiting periods.


Occupational therapy faculty often have their own favorite activity analysis form. Assuming it uses OTPF-III terminology and is applicable to crafts use, it can be substituted for the one in this text. Using different forms across classes within the curriculum may confuse students, so faculty should communicate with one another and be explicit with students regarding which form is to be used for a given assignment.

Analyzing and Grading Crafts and Creative Media 9


objeCtives

●● To know and understand the purposes of documentation

●● To learn and use the language of occupational therapy●● To be able to apply Occupational Therapy Practice

Framework, Third Edition (OTPF-III) concepts and terminology to documentation

●● To describe how crafts are useful in client assessment●● To articulate the rationale for using crafts as interven-

tion and relate them to occupational goals


●● Handout: OTPF-III (American Journal of Occupational Therapy, 2014, Volume 68 [Suppl. 1], S1-S51). Students may be able to find their own copy through the library or electronic resources and bring it to class with them.

●● PowerPoint slides of the OTPF-III.●● Documentation samples from student fieldworks, fac-

ulty experiences, or other texts. Be sure to remove any client-identifying information.


1. Clarify the definitions of the terms in the OTPF-III.2. Divide the class into two teams and, using selected

OTPF-III terms, have the teams compete in guessing games such as charades or Pictionary. Or incorporate terms into one of the several “Jeopardy” PowerPoint templates available online.

3. Discuss the importance of using a common terminol-ogy within the profession and the utility of learning these terms.

4. Using a video, role play, or written case example of an intervention session, have students practice writing a SOAP (or other format) progress note.

5. Hold small group or class discussions using the Discussion Questions below. The instructor can list and summarize ideas and feelings expressed during the discussion.


1. Once client goals are established, how can the OTPF-III help you with formulating rationale for choosing activities? Give examples.

2. How can therapists document or otherwise communi-cate the use of crafts while accomplishing the purposes of documentation?

Documenting the Use of Crafts and Creative Media

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3. What occupations, performance skills, contexts, envi-ronments, performance patterns, or client factors (if any) are irrelevant to craft or other creative activities?

4. How are performance skills different from client factors?


●● Practice writing SOAP notes for different craft/creative activities, using terms from the OTPF-III. If possible, have students incorporate this in a fieldwork/clinical experience. Have students critique each others’ notes and provide feedback.

●● Write a paper on the history/development of the OTPF-III.

●● Research and report on examples of occupational therapy documentation requirements. This could focus on specific facilities, specific third-party payers, and/or charge codes for certain services.

●● Research and report on how other rehabilitation pro-fessions document their services.


In many curricula, the OTPF-III is touched on in every class. Because of its importance to the profession, it helps students to have these concepts reiterated as long as pre-sentation method varies. Boredom is the enemy of learning.

The electronic health record is, or soon will be, the most common documentation format. Emphasize to stu-dents the importance of the reasoning process used in learning to formulate a meaningful hand-written note, even if they may not encounter that method in practice.

Documenting the Use of Crafts and Creative Media 11


objeCtives

●● To understand the basic intervention planning process●● To be able to articulate the pros and cons of using kits●● To explain what goes into formulating a rationale for

intervention activity choices●● To describe strategies for making the crafting/creative

experience as successful as possible●● To articulate the importance of making client-centered

treatment choices●● To understand the application of creative activities

within a given theoretical approach


●● Handout of Clinical Reasoning Questions from text with spaces between each question for students to write their responses.


1. Assign a hypothetical client with pertinent diag-nostic, personal, and intervention plan information. Individually have students choose a craft/activity and complete the handout.

2. Have students get into small groups and share their answers.

3. Ask students to critique each other’s rationale and provide counterarguments or other (better) activity

options where appropriate. Add a “layer” of a theoreti-cal approach and have students adjust their responses accordingly.

4. Provide the class with a case involving an unsuccessful craft experience. As a group, discuss what went wrong and how it might have been remedied.


1. Which occupational therapy models, approaches, or frames of reference make the most sense to you? Why?

2. In which models of practice/approaches/frames of ref-erence do crafts seem to fit best? Why?

3. Give an example of how therapists can have conflicting rationales for using or not using an activity/occupation for the same patient.

4. For those with craft experience, do you prefer kits or starting from raw materials? Explain. Do you prefer to have an example to copy or do you like to let your creativity have free reign? Elaborate.

5. What other factors might be considered in choosing activities (that were not mentioned in the text)?

6. What could sabotage a treatment session using crafts or other creative activities? Give some examples.


●● Make a matrix with names of intervention approaches down one side and names of selected craft categories across the top. In the boxes where the two intersect, name one or more specific projects/activities that could

Using Crafts and Creative Media in Practice

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be used and describe how each would be structured in order to be consistent with that approach.

●● Divide into groups and have each group choose a dif-ferent approach and make a poster to illustrate the important concepts of that particular philosophy along with specific interventions that would be appropriate.

●● Find other guidelines for selecting and structuring activities and compare them with the list in Crafts and Creative Media in Therapy, Fifth Edition. Include pediatric and psychosocial texts, but do not restrict this to occupational therapy books. Try recreation, art, or music therapy books.

●● Lead a craft/creative activity with a group of classmates (or others), then describe what went well, what did not, and why. Or using fieldwork or clinical experiences, critique the elements of an activity relative to its suc-cess or lack of it.

●● Choose craft projects and determine differences in time, cost, and space requirements when using a kit versus using raw materials.

●● Discuss the Clinical Reasoning Questions (from the text) with a clinician and ask his or her opinion of what questions he or she thinks should be added and what questions are superfluous based on his or her own practice.

●● Do the above for the “Tips” section.●● Have students prepare a “kit” for a craft from class-

room supplies.

●● Take a field trip to a craft/hobby store to see what kits are available. Compare cost and selection with that of catalogs.


The planning questions in this chapter are similar to, but more general than, the information a therapist consid-ers when doing an activity analysis. If preferred, these ques-tions can be used with students before they formally learn how to do an activity analysis as a first step toward critical thinking and clinical reasoning.

Using theoretical approaches and models of practice involves learning the language of each specific model in order to be able to use it in intervention planning and other documentation. Using theoretical language gives students practice in organizing their thoughts. This author (CCT) recommends early introduction of this vocabulary so students have more time during the course of their cur-riculum to fully integrate the new terms into their verbal and written communication. Learning any new language, be it computer language or Chinese, requires repetition, and opportunities to use words in multiple contexts helps imprint the words in permanent memory.

Using Crafts and Creative Media in Practice 13


objeCtives

●● To describe historical/cultural examples of paper crafts and their current benefits and limitations as a thera-peutic craft material

●● To know how to do at least four different paper crafts●● To explain the main therapeutic applications and

precautions for paper crafts with different client populations

●● To describe how paper crafts can be consistent with a client’s roles and occupations


●● Magazines●● Newspaper●● Origami paper or colored printer paper●● Tissue paper●● Masking tape●● Paper-making supplies as listed in the text●● White glue●● Scissors●● Paints and paint brushes


1. Display samples of paper crafts made by various methods.

2. Stimulate student interest by showing a video of the possibilities of paper. A possible video is “Independent Lens: Between the Folds—Paper as Medium” (80 min-utes, available from http://teacher.shop.pbs.org/prod-uct/index.jsp?productId=3839147).

3. Demonstrate each technique for the whole class before separating into groups. Divide students into four dif-ferent lab groups for each of the following crafts:●○ Paper beads: Cut long, narrow triangles of paper,

roll tightly around a toothpick or other small cyl-inder, glue.

●○ Paper flowers: Fold tissue paper as described in text, or other method.

●○ Folded paper or origami: Box project from the text. Or add a simpler project as well.

●○ Paper pulp molding: As described in the text. (The pulp will have to be prepared ahead of time, but students could help squeeze dry and mix in the paste.)

4. Have students circulate through stations, as time allows, and complete at least two projects.

5. Brainstorm together and list other paper projects stu-dents may have done in school, at camp, etc.

6. Discuss ways to adapt the activities, how they might be used in therapy, and how they might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.

7. Read and discuss Case Study and Discussion Questions.8. Alternatively, use the Group Bulletin Board Lab pro-

vided in Supplementary Materials.

Paper Crafts

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Ways to use the Case stuDy anD DisCussion questions

●● After students have read the Case Study, break into small groups to answer and discuss the Discussion Questions in the textbook. Have each group choose a reporter to share discussion results with the entire class.


●● Make a poster showing origami figures with an exam-ple at each progressive fold, glued to the poster board in sequence.

●● Choose a paper craft such as papier mâché and do a research report on its history and cultural significance.

●● Find examples and make a list of projects that can be made with recycled paper.

●● Make a list of unconventional or unusual paper craft-ing ideas.


Construction paper fades, so do not buy more than can be used in 2 years. Origami paper kits are often avail-able in hobby and bookstores, but also in catalogs, such as Sax (1-800-558-6696), Triarco (1-800-328-3360), and Nasco (1-800-558-9595). Making paper pulp is a great way to utilize shredded/recycled paper that is so prevalent in an academic setting.

Paper Crafts 15


objeCtives

●● To articulate the historic significance of mosaic and its current usefulness and limitations as a therapeutic craft

●● To know how to do and grade at least one simple mosaic project

●● To explain the main therapeutic applications and precautions for using mosaics with different client populations

●● To describe how work on a mosaic project could help a client reach an occupational goal


●● Those listed for the mosaic project in the text. Have students bring in their own trays (or other backing) but provide some parameters on size and shape.


1. Display examples of mosaic work and painted glass.2. Show a brief mosaic tutorial video.3. Demonstrate the process. Ideally, the instructor will

have a second project already glued, ready to be grouted, so both steps can be demonstrated in one class period.

4. Have students make the small tiled tray using the pro-cess in the textbook. Or group students in pairs and have one do the tile project and the other do the glass painting project.

5. Discuss ways to adapt the activity, how it can be used in therapy, and how it can be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.

6. Read and discuss the Case Study using the Discussion Questions.



●● Elaborate on Question #1 and discuss cost of services/supplies and the patient’s desire to continue treatment when the therapist feels discharge is indicated. Also discuss when crafts require skilled treatment and when they are merely diversions.


●● Make a mosaic that will facilitate learning another topic in the curriculum, for example, a color-coded mosaic of the regions of the brain.

Mosaics and Glass Crafts

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●● Call a local museum, art association, or historic pres-ervation organization to find local buildings utilizing mosaic art. Visit them, take pictures, and share with the class.

●● Make a large group mosaic for the classroom using paper or other inexpensive material in place of tiles.

●● Visit a local craft store or home improvement store and list the kinds of tiles and other supplies available along with their cost.

●● Try making “homemade” ceramic tiles, including glaz-ing them and firing them. Or come up with as many ideas as possible for alternative materials for making mosaics and/or make a project with an alternative material.


You may wish to investigate the use of tile activities in older occupational therapy assessments such as the Goodman Battery, or in more familiar assessments such as the Allen Diagnostic Module, especially in terms of how they are scored. This may help reinforce concepts of skilled behavioral observation and how performance on such a task might translate to everyday functioning.

Mosaics and Glass Crafts 17


objeCtives

●● To articulate cultural relevance of bead crafts and their usefulness as a therapeutic medium

●● To know how to do at least two different bead crafts●● To know how to tie a basic macramé square knot●● To describe therapeutic applications and precautions of

bead crafts for different client populations●● To explain how bead crafts could facilitate participa-

tion in occupations


●● Beads of various types and sizes●● Elastic, leather, and nylon cording●● Craft wire●● Jute or acrylic macramé cord (large and small)●● Metal or wooden rings


1. Possible videos to stimulate interest in beadwork: www.eHow.com has a beaded jewelry video series (www.ehow.com/videos-on_5366_make-beaded-jewelery.html).

2. Have students choose a beaded craft or small macramé project to make. They could opt for those in the text or explore ahead of time for a project they prefer. If differ-ent than those in the text, advise students which, if any, of their own supplies they will need to bring.

3. Demonstrate how to tie macramé knots and how to attach clasps to cording.

4. If possible, have students work together in small groups (three to five students) so they can get ideas and learn methods from each other.

5. Discuss ways to adapt at least some of the activities, how they might be used beneficially in therapy, and how they might be documented to show skilled inter-vention. The depth in which this is discussed will depend on the stage of the curriculum as well as class time available.

6. Read and discuss the Case Study and Discussion Questions.



●● Use this case to elaborate on the use of crafts as end, and how they are beneficial as a lifelong hobby.

Beading and Macramé

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●● Research Native American beadwork. Do a presenta-tion on the loom technique with pictures of sample work. Display actual samples if possible.

●● Do a cost analysis for a “wish” necklace, including all beads and findings.

●● Make a display of pictures of a broad range of macramé projects, old and new.

●● Use macramé knotting to reinforce knowledge from another course in the curriculum such as making a macramé brachial plexus (cervical trunks, cords, and terminal nerves).

●● Visit a local artist outlet and investigate prices for beaded pieces. Look for examples of wire jewelry or other wire creations as well. Visit a hobby store and explore the selection and price of beads and findings.

●● Research and report on the lampwork method for making glass beads.


Glass beads are fairly expensive. Students may want to choose and buy their own for class projects.

Beading and Macramé 19


objeCtives

●● To articulate the historical importance of metal ●● To describe advantages and disadvantages of using

metal as a therapeutic craft material●● To know how to do least three different kinds of metal

crafts●● To explain the main therapeutic applications and

precautions for metal crafting with different client populations

●● To describe how work with metal could be relevant to participation in occupation


Materials for a copper tooling activity are listed in the text. A 5-foot roll of copper foil should be enough for a class of 30 students to do a small template project. Try to have a variety of templates to choose from. You could also have some students use aluminum sheets instead of copper, or some students could use a template and others could try making their own design.


1. Display articles or photographs of artistic and/or func-tional metal work—Refer to the Resources section at the end of the chapter or do an Internet search. www.metalmuseum.org will have pictures from exhib-its at the Ornamental Metal Museum in Memphis, Tennessee.

2. Demonstrate each process you will have the students do. Also demonstrate hammering (planishing) with copper or tin.

3. Have students select either a template or their own design for tooling. Complete the project.

4. Discuss ways to adapt the activities, how they might be used in therapy, and how they could be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.

5. Read and discuss the Case Study and Discussion Questions from the textbook.



●● How might engagement in craft activities play a role in Glen’s transition from his own home to his son’s home?

Metal Crafts

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●● Present a comprehensive list of projects/ideas for using recycled metal. Include pictures, Internet links, and actual samples.

●● Explore home stores, craft shops, and furniture/décor retailers, and make note of metal objects/pictures avail-able for purchase.

●● Visit a fine crafts retailer or show and make note of metal art objects for sale, including jewelry.

●● Locate an area metal artist or find artists and their work online.


It is not unusual to find old tooled copper pictures with aged patina in older homes or antiques shops, but modern home décor does not often incorporate this craft. Nonetheless, clients find it satisfying and copper is cer-tainly popular in other indoor and outdoor decorative applications. Other metals such as aluminum are usually quite a bit less expensive than copper and can be used as a substitute in many of the traditional therapy projects.

Metal Crafts 21


objeCtives

●● To understand the historic importance of ceramics, leather craft, and woodworking and their current use-fulness and limitations as therapeutic craft materials

●● Know how to make a simple hand-built ceramic piece, the basic steps in tooling and lacing leather, and how to make a basic wood project

●● To know how to grade ceramics, leather, and wood projects

●● To describe the main therapeutic applications and precautions for ceramic, leather, and wood crafts with different client populations

●● To provide examples of how to document performance skills used in woodworking and how it relates to occupation


Wood, clay, and/or leather and necessary tools required for each. The instructor can choose to divide the class into thirds, with each doing a project with one of the three mate-rials, or everyone can do the same thing. Time, manpower, and equipment available will of course influence this deci-sion. The instructor will also need to decide whether to let students choose their own design; if so, simplicity should be encouraged. Alternatively, students could make a wood and/or leather project from a kit.

●● Wood glue●● Sandpaper●● Stains and finishes

●● Nails, tacks and staples, and screws●● Tooling implements (ceramic or leather)●● Sponges and small bowls for water●● Canvas squares●● Leather needles●● Newspaper


1. Display a variety of completed projects made with one or more of the three materials.

2. Show an audiovisual to stimulate interest in wood-working, a possible choice is “Carved From the Heart: A Portrait of Grief, Healing, and Community” (30 min-utes, New Day Films, 1-888-367-9154, [email protected], order online at http://www.newdaydigital.com/Carved-from-the-Heart.html). Video comes with a user’s guide. Or if a clay lab is planned, International Ceramics Directory has several short demonstration videos and other resources (www.ceramics-directory.com/pottery-videos.php).

3. Demonstrate techniques as possible. Discuss precau-tions for all tools and materials.

4. Have students measure and draw their designs/plans on paper. (Project ideas should be approved by the instructor prior to class to ensure adequate supplies are available.)

5. Students will work at their own rate to complete their projects.

6. Have students show their projects to the class as a way of modeling how clients should be encouraged to share their work as well.

Traditional Occupational Therapy Crafts

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7. Discuss examples of clients for whom these activities would be appropriate.

8. Discuss ways to adapt the activity, how it might be used in therapy, and how it might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.


●● After students have read the Case Study, break into small groups to answer and discuss the Discussion Questions in the textbook. Have each group choose a reporter to share their discussion results with the entire class.

●● Solicit any related examples from students’ personal experience.

●● Discuss the time/space limitations of using ceramics in the average occupational therapy service setting.

●● Have students use Question #4 to interview each other about their ceramics work. These kinds of questions can be used to discuss craft projects in other lessons as well.


●● Research and do a report on the ceramics glazing pro-cess and how it works.

●● Visit a local potter or arrange a tour of a local pottery operation, or interview a ceramics instructor at a local college or university.

●● Have students practice giving and scoring the Allen Cognitive Level Screen and discuss how it applies to assessment of cognitive function.

●● Have students do an Internet search on local work hardening programs, psychiatric facilities, or sheltered workshops to find out about their use of any of the crafts in this chapter (ceramics, leather, or wood).

●● Have students explore and report on availability of wood and leather kits in catalogs and local craft/hobby stores.

●● Arrange a tour of a local lumberyard or (large) hard-ware store.

●● Do a small wood carving, chip carving, or woodburn-ing project and share the finished product with the class.


Wood is expensive and difficult to store, and the tools can be dangerous. This particular media will require extra faculty supervision if several students are actually involved in using woodworking tools at one time. Use of power tools will require that ear and eye protection are available and used. Students usually enjoy making ceramics and a lab (for the whole class) devoted to this usually allows students to learn not only about the craft but also about themselves. The experience gives them a true appreciation of the skills and patience required as well as an opportunity to get to know one another. Ceramics can be messy and the floor of the classroom can become wet/slippery when lots of students are working, so it is important to be cognizant of this safety hazard.

See Supplementary Materials at the end of this Instructor’s Manual for outlines for both ceramics and wood tools lab sessions that can be used in place of the les-son sequence above.

Traditional Occupational Therapy Crafts 23


objeCtives

●● To give examples of needlework in popular culture ●● To be familiar with the basic types of needlework and

describe the usefulness and limitations of each as a therapeutic craft

●● To explain the main therapeutic applications and precautions for needlework with different client populations

●● To articulate how needlework could be relevant to an individual’s occupational performance

●● To give an example of how one might document the use of needlework as an intervention


●● Embroidery needles, needlepoint needles, and latchhooks

●● Counted cross-stitch fabric, needlepoint canvas, and rug canvas

●● Embroidery floss, needlepoint yarn, and latchhook rug yarn

●● Embroidery hoops●● Materials needed for one or more of the adapted sewing

projects in Chapter 17: Velcro, webbing D-rings, fabric (students can bring shirts and wash mitts from home)

●● Scissors, sewing needles, thread, and measuring tapes●● Several sewing machines


1. Display a variety of needlework projects, various types and plies of yarn, and an assortment of needlework tools.

2. Spark students’ interest with a video on needlework. Possible videos: “A Century of Quilts” (http://www.shoppbs.org/product/index.jsp?productId=2277720&cp=&sr=1&kw=quilting&origkw=quilting&parent Page=search) or “The Quilt Makers of Gee’s Bend” (http://www.shoppbs.org/product/index.jsp?product Id=1954063), both available from PBS.

3. Demonstrate at least three or more different needle-work techniques (at least counted cross-stitch, needle-point, and latchhook). Discuss differences in perfor-mance skills required for each.

4. Have students make the selected project(s) from Chapters 15 and/or 17 (walker bag, universal cuff, adapted wash mitt, adapted button shirt). While wait-ing on an available sewing machine, have each student do a small section of a latchhook rug, a few rows of needlepoint, and a section of a counted cross-stitch pattern.

5. If time allows, have small group or class discussion of the Case Study and Discussion Questions from the textbook.

6. Discuss ways to adapt the activities, how they might be used in therapy, and how they might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum and time available.

Needlework

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●● Discuss the typical gender bias of needlework and how a male might be able to benefit from it. The discussion could include how this craft area became the province of women.

●● Discuss how a craft that is similar to a person’s paid occupation may or may not a good choice for therapy and why.

●● The Discussion Questions in this chapter focus on Virginia’s physical problems. Ask students to list ques-tions/discuss issues related to her psychosocial needs.


●● Discuss the effect of stress on health and recovery. Then have students locate books, journals, or Internet

articles on the healing/stress-reducing qualities of needlework and report to the class. Several studies/articles on the therapeutic qualities of crafts include forms of needlework.

●● Explore Internet sites and local needlework shops and make a list of the wide variety of yarns and projects available.

●● Complete a small needlework project at home (e.g., quilted pillow top, small sampler, crocheted scarf) and share it with the class.


Prepackaged, adult-oriented needlework kits are often expensive and processes for crocheting and knitting take time to master, so it may be most beneficial to focus on basic sewing and use of a sewing machine for this unit. More stu-dents are likely to make use of these skills in practice than they are artistic needlecrafts.

Needlework 25


objeCtives

●● To articulate the usefulness and limitations of cooking as a therapeutic craft

●● To list the task demands of different levels of food preparation

●● To explain how and when to grade a cooking activity versus how and when to adapt a similar activity

●● To explain the main therapeutic applications and precautions for food preparation with different client populations

●● To describe how cooking as a craft is relevant to a cli-ent’s occupational performance

●● To describe how a cooking activity can be considered a craft


Ingredients listed in the text for each variation of the project, including added decorative toppings.


1. Show students various assistive devices used in cooking.2. Discuss the various ways cooking or cooking tasks

might be implemented in a therapy session.3. Show a short tutorial video, such as “How to Decorate

a Cake” video series (http://www.ehow.com/videos-on_731_decorate-cake.html), or photos of cleverly

decorated food, such as from HGTV (http://www.hgtv.com/design/make-and-celebrate/entertaining/13-easy-and-adorable-easter-cupcake-decorating-ideas-pictures).

4. Divide students into three groups, each with the ingredients/mix/prepared items to make one of the variations of the food project (cookies). In addition, give each group different options for decorating the finished cookies. Or have students prepare a meal of group effort dishes to share, such as fruit salad, tossed salad, pizza, shishkabobs, etc. If desired, students could be assigned a diagnosis to role-play during the cooking activity.

5. Discuss ways to adapt the activities, how they might be used in therapy, and how they might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum and time available. If students role-played a disability, have them share difficulties they encountered and sug-gest ways to adapt the task(s).

6. If time permits, allow each group time to plan a fun group food project and make a list of needed ingredi-ents (e.g., a fruit pizza, a gingerbread house, assorted hors d’oeuvres).


●● After students have read the Case Study in the text-book, break into small groups to answer and discuss the Discussion Questions in the textbook. Have each group choose a reporter to share discussion results with the entire class.

Cooking as a Craft

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●● Have groups of students plan menus around different dietary restrictions.

●● Make a poster or PowerPoint presentation with pic-tures of decorative cooking/artistic food presentation.

●● Make a poster or PowerPoint presentation of adaptive devices used in meal preparation.

●● Have a cake decorating class, or plan and throw a class party featuring cleverly presented finger food appetiz-ers and desserts.


Cooking may be taught in other parts of the curricu-lum. Often cooking is part of a unit in which students role-play various impairments such as hemiplegia or blindness and are required to complete the baking of a muffin mix or other simple recipe. Cooking as craft is usually considered a more social experience. In therapeutic cooking groups, cli-ents are expected to be part of the decision-making process and more socially involved.

Cooking as a Craft 27


objeCtives

●● To articulate the historical and current therapeutic uses of gardening/nature crafts

●● To be able to describe a wide variety of ways to imple-ment gardening/nature crafts in a treatment program

●● To explain the main therapeutic applications and pre-cautions in using gardening/nature crafts with differ-ent client populations

●● To discuss how gardening and/or nature crafts might be relevant to an individual’s occupational performance


●● Green leaves of different kinds and petals from fresh flowers

●● Paper and crayons●● Cloth scraps●● Hammers or rawhide mallets


1. Display crafts made from natural materials (e.g., wreaths, pine needle baskets, pressed flower pictures).

2. Show a brief video on therapeutic gardens/gardening on YouTube.

3. Demonstrate and have students make leaf rubbings using the materials. Demonstrate and have students experiment with flower and leaf pounding.

4. Share ideas for other crafts using natural materials; write them on the board.

5. Brainstorm ideas for components of a large-scale ther-apy garden project; write them on the board. Discuss barriers to embarking on such a project as well.

6. Discuss the relevance of this intervention approach in light of the current emphasis on environmental concerns.

7. Discuss ways to adapt the activity, how it might be used in therapy, and how it might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.

8. Have a discussion using the Case Study and Discussion Questions from this chapter.


●● After students have read the Case Study, break into small groups to answer and discuss the Discussion Questions in the textbook. Have each group choose a reporter to share discussion results with the class.

●● Elaborate on Question #3. Discuss this vocational aspect for some of the crafts previously studied in class.

Gardening and Nature Crafts

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●● In small groups, have students plan a horticulture project for a long-term psychiatric or rehab facility. List supplies needed, calculate approximate start-up cost, give sample projects and describe how work could be divided between clients, estimate a time line, and list types of plants to be grown and uses for them. Do design drawings if possible. Also address the issue of space and need for administrative support. Write a mock proposal for administration.

●● Make a sustainable garden or plant display for the occupational therapy department at school.

●● Investigate whether any local or regional rehab pro-grams use gardening as an intervention. If so, find out details, including which rehabilitation service is responsible for running it.

●● Find/report on existing research on therapeutic gardening.

●● Explore and make lists/pictures of adapted gardening tools by visiting garden centers or doing an Internet search.

●● Make a client education handout on safe gardening.●● Ask garden center personnel about affordable, easily

propagated plant selections and make a list for the class.

●● Visit public gardens in the area and make note of the landscape design elements.


This therapeutic approach is becoming more common and has numerous applications in diverse settings. Students should be encouraged to consider all aspects of this activity, including its relevance to health promotion, environmental responsibility, and community involvement.

Gardening and Nature Crafts 29


objeCtives

●● To articulate the importance and usefulness of found/recycled materials in therapeutic crafts

●● To list found materials that can be used in creative projects

●● To explain the main therapeutic applications and pre-cautions for crafting with found/recycled materials

●● To describe how using found/recycled materials in crafts could be consistent with a client’s personal con-text and/or social environment


Have students bring an empty wine bottle or large jar from home. Have a selection of supplies and materials available to embellish them (e.g., twine, yarn, glass pebbles, strings of beads, doilies, paint), along with glue, masking tape, glass etching cream, and cutting tools such as scissors.


1. Open with a discussion of the current societal empha-sis on recycling and show a short thought-provoking video, such as “The Story of Bottled Water” (https://www.youtube.com/watch?v=Se12y9hSOM0). If pos-sible, display a variety of crafts made from household or recycled materials, or photos of artwork made from recycled materials.

2. Divide students into groups and assign each a category such as crafts, games, creative exercise, etc. Have each group search the Internet for projects/ideas in these categories that can be accomplished using recy-cled or found materials. Have the groups share their results. (See Frugal Alternatives Lab in Supplementary Materials section at the end.)

3. Have students decorate their bottles/jars using materi-als provided.

4. Discuss other crafts that can be made from found materials crafts. Students may want to compile a com-prehensive list for their resource files.

5. Discuss ways to adapt selected activities, how they might be used in therapy, and how they might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.

6. Break into small groups for a discussion of the Case Study and Discussion Questions.



●● Elaborate on Question #4. Cultural relevance of other crafts in this text could also be a discussion topic at this time or as part of other chapter discussions.

●● Discuss the difference between being thrifty/saving scraps and hoarding.

Crafts From Found and Recycled Materials

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●● Make posters of photographs or pictures of various crafts made from found materials, or make the actual crafts and display them.

●● Start a found materials box to be used for Level I Fieldwork or other community groups.

●● Have students design and/or fabricate assistive equip-ment items made from only scrap or very low cost materials (also see Chapter 17).

●● Refer to Chapter 16 in the textbook and elaborate on ways that found materials could be used to make masks and puppets.

●● Visit a local art museum or go online and look for exhibits of professional artists that use scrap/recycled/found materials.


This chapter lends itself well to a discussion on recy-cling. It is an opportunity to teach students about good stewardship of money, materials, and the environment. In therapy applications, students may initially need guidance on what is appropriate to recycle and what is not. For exam-ple, they need to consider all infection control precautions.

Crafts From Found and Recycled Materials 31


objeCtives

●● To generate a number of options for projects related to home decorating, making gifts or fabricating items for charity, and state the potential therapeutic objective(s) for each

●● To describe the benefits of altruistic acts and how this is relevant to occupational therapy clients

●● To list options/resources for projects with a charitable focus


Materials will vary depending on the selected project. Prior to class, have students investigate charitable organiza-tions or initiatives (preferably local), and then choose one or more to work on as a group in class. Or alternatively, arrange an “assembly line” to fabricate the walker bags described in the chapter.


1. Open with a short video tutorial on a simple home decorating project such as available from www.hgtv.com or www.marthastewart.com.

2. Discuss the psychological benefits of giving to others and have students brainstorm ways that this concept could be integrated into intervention (beyond making a craft).

3. Provide background and mission related to the selected charitable project. If possible, have a representative

from the organization do this. Discuss the plan for delivery as well.

4. Have students make the selected items, individually or in groups, whichever is most appropriate.


●● If feasible, have students deliver items they made in class. Or make cards for hospitalized children or nurs-ing home residents and deliver them in person.

●● Compile a comprehensive list of simple and inexpensive (but attractive or useful) homemade gift possibilities.

●● Interview the coordinator of a local charitable enter-prise about the services and/or activities available to their clients.

●● Attend an art show of works made by individuals in special populations, such as those in homeless pro-grams, mental health facilities, etc.


The focus of this chapter could lead to a discussion on the potential role of occupational therapy in addressing community/population needs, not only in providing mate-rial goods, but also in finding ways to meet the occupational needs of individuals whose environment or circumstances compromise their ability to engage in activities. It could also be used to build on exploration of Fair Trade craft enterprises and other methods of empowering people through occupation.

Crafting With a Purpose

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objeCtives

●● To articulate the historical importance of performance/expressive activities in occupational therapy

●● To describe at least three different expressive/perfor-mance activities and give examples of how they might be used as intervention, as well as their limitations

●● To explain which expressive/performance activities are most appropriate for which client populations

●● To discuss the unique therapeutic qualities of expres-sive/performance activities relative to other types of creative activities


●● Have students bring an old sock. Provide needle and thread, buttons, pompoms, assorted yarn, felt scraps, etc., for decoration

●● Plaster tape, plastic mask forms, and petroleum jelly or face cream

●● Decks of cards and paper clips (instruct students to bring a dollar bill)


1. Show a short video. Suggestions are “Voices in a Deaf Theater” (24 minutes) or “We are PHAMALy” (19 min-utes), both available from Fanlight Productions (1-800-937-4113, www.fanlight.com), or show a clip from an old Charlie Chaplin movie or “Sesame Street.”

2. Have students make either a puppet using their socks or make a mask using the plaster tape. They mask can be made on the plastic form or directly on the face. (Cover face with petroleum jelly or lotion before apply-ing plaster.)

3. Put students in pairs. Have each member learn one of the two magic tricks and then demonstrate it to the other.

4. Allow each student to present his or her puppet or mask to the rest of the class as time allows.

5. In small groups, discuss the Case Study and Discussion Questions found in the textbook.

6. Discuss ways to adapt the activities, how they might be used in therapy, and how they might be documented to show skilled intervention. The depth in which this is discussed will depend on the stage of the curriculum.



●● Elaborate on Question #3, including discussion of char-acteristics of clients who should probably be excluded from these kinds of activities.

●● How would you handle the situation in which group members began painting inappropriate pictures on each other’s faces?

Expressive Media

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●● Divide students into groups of those that made pup-pets and those that made masks. Have the puppet groups compose and present a short puppet show; have the mask groups compose and present a short mime performance.

●● Have groups of students do a dramatic presentation of a well-known or historical occupational therapy figure, such as Dorthea Dix or Mary Reilly.

●● Call a local elementary school or chamber of com-merce to see if there is an upcoming event/fair where face painting might be needed. Students could provide this service.

●● Do a research report or presentation on Project Magic or The Healing of Magic, or magic in general, espe-cially simple types that could be incorporated into therapy.

●● Invite a magician (professional or amateur) to class to teach tricks.


More assertive students will have a tendency to domi-nate during expressive activity planning or presentation, so the instructor should make sure that more passive students take an active role.

34 Chapter 16


objeCtives

●● To know how to use basic hand tools●● To describe ways to fabricate simple therapeutic tools

or assistive devices for a minimal cost●● To generate a list of activities or games that could

supplement or replace more traditional rote exercise


●● Required materials will vary with project choice. Students could complete one of the projects in the text or could come up with their own ideas.

●● Scrap wood, PVC pipe, PVC pipe cutter, sandpaper, screws and screwdrivers, wire pliers, laminator, etc.


1. Show pictures/slides of assorted commercial therapeu-tic devices/tools including their cost. Discuss alterna-tive ways of making them and/or other activities that could promote the same therapeutic objective.

2. Have students practice using an assortment of hand tools and/or make one of the simple projects from the text, such as a button aid.

3. In groups, have students come up with a novel game or activity to address a particular motor function, such as balance, upper extremity range of motion, bilateral hand use, etc. The intent is to utilize the activity in

place of more traditional exercise. Present results to the class.


●● Make a comprehensive list of assistive devices that are available for self-care, home care, and leisure. Include cost and sources.

●● Make a list of retailers, including their contact infor-mation, that offer adapted clothing.

●● Do a search for articles in the professional literature that compare the benefits/outcomes of using functional activities versus contrived activities or rote exercises. Report on results.

●● Visit a hardware store and find prices for the project materials listed in the text—PVC, wood, sandpaper, hand tools, pipe insulation, Velcro, and so on.


If the students are to make therapy tools as a class assignment, the instructor should emphasize appearance, safety, and adaptability. This can be facilitated by having a grading rubric, peer evaluations, class demonstrations, and/or a companion written assignment related to the proj-ect. Students need to be able to articulate how and why the tool would be used as well as any precautions or contrain-dications for its use.

Therapy Tools

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rationale

In a laboratory class such as therapeutic crafts/media, it is appropriate to provide a practical exam instead of, or along with, a written examination.

PreParation

Prior to the exam, set up enough stations for each student to do a craft. Choose as many different crafts as you like, but it is recommended you have several different ones.

Give each student a sheet of paper containing a list of three diagnoses and a sheet of paper containing a list of three settings. You may do this ahead of time or right before the test.

exaM

Students will do the following:1. Complete the craft.2. Choose one diagnosis from the list and describe how

the craft would be useful, how it could be graded up, how it could be graded down, adaptations that might be necessary, and any precautions that should be taken.

3. For the other two diagnoses, briefly state if the craft would be appropriate and why or why not.

4. For each clinical setting, discuss whether or not the craft would be appropriate, and why or why not. If the craft could be used in a different form in the setting, explain.

5. For the craft itself, estimate the cost and describe ways it could be minimized, estimate time required for comple-tion and list ideas for reducing the time, discuss any cultural or gender considerations, and give at least three examples of how the session could be documented.If you plan to give points based on completion of the

craft, it is recommended that you have standard grading criteria, such as “finished on time, performed correctly, appearance,” and so on. The criteria must necessarily be generic, since the specific crafts will be different.

Practical Examination for Crafts

- 36 -

IAppendix


aCtivity analysis lab

Volunteers will perform a selected activity while the rest of the class observes and takes notes in order to com-plete an activity analysis. You will have a short time to work in groups to complete the activity analysis form in your text, then we will go over it as a class. During the last part of the class period, you will split into pairs and then select one of the activities observed to answer the remainder of the questions below.

Part 1: Activity AnalysisWith your group, complete the Activity Analysis Form

in Crafts and Creative Media in Therapy, Fifth Edition. Time will be limited in order to encourage you to focus on the more obvious aspects of the activity. To facilitate class discussion, also consider the following questions (written response not necessary):

1. Was this activity meaningful to you in any way? Explain.

2. Would this activity be meaningful to you in context? Explain.

Part 2: Potential Therapeutic UseWorking in pairs, answer the questions below. Be as

thoughtful and thorough as possible.1. Describe at least four performance skills that could be

evaluated during execution of this activity. Explain.

2. Describe at least four specific ways this activity could be graded (up or down) or structured to target the skills you described above.

3. Based on your answer to the above questions, what kinds of information could you document in a treat-ment note? Write at least four statements related to this activity as they might appear in a progress note.

4. Describe at least four potential limitations of using this activity in therapy based on various client factors (e.g., activity is inconsistent with patient’s cultural norms) or context. Be specific.

5. Alternatives: If your chosen activity is purposeful, list four enabling activities that might work on component skills. Or, if your chosen activity is contrived, list four functional tasks that might target similar skills.

Potential Activity List●● Coloring a picture●● Wrapping a package●● Sanding a wooden plaque●● Washing a dish●● Stringing beads on elastic to make a bracelet●● Writing and erasing words on a white board●● Finding objects in a box●● Cutting out paper snowflakes●● Stacking blocks●● Frosting and decorating a cupcake

Supplementary Materials

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IIAppendix


grouP bulletin boarD/ PaPer Craft lab

Each group will complete a bulletin board with one of the following themes: occupational therapy advocacy, “orientation” such as to a season or holiday, or educational. Imagine you are recognizing Occupational Therapy Month (April), or you are decorating a bulletin board in the com-mon area of a skilled nursing or assisted living facility, or you are trying to teach an occupational therapy-related concept in a classroom or clinical setting. Regardless of theme, since the object is to display your end-product, appearance is important.

Using the provided materials, construct your bulletin board to include at least three different types of paper crafts. The only materials provided are paper of different types, scissors (or other cutting tool), and adhesives. Other materials in these categories may be available on request. You will have approximately 60 to 90 minutes to finish the activity.

[Possible modification: Assign a “patient or “therapist” role to each group member. The therapists will need to structure the activity for each “patient” according to ability and activity objective. The group could write a treatment note at the end of the session.]

During the activity, pay particular attention to the fac-tors below in order to participate in a follow-up discussion.

●● The environment—What influence does it have over the group, the activity, your feelings?

●● Other group members—What roles do you see? What is the interaction like? Problems?

●● The materials and tools—Which are easier/harder to work with and why?

●● The overall process—Did tasks take longer than expected (or less time)? Overall level of difficulty?

●● The outcome—Was it what you wanted or expected?●● Imagine this was a group activity in a long-term care

facility. Describe how this activity (paper craft) and the structure of this activity (group) could contribute to the health and well-being of the participants.

●● Based on your group’s project, how could the therapist have structured different tasks or aspects of the activity to facilitate social/communication and/or emotional regulations skills of the participants?

WooDWork anD tool use lab

Wood Craft Activity Each individual will complete a wood project or wood

and tile project kit, chosen from the options provided. If possible, this should be completed in the class time allotted. Each project must be finished and decorated in some way, such as staining or stenciling. Please keep in mind some pointers for achieving an attractive end-product:

●● Wood pieces should be sanded with the grain until very smooth (including all edges).

●● Follow assembly instructions provided with the kit.●● Areas that have glue or glue residue on them will not

take stain or paint, so any oozing or excess glue should be wiped off immediately.

●● If nailing is required, take care to hammer the nails squarely. Nails hammered at an angle are likely to come through and be exposed on the other side.

●● When using stain or paint, be sure both you and your work area are prepared for spills, drips, etc. Stain on the hands is hard to get off.

●● If using stain, try to wipe it on as evenly as possible and wipe off any excess. The longer you leave it on, the darker it will be.

●● If you do a wood/tile project, you will have to grout your piece at a later time.

●● Use items provided to keep yourself and your area clean (e.g., plastic sheeting, aprons, gloves).

●● Make sure you can identify your project for completion and/or taking home with you.

●● Clean up your area! Discard used sandpaper, stain rags, etc. Be sure that the rims of paint/stain cans are clean and the lids are secured by tapping down around the edge with a hammer.As you complete your project, pay attention to what

you are doing and answer the following questions:1. What motor skills could be addressed with clients

using this activity? How could you grade it up or down to challenge motor skills or to enable completion with impaired motor skills? Give at least three examples.

2. What cognitive skills were required to do this activ-ity? How could you grade it up or down to challenge cognitive skills or to enable completion with impaired cognitive skills? Give at least three examples.

3. What other skills or impairments could be addressed using this activity?

38 Appendix II


4. How long did your project take, start to finish?5. How would you rate your project regarding complex-

ity? Explain.6. What safety hazards were present during this activity?

How could you minimize them?7. What other precautions were needed (e.g., to avoid

messes)?8. Did you need supplies you did not have? Did you

understand the written directions? Were any aspects of the activity frustrating? Did you like or dislike this activity? Explain.

Tool Use ActivitiesThe lab stations are designed to give you the oppor-

tunity to utilize various hand tools, simple power tools, and hardware items. Complete the activity at each station during this lab. Please put your initial beside or on each completed activity. For example, if you hammer a nail into a board, write your initials beside your nail. Leave all tools where you found them so they are ready for the next person. You may come and go from these tool activities as needed. Space and assistance are limited, so be patient and ask for help if you need it.

Use the following list to check off each item as you complete it:

●● Use a hand drill to make a starter hole, then screw in a wood screw using a manual Phillips-head screwdriver.

●● Use a hammer and small nail to make a starter hole, then use a cordless power drill to screw in another wood screw.

●● Use a cordless power drill to drill a hole through the board, then insert a bolt/washer/nut combination.

●● Using the square and the jigsaw, measure and cut a 2-inch square off the board. Put your initials on your piece and leave it at the table.

●● Write your initials somewhere on the board and use the woodburner to burn it into the wood.

●● Hammer a nail into the board.●● Nail a picture hanger to your board using the tiny nails

(brads).●● Screw an eye hook and a cup hook into the board.●● Staple three staples into your board with the staple gun.●● Cut a 2-inch piece of PVC pipe and write your initials

on it.●● Be able to identify all the basic tools and supplies

utilized.

CeraMiCs lab

Objectives●● To be able to make a basic ceramic object●● To know the basic tools and equipment used in making

ceramics●● To understand the benefits and limitations of ceramic

work in therapy●● To understand ways to grade ceramics work up and

down●● To understand the safety considerations for ceramics

work

InstructionsEach person will complete a simple ceramics project

using the clay and tools provided. You are required to make either a container of some type or a hollow figure using one or more of the three basic hand-building techniques (i.e., slab, pinch, and/or coil methods). Your completed piece will then have to dry for a week or more, be fired, and then glazed (during another class period). Please be good stew-ards of the clay—use as much as you need but do not take excess and allow it to sit and dry out. If you retrieve clay from the main supply, be sure you seal the bag completely when you are finished.

Make an effort for your end-product to be smooth and attractive; appearance is important. Not only does it show pride in workmanship, but it also teaches you the level of skill and patience that your clients might need should you use this as a therapeutic activity in the future. Please feel free to ask for help or ideas. The beauty of clay is that, as long as your clay stays moist, you can keep starting over. While in lab, be sure you observe/identify the following items:

●● Kiln●● Kiln furniture●● Wedging board●● Molds●● Clay pull●● Pottery wheel

Lastly, please clean your work area when you are through. Water should be disposed of and tools cleaned in one of the large metal sinks. These sinks have special sedi-ment traps to filter out clay residue.

As you participate in the activity, consider the follow-ing questions. Your textbook will also be a helpful resource.

Supplementary Materials 39


1. What motor skills do you need to complete this activ-ity? Name three specific ways you could structure this activity to work on specific motor deficits. Be sure to state both the structure and the skill you would be working on.

2. What cognitive or psychosocial impairments might you notice/observe as a client worked on this activity? Explain.

3. Describe the influence of the environment and/or your peers on you during this activity.

4. Describe the pros and cons of the material itself. Consider things like sensory input, response of the material to touch, cost, etc.

5. Did the overall process take more or less time than you expected? Explain.

6. Did you enjoy the activity more or less than you thought you would? Explain.

7. Were you satisfied with the outcome? Why or why not?8. Did you find this activity more frustrating or more

relaxing? Explain.9. How could this activity contribute to the expressive

needs of a client?10. Considering this craft/activity as a whole, list three

positive and three negative aspects of using it as a therapeutic modality.

11. What are the safety precautions for this activity? List all you can think of/find in your text.

12. How could you do a similar activity with clients if you lacked the space, time, or equipment for traditional ceramic work?

frugal alternatives lab

Objectives●● To identify readily available and inexpensive/free mate-

rials that can be used for adaptations and/or crafting●● To conceptualize or create cost-effective alternatives

for common ADL/IADL assistive devices●● To create a craft project using recycled or found objects

InstructionsResources●ExplorationStudents will work in assigned groups. Using online

resources, textbooks, and your own imagination, identify items in your assigned category that could make use of inexpensive materials but accomplish a therapeutic pur-pose. Create a written list—with a brief description of each item—of as many alternatives as you can find in the time allotted. As a group, be prepared to show and explain one or more examples to the class along with instructional links when possible. The objective is to generate lots of “shoe-string” ideas and resources to share with one another for future use in practice.

Materials to Consider:●● Shelf-liner (dollar store)●● Pipe insulation (hardware store)●● PVC pipe ●● Wooden dowels●● Coat hooks/cup hooks●● Velcro●● Fabric scraps●● Splinting scraps●● Clear contact paper●● Magnetic strips●● See the text for more craft material ideas

Craft●ActivityStudents will individually make a vase/container from

a discarded bottle or jar. Decorating options include paint, découpage, wrapping, and etching. Please be cognizant of the level of difficulty, activity demands, problems, etc., as you complete your project in order to participate in a follow-up discussion.

Please clean up your area when you are finished.

Possible Group Categories:●● Sensory room items●● Therapeutic crafts●● Creative exercise●● Games/puzzles●● Assistive devices

40 Appendix II

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