Evaluation of the Arts and Older People Programme Final Report
October 2013
CONTENTS
1 BACKGROUND TO THE EVALUATION ...... 7
1.1 Introduction ...... 7
1.2 Rationale for the Evaluation...... 7
1.3 The Arts Council of Northern Ireland ...... 7
1.4 The Atlantic Philanthropies ...... 8
1.5 The Arts and Older People’s Programme ...... 9
1.6 Evaluation Methodology ...... 10
2 CONTEXT FOR THE ARTS & OLDER PEOPLE PROGRAMME ...... 13
2.1 Introduction ...... 13
2.2 Demographic Change ...... 13
2.3 Health and Wellbeing...... 14
2.4 Isolation and Loneliness ...... 15
2.5 Social Inclusion and Poverty ...... 17
2.6 Participation and Activism ...... 19
2.7 Perceptions and Attitudes to Ageing ...... 21
2.8 Discussion ...... 22
3 CHANGING DEMOGRAPHICS AND POLICY ...... 23
3.1 Introduction ...... 23
3.2 International Policy Direction ...... 23
3.3 NI Policy Responses ...... 24
3.4 Recent Legislative and Policy Developments ...... 24
3.5 Arts Specific Policy ...... 27
3.6 Opportunities and Links ...... 29
3.7 Discussion ...... 30
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4 THE ARTS AND SOCIAL JUSTICE ...... 32
4.1 Introduction ...... 32
4.2 Older People and the Arts ...... 32
4.3 Barriers to Arts Participation ...... 33
4.4 Potential Benefits of Engaging with the Arts ...... 34
4.5 Arts and Social Justice in Practice ...... 36
4.6 Discussion ...... 43
5 PROGRAMME APPLICATIONS AND AWARDS ...... 44
5.1 Introduction ...... 44
5.2 Application Summary ...... 44
5.3 Successful Applications ...... 45
5.4 Discussion ...... 51
6 BENEFICIARY FEEDBACK ...... 53
6.1 Introduction ...... 53
6.2 Beneficiary Numbers ...... 53
6.3 Data Coverage ...... 53
6.4 Respondent Profile ...... 53
6.5 Arts Engagement ...... 55
6.6 Health & Wellbeing ...... 57
6.7 Social Action ...... 60
6.8 Pre- and Post-Project Comparisons...... 61
6.9 Project Appraisal ...... 66
6.10 Event Feedback ...... 68
6.11 Discussion ...... 72
7 DANCE UNITED LTD: ALTERNATIVE ENERGIES ...... 73
7.1 Introduction ...... 73
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7.2 Project Aims & Description ...... 73
7.3 Beneficiary Feedback ...... 74
7.4 Stakeholder Feedback ...... 77
7.5 Conclusions ...... 79
8 NORTHERN IRELAND HOSPICE: ARTS FOR HOSPICE ...... 82
8.1 Introduction ...... 82
8.2 Project Aims & Description ...... 82
8.3 Beneficiary Feedback ...... 83
8.4 Stakeholder Feedback ...... 86
8.5 Conclusions ...... 90
9 UPPER SPRINGFIELD DEVELOPMENT TRUST: ENGAGE IN ART AGE ...... 92
9.1 Introduction ...... 92
9.2 Project Aims & Description ...... 93
9.3 Beneficiary Feedback ...... 94
9.4 Stakeholder Feedback ...... 99
9.5 Conclusions ...... 103
10 EDERNEY COMMUNITY DEVELOPMENT TRUST: GOLDEN YEARS PROGRAMME ...... 105
10.1 Introduction ...... 105
10.2 Project Aims & Description ...... 105
10.3 Beneficiary Feedback ...... 106
10.4 Stakeholder Feedback ...... 110
10.5 Conclusions ...... 112
11 VERBAL ARTS CENTRE: ISTORY ...... 114
11.1 Introduction ...... 114
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11.2 Project Aims & Description ...... 114
11.3 Beneficiary Feedback ...... 115
11.4 Stakeholder Perspective ...... 118
11.5 Conclusions ...... 119
12 ALZHEIMER’S SOCIETY: MEMORIES ARE MADE OF MUSIC ...... 122
12.1 Introduction ...... 122
12.2 Project Aims & Description ...... 122
12.3 Stakeholder Perspective ...... 123
12.4 Conclusions ...... 125
13 PROJECT PARTNERS ...... 127
13.1 Introduction ...... 127
13.2 Report Coverage ...... 127
13.3 Artist Perspectives ...... 127
13.4 Lead Applicant Perspective ...... 132
13.5 Project’s Perceived Contribution to Programme Aims ...... 134
13.6 Discussion ...... 138
14 PROGRAMME GOVERNANCE ...... 139
14.1 Introduction ...... 139
14.2 Governance Structures ...... 139
14.3 Application and Assessment Process ...... 139
14.4 Artist Development Activity ...... 140
14.5 Celebration of Age Week ...... 141
14.6 Promotion and Media Monitoring ...... 143
14.7 Discussion ...... 145
15 POLICY IMPACT ...... 147
15.1 Introduction ...... 147
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15.4 Bellwether Interviews ...... 151
15.5 MLA Panel Survey ...... 154
15.6 Discussion ...... 157
16 PROGRAMME APPRAISAL ...... 158
16.1 Introduction ...... 158
16.2 Impact: Isolation and Loneliness ...... 158
16.3 Impact: Social Inclusion ...... 160
16.4 Impact: Poverty ...... 162
16.5 Impact: Health Issues/Dementia ...... 164
16.6 Impact: Strengthening the Voice of Older People ...... 167
16.7 Growing Audiences and Increasing Participation ...... 169
16.8 Recommendations ...... 171
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1 Background to the Evaluation 1.1 Introduction
In June 2010 the Arts Council of Northern Ireland (the Arts Council) appointed Wallace Consulting to design an evaluation framework and to undertake an ongoing evaluation of the Arts and Older People Programme (AOPP, the programme) throughout its lifetime.
This document provides an overview of progress towards the AOPP’s aims and outcomes as reflected in its Logic Model. It summarises recent research and policy developments and presents an analysis of the work conducted to date. The implications for programme development are also discussed. 1.2 Rationale for the Evaluation
The 2011 Census reports that the population of Northern Ireland was 1,810,900. This is a 7% increase upon the 2001 comparator. Further analysis uncovers an ageing population, with the median age increasing from 25 years in 1911 to 37 years in 2011. Even compared to 2001, the population aged 65+ years has increased by 40,400 (18%). Within this group, the numbers of the most elderly have seen the greatest proportionate increase over the last decade – in 2001 there were 23,300 people aged over 85 years, this has now increased to 31,400 (an increase of 35% over the decade).
Older people are an increasing population, with falling birth rates, increased life expectancy and better health contributing to this trend. However, it is acknowledged that certain aspects of quality of life may be adversely affected as people get older, in particular social engagement, general health and the prevalence of long standing illness.
Despite identified perceptual and practical barriers to arts engagement, there the arts can provide benefits for older people. For example, the arts have an important role to play in helping older people find their voice and providing the tools to express the issues which affect them on a day to day basis. The evaluation of the AOPP will be used to raise awareness of the potential of the arts to address and/or highlight social justice issues, to inform any future programme and to establish success relative to its outcome indicators.
1.3 The Arts Council of Northern Ireland
The Arts Council is the lead development agency for the arts in Northern Ireland. It provides support for artists and arts organisations, offering a broad range of funding opportunities through its Exchequer and National Lottery funds. The Arts Council advocates that the arts have the power to transform lives and communities, creating opportunities for people throughout the country and its mission is ‘to place the arts at the heart of our social, economic and creative life’.
Operating as a Non-Departmental Public Body, the Arts Council is sponsored by the Department of Culture Arts and Leisure (DCAL). Funding is also provided by the Department of Education (DE) and the Department of Culture, Media and Sport (DCMS) in the form of Lottery proceeds. The organisation is charged with four statutory functions under the Arts Council (Northern Ireland) Order 1995. These are:
• To develop and improve the knowledge, appreciation and practice of the arts; • To increase public access to, and participation in the arts; • To advise DCAL and other government departments, district councils and other bodies on matters relating to the arts; and
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• Such other functions as are conferred on the Council by any other statutory provision. In addition, the Arts Council has statutory functions under the National Lottery Act 1993 as amended by the National Lottery Act 1998 and is charged with the responsibility for distributing Lottery proceeds allocated to the arts in Northern Ireland. The principal function is to fund applications for a broad range of capital and revenue projects in the arts which will make an important and lasting difference to the quality of life of the people in Northern Ireland.
Creative Connections, the Arts Council’s plan for developing the arts in Northern Ireland 2007 – 2012 addresses the importance of targeting specific groups to open up access and participation in the arts. Theme Three: Growing audiences and increasing participation specifically addresses the need to expand and develop opportunities for older people.
The Arts and Older People Strategy was prepared in recognition of the priorities set out in Creative Connections. It aims to assist older people to overcome barriers and increase access and participation in arts-related projects which address both creative and social needs. Whilst the strategy sets out a number of measures that will help tackle broad issues and encourage partnership working, the fundamental objective is to increase the number of avenues for older people to become involved in the arts. The strategic themes centre upon key social justice issues that affect older people on a daily basis and may impede access and participation in the arts.
The Arts Council’s new five year strategy Ambitions for the Arts1 strives to deepen the value of arts to individuals and wider society, target resources to meet social and community challenges, deliver improved access and reach new audiences and enhance community engagement. As such the Arts Council’s ambitions over the next five years are to place high-quality arts projects within the grasp of socially excluded groups, to support and develop the skills of arts organisations, individual artists and volunteers to deliver benefits to the community. The organisation commits to continuing the work developed under the Arts and Older People strategy developed as a means of increasing arts access and participation by older people.
Indeed, the Arts Council has a history of funding and supporting work with older people, to include theatre and plays, film and creative writing sessions, poetry, dance and research. Funding is provided through several programmes such as Support for the Individual Artist (SIAP), Awards for All (Small Grants Programme) and the Annual Support for Organisations Programme (ASOP). 1.4 The Atlantic Philanthropies
The Atlantic Philanthropies (AP) is a private foundation founded in 1982 by a US businessman. The Atlantic Philanthropies is dedicated to bringing about lasting changes in the lives of people who are disadvantaged by their economic situation, race, nationality, gender, age, disabilities, immigration status, sexual orientation, political affiliation or religion.
Grants are made through four main programmes of work - one of which is the Ageing Programme. In Northern Ireland this aims to address the needs of low-income and isolated older people – spanning financial, legacy of conflict, social exclusion and health issues. This work aims to strengthening the voice of older people to advocate for policies to improve their health and economic security. In addition, the funding provides technical
1 ACNI, (2013). Ambitions for the Arts: a Five Year Strategic Plan for the Arts in Northern Ireland 2013-2018
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assistance to nongovernmental organisations working on behalf of older adults to influence public policy on ageing. The goals are to:
• Improve economic and health security through advocacy and policy; • Strengthen the voice and social action of older people; and • Build a more enduring capacity of the age sector.
Over the past few years AP has funded a wider range of age related organisations and projects, including: Age NI, Reminiscence Network Northern Ireland, Dementia Services Development Trust, Engage with Age, Workers’ Educational Association, Queen’s University Belfast and the University of Ulster. 1.5 The Arts and Older People’s Programme
The AOPP (delivered under the Arts and Older People Strategy) aims to engage and stimulate vulnerable and isolated older people around social justice issues both in the community and in residential contexts using the arts. The programme is jointly funded by AP (£350,000) and the Arts Council (£350,000). The programme’s strategic themes and objectives are:
• Isolation and Loneliness – To provide opportunities for social interaction through arts-led interventions and projects; • Social Inclusion - Combating social exclusion of older people, through arts interventions that promote inclusion, free movement and sharing; • Poverty - Providing opportunities for older people living in disadvantaged/ marginalised rural and urban areas to access and participate in arts activities; • Health Issues/Dementia - Provide opportunities for older people to participate in arts-led activities which may help improve the physical, mental and social wellbeing of the participants; and • Strengthening the Voice of Older People - Provide opportunities for older people to develop skills which will strengthen their voice on issues that affect them – artistic, professional and personal development skills.
The programme was launched in July 2010 and operates over three years (2010 – 2013). Grants (up to £50,000) are offered to allow for capacity building and project development. Feasibility studies are limited to £15,000.
The AOPP is primarily aimed at constituted community or voluntary groups who are currently providing a service for older people. The programme is also open to non- governmental organisations and arts organisations who can clearly demonstrate previous partnership working with older people. Due recognition is also given to older people’s groups located in, or working with groups in identified areas of need (namely the 36 Neighbourhood Renewal Areas (NRAs) and 26 Areas at Risk). At programme end, a one week festival - ‘Celebration of Age’ – aims to provide participants with a platform to display their work and to provide a valuable opportunity for advocacy through high-profile media coverage.
Over its lifetime the AOPP received 120 funding requests from a range of groups/organisations across the community and arts sectors. Fifty projects were awarded funding in excess of £600,000. The majority of applicant organisations were located in County Antrim and although a number of grantees stated that they would recruit in areas across NI, beneficiary analysis suggests that a high proportion were located in this area. Sixty-two percent of grantees aimed to address all five of the AOPP’s strategic objectives through the funded activities, with 98% of projects targeting issues of loneliness and isolation.
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Based upon the information received, it is estimated that around 6,000 older people have taken part in AOPP projects, with 23,000 people attending showcases and one-off events. A further 16,000 people are estimated to have participated in and/or attended the Celebration of Age Week events and sessions. 1.6 Evaluation Methodology
The evaluation of the AOPP aims to measure impact through the life of the funding and to draw out best practice in order to inform and influence programme development. It also strives to provide robust evidence in order to shape future government interventions. A Logic Model methodology has been applied as this provides a solid basis for strategy development and evaluation planning and can set the stage for policy change. This enables advocates, funders and evaluators to make realistic predictions about potential accomplishments, record information to assess progress toward goals and to use the learning to improve advocacy.
Qualitative and quantitative baseline indicators have been established and the evaluation will measure impact against the outputs and outcomes outlined in the Programme Logic Model (see Table 1.1 overleaf). The methodology comprises of the following:
. Desk Research: A review of the research and policy landscape; . Database Analysis: Profile of applications, awards and rejections; . Case-studies: Case-studies of selected projects to include beneficiary discussions; . Stakeholder Consultations: Interviews with the Steering Group and internal and external stakeholders; . Pre- and Post-Participant Surveys: Analysis of participant feedback upon project commencement and closure; and . Event Feedback: Analysis of short-term sessions attended by activity/event attendees; . Artist Survey: Analysis of feedback provided by artists post project; and . End of Project Report: Detailing evidence of needs addressed, activities undertaken, participant benefits, partnership building etc.
Throughout the course of the evaluation, we drew upon the detailed knowledge and understanding of the Evaluation Steering Group which was established as an advisory body for the evaluation, the Steering Group and Arts Council staff. The remainder of this document contains the following information:
Section Two: Context for the Arts and Older People Programme; Section Three: Changing Demographics and Policy; Section Four: The Arts and Social Justice; Section Five: Programme Applications and Awards; Section Six: Beneficiary Feedback; Section Seven: Dance United Ltd Case Study; Section Eight: NI Hospice Case Study; Section Nine: Upper Springfield Development Trust Case Study; Section Ten: Ederney Community Development Trust Case Study; Section Eleven: Verbal Arts Centre Case Study; Section Twelve: Alzheimer’s Society Case Study; Section Thirteen: Project Partners; Section Fourteen: Programme Governance; Section Fifteen: Policy Impact; and Section Sixteen: Programme Appraisal.
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Table 1.1 Arts and Older People’s Programme Logic Model Framework
Strategic Aim Short-Term Outcome Indicator Isolation & Loneliness: Increase social interaction Decrease in participants’ loneliness score (Hughes et al) To provide opportunities for through participatory arts % of artists who feel participants enjoyed the activities social interaction through arts- projects % of artists who feel that participants are now more positive about the arts led interventions and projects Participants, artists & stakeholders feel that the project has decreased isolation and improved access & participation in the arts Social Inclusion: Positive Relationships % of participants strongly agree/agree that they have made good friendships out of this project Combating social exclusion of developed between people * cross-community, cross-cultural, intergenerational projects older people through arts from different backgrounds Increase in the promotion of good relations (e.g. sharing facilities, relationship development, interventions that promote and experiences, especially networking & links) inclusion, free movement and of the Troubles sharing Poverty: Increase opportunity for Increase in % participants who have been to see an arts event in the last 12 months Providing opportunities for older participation in arts activities (*urban/rural & Neighbourhood Renewal areas) people living in at no cost to the older Increase in the % of participants who have taken part in an arts activity in the last 12 months disadvantaged/marginalised person (*urban/rural & Neighbourhood Renewal areas) rural and urban areas to access Decrease in perceived barriers to the arts (*urban/rural & Neighbourhood Renewal areas) % of participants strongly agree/agree that they have made good friendships out of this project and participate in arts activities (*urban/rural & Neighbourhood Renewal areas) % of participants strongly agree/agree that they have taken part in other groups & activities due to this project (*urban/rural & Neighbourhood Renewal areas) % of participants strongly agree/agree that these sessions have made them want to go to arts events (*urban/rural & Neighbourhood Renewal areas) Health Issues/Dementia: Increased opportunities for • Increased % of participants stating that their physical health, mental health & enjoyment of Provide opportunities for older participation in arts led life is “Good” people to participate in arts-led activities that help stimulate • Increase in participants’ wellbeing score (WEMWBS) activities which may help older people at a physical, • % strongly agree/agree that they have been able to express themselves at sessions improve the physical, mental mental and societal level • % of artists stating that participants’ self esteem improved and social wellbeing of the • % of artists stating that participants’ concentration improved participants • % of artists stating that participants’ ability to listen improved • % of artists stating that participants appeared engaged during the sessions • % of artists stating that participants’ became more confident in talking to them/others about their work • Participants, artists & stakeholders feel that the project has increased wellbeing
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Strategic Aim Short-Term Outcome Indicator Strengthening the Voice of Awareness of the programme • Increase in awareness, understanding & support of older people’s issues by policy makers Older People: and social justice issues • Increase in awareness, understanding & support of older people’s issues by service providers Provide opportunities for older amongst key stakeholders, • Increase in awareness, understanding & support of older people’s issues by wider society people to develop skills which policy makers, service will strengthen their voice on providers and wider society issues that affect them – artistic, Increased skills amongst • Increase in the % of participants who have taken action to solve a problem professional and personal older people – including • % of participants who strongly agree/agree that they have tried & learned new things development skills artistic, capacity building, • % of participants who strongly agree/agree that they have surprised themselves & others by community development and what they can do advocacy skills • % of participants who strongly agree/agree that the activities have given them the confidence to try different things • % of participants who strongly agree/agree that they feel good about what they have achieved • % of artists stating that participants’ showed a desire to learn • % of artists stating that they would like to work with older people again • Participants, artists & stakeholders feel skills have been developed via the project
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2 Context for the Arts & Older People Programme
2.1 Introduction
This chapter provides an update of the initial statistical review undertaken at Baseline stage. Population statistics and research relating to the key strategic priorities of the AOPP – health and wellbeing, isolation and loneliness, social inclusion and poverty are presented. Crime and fear of crime is also considered in relation to its impact on social isolation, health and wellbeing.
2.2 Demographic Changes
Better nutrition, healthcare, living and working conditions have resulted in a relative increase in the older population, especially the numbers of those living into their 80s and 90s.2 People aged 65-84 years now account for 13% of Northern Ireland’s population, whereas those aged 85+ make up 1.7% of the population.
Figure 2.1 illustrates an increase in the percentage of the population in each of the over 50 age bands since the 2001 census. Overall, the proportion of people aged 65-84 years, has increased by 16% compared 10 years ago, whereas the proportion aged 85+ has increased by 35% compared to 2001 figures.
Figure 2.1 2001 v 2011 Census Age Structure
Source: NISRA, 2001 & 2011 Census
Indeed, NISRA’s 2010 population projections illustrate that the percentage of the population aged 50+ is likely to rise substantially in the coming years. While those aged
2 Source: Spotlight on Older People in Northern Ireland, Help the Aged (2008)
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50+ were estimated to make up around 32% of the population in 2011, this is likely to rise to over 47% by 2081 (Figure 2.2).
Figure 2.2 NI Population Projections 2011 to 2081: 50+ years
Source: NISRA, Northern Ireland Population Projections, 2010
One of the most significant trends is the increase in life expectancy. 2011 statistics indicate that the average man will live to 77 years (+4 years since 1991) and the average woman to 81.5 years (+3 years since 1991). 2.3 Health and Wellbeing
The Continuous Household Survey 2011/12 provides information on the general and mental health of the population. Information relating to those aged 45+ has been presented below. In relation to general health, respondents were asked if their health had been “good”, “fairly good” or “not good” (Table 2.1). Those rating their health as “good” decreases with age, from 60% of those aged 45-54, to 31% among those aged 75+. Comparisons between 2011/12 and 2005/06 figures show a slight reduction in the proportion of over 55s reporting that their health is “not good” (-3%).
Table 2.1 General Health – Over the last 12 months would you say your health has, on the whole, been…
Age group 45-54 55-64 65-74 75+ All ages Good 60% 50% 42% 31% 61% Fairly good 24% 28% 36% 47% 25% Not good 16% 21% 22% 22% 14% Source: DHSSPS, Continuous Household Survey 2011/12
The survey also asked respondents about long standing illnesses. Again the likelihood of these increases with age, with 38% of 45-54 year olds stating they had a long standing illness compared to 67% of those aged 75+ (Table 2.2). Comparisons between 2011/12 and 2005/06 figures indicate a slight reduction in the proportion of over 55s reporting that they have a long-standing illness (-5%).
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Table 2.2 Do you have any long-standing illness, disability or infirmity? Age group 45-54 55-64 65-74 75+ All ages Yes 38% 53% 59% 67% 32% No 62% 47% 41% 33% 68% Source: DHSSPS, Continuous Household Survey 2011/12
As part of the Health and Wellbeing Survey, the General Health Questionnaire (GHQ12) is used to detect psychiatric disorder in the general population. It assesses areas such as levels of depression, anxiety, sleep disturbance and happiness. A GHQ12 score of 4 or more - a ‘high GHQ12 score’ - indicates a high level of psychological distress. Table 4.7 indicates that those aged 45-54 are most likely to have a GHQ12 score of 4 or more, however this decreases with age.
Table 2.3 GHQ Scores
Age group 45-54 55-64 65-74 75+ All ages 4 or more 23% 20% 16% 15% 19% Source: DHSSPS, Continuous Household Survey 2011/12
The term ‘dementia’ is used to describe a collection of symptoms, including a decline in memory, reasoning and communication skills, and a gradual loss of skills needed to carry out daily activities. These symptoms are caused by structural and chemical changes in the brain as a result of physical diseases such as Alzheimer’s disease.3 Dementia mostly affects people over the age of 70 although it can appear in people in their 40s or younger. The established prevalence rates for dementia in the UK are:4
• 40-64 years: 1 in 1400; • 65-69 years: 1 in 100; • 70-79 years: 1 in 25; and • 80+ years: 1 in 6. At present, it is estimated that in Northern Ireland there are 19,000 people are living with dementia - fewer than 1,000 of these people have early onset dementia.5 An ageing population in Northern Ireland could see the numbers of people diagnosed with dementia going from the current estimate of 19,000 to 23,000 by 2017 and around 60,000 by 2051. 2.4 Isolation and Loneliness
Research undertaken for OFMdFM,6 states that social networks are important for people of all ages as they provide friendship and emotional and practical support as well as a sense of belonging and inclusion. A lack of social networks can have a significant impact on mental wellbeing, since it can be linked to loneliness and isolation.
3 Source: Alzheimer’s Society 4 Source: Alzheimer’s Society 5 European Community Concerted Action on the Epidemiology and Prevention of Dementia (EURODEM) study from Hoffman A. et al. The prevalence of dementia in Europe; a collaborative study of 1980-1990 findings, International Journal of Epidemiology 1991 6 OFMDFM/Deloitte Examining the case for a Commissioner for Older People (2009)
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Furthermore, household structures have changed dramatically over recent decades with increasing numbers of people living alone. Fifty years ago, in 1961, 50% of the population lived in households containing five or more people, in 2011 only 22% of the population lived in such households. Considering the number of households, in 1961, only 34% of households contained up to two people, compared with 58% of households in 2011. Single person households now represent 28% of all households.7
Research8 notes that addressing isolation and loneliness is not easy. For some, the loss of a partner is the trigger, for others the gradual loss of contact with family/grandchildren or loss of mobility is a major cause and, often there is a combination of factors. The growing mobility of the working population combined with the fact that family sizes have reduced in recent decades, means there is a real need to ensure older people have some form of social contact that provides mental stimulation and maintains community networks. Some of the indicators used by Help the Aged in relation to isolation in Northern Ireland are that:
• 21% of people aged 65+ report that they are often or always lonely; • 16% of people aged 65+ do not leave/get out of their house more than once a week; and • 7% of people aged 65+ never leave the house. The 2005/6 Health and Wellbeing Survey asked respondents a series of questions about their family and friends in order to assess levels of social support. The results show that in common with the rest of the population approximately 30-40% of older people suffer from a “severe lack” or “some lack” of social support. Forty-five to 64 year olds appear to be at most risk.
Table 2.4 Perceived Levels of Social Support
Level 45-54 55-64 65-74 75+ All ages Severe lack 16% 14% 12% 11% 15% Some lack 24% 26% 15% 19% 27% No lack 60% 59% 73% 70% 58% Source: NISRA, Health and Wellbeing Survey 2005/06
A review of fear of crime and older people9 highlighted the complex interlinked causes and effects of fear of crime. The study suggested that, although older people might perceive themselves to be more vulnerable to crime and less able to cope, age itself was not always the main factor in causing fear. Key issues contributing to fear include isolation, a lack of control over one’s life, a lack of information and the perception that older people are not valued in society. Other factors that can increase fear include a lack of trust of the younger generation and the character of an area where someone lives can affect their sense of vulnerability.
Furthermore the strategy notes that fear of crime amongst older people can have significant consequences for their health and wellbeing.10 Fear of crime and a lack of trust can have an impact on the mental and physical health of older people as they may
7 NI Assembly (2012). Research and Information Service Briefing Note Census 2011. 8 Spotlight on Older People in Northern Ireland Help the Aged, 2008 9 Older people, fear of crime and health: the spirals of cause and effect, Healthy Cities Belfast, 2007 10 Ibid
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reduce their levels of physical activity and social interaction out of concern for their safety, which can result in isolation, further limiting activities and social interaction.
The Northern Ireland Crime Survey measures people’s perception of crime and anti-social behaviour. Safer Ageing is monitoring older people’s perception of their personal safety through the indicators set out in Table 2.5.
Table 2.5 Perceptions of Personal Safety - Percentage of people aged 60 or over
2009/10 2010/11 2011/12 Feeling very unsafe walking alone in 16% 13% 12% their area after dark With high levels of worry about 17% 16% 17% burglary With high levels of worry about 18% 16% 18% violent crime Perceiving a high level of ASB in their 7% 7% 8% local area Saying that ‘fear of crime’ has a 6% 6% 8% great impact on their quality of life Source: Department of Justice, Northern Ireland Crime Survey 2009/10, 2010/11, 2011/12
2.5 Social Inclusion and Poverty
Significant numbers of older people depend solely on state support for their income – often a combination on basic pension and means tested benefits. Women are over represented in the latter group as they are less likely than men to have an occupational or private pension.
Table 2.6 provides details of the percentage of older people living in poverty and severe poverty in Northern Ireland over the past four years. The figures are calculated by the Department for Social Development (DSD) as Households Below Average Income. The proportion of pensioners in relative poverty (BHC) has decreased from 30% in 2008/09 to 22% in 2010/11. There were 63,000 pensioners in relative poverty (BHC) in 2010/11. For After Housing Costs, the proportion of pensioners in relative poverty decreased from 20% to 15%, over the same period. This equates to 43,000 pensioners in relative poverty (AHC) in 2010/11.
Table 2.6 Percentage of Population Group Below 50% and 70% NI Median Income
Year 2007/8 2008/9 2009/10 2010/11 Pensioners Below 50% Median 18% 18% 12% 11% Income NI Pensioners Below 70% Median 40% 39% 35% 32% Income NI Source: DSD, Households Below Average Income – 2007/8 to 2010/11 Note: Figures calculated based on Before Housing Costs (BHC) basis, Older people – Male (65), Female (60)
While pensioner poverty rates have been slowly increasing from first being measured in 2002/03, there has been a large decrease between 2008/09 and 2010/11.
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DSD advise that a household is in fuel poverty if, in order to maintain an acceptable level of temperature throughout the home, it would have to spend more than 10% of its income on all household fuel. Northern Ireland has the highest rate of fuel poverty in the UK. The three causes of fuel poverty are fuel prices (which have escalated since 2004), low incomes and poor energy efficiency standards. Table 2.7 shows how Northern Ireland’s levels of fuel poverty have risen significantly since 2001.
Table 2.7 Households in Fuel Poverty
Year 2001 2004 2006 2009 2011 All 27% 23% 34% 44% 58% (167,000) (146,000) (226,000) (302,310) (407,000) Source: Northern Ireland Housing Executive. Home Energy Conservation Report 2008 and 2012 Northern Ireland House Condition Survey Statistical Analysis
Table 2.8 illustrates how fuel poverty affects those in the 18-24 age category as well as older people. However, more than three-fifths (62%) of households headed by a retired person were living in fuel poverty in 2011. The 2008 Home Energy Conservation Report suggests that “this probably reflects the fact that elderly households tend to have much lower incomes on which to live.” Between 2004 and 2006 about 12% of deaths of people aged 65 and over were associated with cold temperatures in the home.11
Table 2.8 Age of Households in Fuel Poverty
Age HRP 2009 2011 18-24 57.9% 44.2% 25-39 31.7% 25.6% 40-59 36.4% 38.9% 60-74 21.9% 52% 75+ 75.8% 66.3% Source: Northern Ireland Housing Executive. 2009 & 2011 Northern Ireland House Condition Survey Statistical Analysis
Within rural communities poor access to services can lead to social exclusion. Recent research reveals that rural older people feel that there is continual erosion and withdrawal of local amenities, access, eligibility and uptake of state benefits are perceived to be complex and a lot of poverty is hidden. Housing deprivation and fuel poverty were highlighted as key concerns amongst an apparently asset rich older population.12
A lack of transport, finances and fear of crime can contribute to social exclusion. However, there is also a tendency to mix within limited social circles and territorial boundaries. Indeed, it is widely accepted that due to residential, educational and social segregation, there are little opportunities for the two majority communities in NI to mix. Despite this, Table 2.9 illustrates that the majority of people believe that mixing will improve relations between Protestants and Catholics.
11 Morris, C. (2007) Fuel Poverty, Climate and Mortality in Northern Ireland 1980-2006- NISRA Occasional Paper: 25. Belfast: Department for Social Development. 12 Heenan, D. (2010). Rural Ageing in NI: Quality of Life Amongst Older people OFMdFM
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Table 2.9 Percentage saying that better relations between Protestants and Catholics will only come about through more mixing
Age 2008 2009 2010 18-24 88% 81% 74% 25-34 92% 89% 87% 35-44 88% 88% 87% 45-54 92% 91% 91% 55-64 88% 89% 87% 65+ 91% 86% 93% All 90% 88% 88% Source: Northern Ireland Life & Times Survey (2008, 2009, 2010)
Table 2.10 illustrates that in 2010 those aged 18-24 years and those aged over 55 years are the most likely to have the majority of their friends from the same community background as themselves.
Table 2.10 Percentage with all or most of their friends are the same religion
Age 2008 2009 2010 18-24 67% 56% 72% 25-34 65% 68% 68% 35-44 61% 62% 57% 45-54 54% 63% 54% 55-64 61% 65% 62% 65+ 61% 67% 62% All 61% 64% 61% Source: Northern Ireland Life and Times Survey (2008, 2009, 2010)
Although NI has had long-standing members of the Traveller and Hong Kong Chinese communities, there has been a rapid change in the composition and size of the minority ethnic population during the last decade. Now people from Eastern Europe are likely to be resident in similar numbers to longer established minority ethnic populations. Therefore there is a sense that the older population is increasingly ethnically and culturally diverse – and is likely to become more so in the future. This provides an important background for considering ways to influence social interaction, policy and participation in public life.
2.6 Participation and Activism
Analysis by the Volunteer Development Agency13 suggests that, even though the over 50 age group as a whole are less likely to volunteer, those who do will volunteer on a consistently regular basis. Indeed, the over 65s on average provide between 21-40 hours of formal volunteering per month. Volunteering and active involvement in community groups has been linked with increased life satisfaction, better engagement with community life and a positive contribution to health and wellbeing in later years. However, statistics show that participation levels in community, civic and political groups
13 Volunteer Development Agency, (2007). It’s All About Time.
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(which can help provide a voice for older people and represent their views) remain low amongst older people. Table 2.11 provides information about participation within community service or civic group activities. Participation levels are low across all age groups, in particular amongst those aged 25-34 years and those aged 65+.
Table 2.11 Participation in the Activities of Community Services or Civic Groups
Frequency 18-24 25-34 35-44 45-54 55-64 65+ At least once 7% 5% 3% 5% 7% 7% a week At least once 4% 2% 6% 6% 4% 6% a month Several 7% 6% 5% 10% 9% 6% times Once or 20% 16% 19% 18% 14% 10% twice Never 61% 71% 67% 61% 66% 71% Source: Northern Ireland Life and Times Survey 2009
The survey also captured information on participation in the activities of political groups – with non-participation high across all age groups (Table 2.12).
Table 2.12 Participation in the Activities of Political Group
Frequency 18-24 25-34 35-44 45-54 55-64 65+ At least once 0% 1% 1% 1% 1% 1% a week At least once 0% 1% 0% 3% 1% 2% a month Several 7% 1% 1% 1% 0% 2% times Once or 6% 6% 2% 6% 6% 2% twice Never 86% 91% 96% 88% 92% 93% Source: Northern Ireland Life and Times Survey 2009
However, those aged 45+ are slightly more interested in politics than younger people (Table 2.13).
Table 2.13 Interest in Politics
Expressed 18-24 25-34 35-44 45-54 55-64 65+ Interest Very 3% 3% 5% 7% 8% 9% Fairly 16% 22% 22% 30% 30% 29% Not very 23% 33% 37% 32% 35% 33% Not at all 52% 39% 33% 27% 26% 27% Can’t choose 6% 4% 2% 5% 1% 3% Source: Northern Ireland Life and Times Survey 2009
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Additionally, over 45s were most likely to have voted in the 2007 Assembly Elections.
Table 2.14 Did you Vote in 2007 Assembly Election?
Voted 18-24 25-34 35-44 45-54 55-64 65+ Yes 23% 46% 52% 65% 71% 81% Source: Northern Ireland Life and Times Survey 2010
2.7 Perceptions and Attitudes to Ageing
At the moment there is no United Nations standard numerical criterion for older people, but the agreed cut-off is age 60+ years.14 In NI the definition for older people is similar, although the Commissioner for Older People may act on behalf of those people aged 50 years and over in particular cases.
In 2008 NILT explored at what age someone is considered as being “older”.15 Very few thought of anyone under 60 years as being an older person. However nearly 60% of respondents regarded someone in the 65-74 age group as being older. Just under a fifth of respondents said they did not think of someone as older until they were over 75 years and some refused to classify people until they were well into their nineties.
Respondents felt that people are treated with more respect as they get older. However, a sizeable proportion (27%) felt that people were treated with less respect as they aged. Whilst the survey indicated generally positive attitudes towards older people, 60% reported older people to be set in their ways and 46% thought them unwilling to listen to younger people. However, there is general agreement that older people are younger in their ways than in the past (90%) and that society does not recognise their contribution (92%). Loneliness, isolation and boredom were cited as some of the main problems facing the older population.
Table 2.15 Main Problems Facing Older People in Northern Ireland Today16
Issue 45-54 55-64 65+ All respondents Loneliness 55% 63% 54% 56% Isolation 43% 43% 30% 38% Boredom 17% 26% 27% 24% Source: Northern Ireland Life and Times Survey 2008
However, issues related to vulnerability and financial pressures were highest for respondents aged over 65 years. Around 70% identified keeping warm in winter and fear of crime as problems. Rather fewer, although still a majority, mention making ends meet and loneliness. Younger respondents tended to underestimate the extent to which keeping warm in winter is an issue for those in the older group and overestimate the problem of isolation.
14 http://www.who.int/healthinfo/survey/ageingdefnolder/en/index.html 15 NILT, (2009). All our futures: attitudes to age and ageing in Northern Ireland 16 NILTS state that this module was previously run in 2008 and there are no plans at the moment to re-run it.
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Stigmatising attitudes towards people with dementia are common. Research17 illustrates that most people are aware that dementia is not a normal part of the ageing process. However many perceive those in the later stages of dementia as ‘confused’, ‘frightened’, ‘unpredictable’ and ‘lost’. Significant numbers of respondents also used the words ‘trapped’, ‘sad’ and ‘angry’ and small minorities listed ‘dangerous’ and ‘pathetic’ as descriptors for people with dementia. It was very rare indeed for respondents to list positive attributes such as ‘gentle’, ‘happy’, ‘kind’ or ‘fun’.
Older age groups are more likely to feel that eventually all you can do for someone with dementia is to keep them clean healthy and safe. They are also more likely to feel that the person you knew eventually disappears and to see residential care as the best option. Almost half felt that those who are newly diagnosed are unable to make decisions about their own care and some believe that there is no point trying to talk to people with dementia as they won’t be able to understand. There is very little belief in the capacity for those with dementia (even those newly diagnosed) to lead independent lives. 2.8 Discussion
Despite the challenges highlighted above, older people continue to have fulfilling lives and contribute to society in a variety of ways. For example, older people are a significant source of informal care and thus play a substantial part in alleviating pressure on health and social care services. Older people are also major providers of childcare, helping their children to remain in employment. Indeed, it is suggested that the unpaid work of persons aged 50 years or over in the UK is, in cash terms, worth £24 billion a year.18 However, research findings illustrate that many feel that the contribution of older people to society is not recognised.
This may in part be due to the tendency to portray older people as being vulnerable, alongside high profile concerns that increasing numbers could place a burden on the working age population. Welfare Reform, pensions and financial provision are visible areas of social policy and there are strong differences in the incomes and assets within the older person population. Research by ARK indicates that advancing age is not in itself a strong predictor of financial hardship. Poorer people have less life expectancy and those in higher socio-economic groups live longer. However, whilst the overall financial wellbeing of older people has improved, differences in economic circumstances mean that the ability to age well is inhibited by low income. The report states that social policy needs to manage these expectations and assess how they can be met.19
Evidence also suggests that interest in politics and voting activity increases with age and there are increased opportunities for people throughout NI to become involved in lobbying activity. For example, the first Pensioners Parliament in 2011 identified finances (pensions & benefits, energy and food prices), fear of crime, age discrimination and health and social care as priority areas. In 2012, transport and the protection of the SmartPass were added to the priority list. The most recent Pensioners Parliament took place in May 2013 and approximately 180 older people from across NI were in attendance, alongside policy experts and politicians - leading the debate on the issues that matter to the older population.
17 ARK, (2010). Attitudes to and Knowledge of Dementia in Northern Ireland. 18 Meadows & Cook (2004) The Economic Contribution of Older People. 19 ARK (2005) Older People in Northern Ireland.
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3 Changing Demographics and Policy 3.1 Introduction
This chapter provides an update on age relevant developments in the policy and legislative landscape since the Baseline and Interim Evaluation Reports, submitted in November 2010 and January 2012 respectively.
3.2 International Policy Direction
The United Nations Principles for Older Persons call for governmental action in many areas, among them:
• Independence: Older persons should have access to food, water, shelter, clothing, health care, work and other income-generating opportunities, education, training, and a life in safe environments; • Participation: Older persons should remain integrated into community life and participate actively in the formulation of policies affecting their well-being; • Care: Older persons should have access to social and legal services and to health care so that they can maintain an optimum level of physical, mental and emotional well- being. This should include full respect for dignity, beliefs, needs and privacy; • Self-fulfilment: Older persons should have access to educational, cultural, spiritual and recreational resources and be able to develop their full potential; and • Dignity: Older persons should be able to live in dignity and security, be free of exploitation and physical or mental and be treated fairly regardless of age, gender and racial or ethnic background.20
Because population ageing is proceeding more rapidly in developing regions, the international community further urge governments to consider policies and programmes for older persons as part of overall development strategies. The Madrid International Plan of Action on Ageing (MIPAA), adopted at the Second World Assembly on Ageing in 2002, is the first international agreement that specifically recognises the potential of older people to contribute to the development of their societies. The MIPAA calls for changes in attitudes, policies and practices at all levels, in all sectors so that the potential of ageing may be fulfilled. Its aim is:
“To ensure that persons everywhere are able to age with security and dignity and to continue to participate in their societies as citizens with full rights.”
Governments have the primary responsibility for implementing the recommendations of MIPAA, which identified three priority directions:
• Older Persons and Development; • Advancing Health and Well-being into Old Age; and • Ensuring Enabling and Supportive Environments.
MIPAA commits member states to a systematic review of the plan through Regional Implementation Strategies. Recently, 2012 was designated European Year for Active Ageing and Solidarity between Generations (EY2012). The European Commission believes that the challenge for politicians and stakeholders will be to improve
20 United Nations Principles for Older Persons were adopted by the UN General Assembly (Resolution 46/91) on 16 December 1991
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opportunities for active ageing in general and for living independently, acting in areas as diverse as employment, healthcare, social services, adult learning, volunteering, housing, IT services and transport. EY2012 aimed to raise awareness and to encourage all policymakers and stakeholders to set goals and take action.
3.3 NI Policy Responses
At an NI level key elements of government policy focus on tackling poverty, disadvantage and exclusion and, improving people’s health and wellbeing:
Lifetime Opportunities’ goals for older people relate to reducing levels of isolation and loneliness and ensuring every older person has access to the full range of support services, social networks and cultural and sporting activities available in their area. The Rural Anti-Poverty and Social Inclusion Framework also seeks address poverty and social exclusion in rural areas through innovative, partnership led approaches with other government departments and stakeholders.
The draft Programme for Cohesion Sharing and Integration similarly focuses on the safety of vulnerable groups, promoting equality of opportunity, tackling disadvantage and achieving participation of all sectors in all aspects of society. Neighbourhood Renewal and Areas at Risk tackle disadvantage and deprivation, increasing community cohesion, capacity and infrastructure and achieving a more sustainable approach to community participation and development. Safer Ageing focuses on ensuring the safety of older people in their homes, neighbourhoods and communities and helping to reduce crime and fear of crime.
Investing for Health contains a framework for action to improve health and wellbeing and reduce health inequalities which is based on partnership working amongst departments, public bodies, local communities, voluntary bodies, district councils and the social partners. The strategy aims to improve health by increasing life expectancy and increasing the number of years spent free from disease, illness and disability. It also aims to reduce inequalities in health between geographic areas socio-economic and minority groups. A Healthier Future outlines the vision for health and wellbeing in Northern Ireland over the next twenty years (2005–2025) and is intended to give the direction of travel for health and social services. As such it places emphasis upon promoting public health, engagement with people and communities and the development of responsive and integrated services which will aim to treat people in communities rather than in hospital. In 2008 DHSSPS published its response to the Bamford Review (Delivering the Bamford Vision). In relation to older people’s mental health and dementia, the Department outlined how it plans to address the recommendations made, specifically to take into account the mental health needs of older people through updating the Promoting Mental Health strategy and action plan, improve recognition of mental health problems and awareness of dementia, develop a Northern Ireland Single Assessment Tool (NISAT) and to enhance mental health teams in the community.
3.4 Recent Legislative and Policy Developments
The Programme for Government (PfG) 2011-15 sets the strategic context for the Budget, Investment Strategy and Economic and highlights the key goals and actions the Executive will take to drive forward the priority areas. The most immediate challenges lie in supporting economic recovery and improving health and wellbeing and tackling disadvantage. Some of the most relevant of the 76 commitments provided in the PfG are listed as follows and are reflected in the respective policy/legislative progress update:
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• Introduce and support a range of initiatives aimed at reducing fuel poverty across Northern Ireland including preventative interventions (DSD); • Extend age discrimination legislation to the provision of goods, facilities and services (OFMdFM); • Tackle crime against older and vulnerable people by more effective and appropriate sentences and other measures (DOJ); • Bring forward a £13 million package to tackle rural poverty and isolation in the next three years (DARD); and • Deliver a range of measures to tackle poverty and social exclusion (OFMdFM will tackle poverty and disadvantage along with other Government Departments through a suite of inter-related programmes including the Social Investment Fund and the Social Protection Fund).
Over the evaluation period there have been significant developments relative to the AOPP, to include:
• Appointment of the Commissioner for Older People - Age NI in partnership with Age Sector Platform established the 'We Agree' campaign with the aim of ensuring that the needs of older people were at the forefront of the decision making process that will to inform the powers and duties of the Older People’s Commissioner. The Bill received Royal Assent in January 2011 and is known as The Commissioner for Older People Act (Northern Ireland) 2011. The Act required that the appointment of the Commissioner by the First Minister and deputy First Minister would be made after taking account of the views of older people on the recruitment process and the skills, qualities and criteria required for a Commissioner. Claire Keatinge took up the appointment in November 2011. She is the dedicated focal point for older citizens and will have the statutory power and authority to challenge and take action on their behalf; • Removal of the default retirement age of 65 years - On 24 March 2011, OFMDFM devised the Employment Equality (Repeal of Retirement Age Provisions) Regulations (Northern Ireland) 2011 (S.R. No. 168). The Pensions Act 2011 will bring forward the increase in the State Pension Age in Great Britain to November 2018. In line with the principle of parity, the First Stage of the Northern Ireland Pensions Bill was introduced in Northern Ireland in early 2012. It will be debated in the NI Assembly post-May 2013; • Warmer Healthier Homes: A New Fuel Strategy for NI was launched in 2011 against a backdrop of rising energy costs and the economic downturn. Age Sector Platform then launched the “Fight the Winter Fuel Cut” campaign after the Westminster Government’s decision to cut the Winter Fuel Payment by £50-£100. Subsequently £100 was paid to thousands of pensioner households eligible for State Pension Credit via the NI Fuel Allowance Payment. The Pensioners Parliament called on the Executive to reinstate the £100 fuel payment made last winter to vulnerable pensioners struggling to heat their homes. The Fuel Poverty Coalition also launched a petition calling on the NI Executive to use the Programme for Government 2011-2015 to tackle fuel poverty in a comprehensive and sustained way; • Subject to approval by the Assembly and the Executive, the new Welfare Reform Bill for Northern Ireland will result in changes to the benefits system. Many of the current benefits will cease to exist and new benefits and payment systems will be introduced. Welfare reform will impact older people as pension credit will not being available to someone whose partner is below the pension credit age, universal credit will replacing housing benefit, working tax credit and employment support allowance, changes to housing benefit could result in older people having to move home, introduction of personal independence payments replacing disability living allowance (DLA) for those up to 65 years and a move towards online provision, rather than through face-to-face contact;
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• Improving Dementia Services in Northern Ireland was published in late 2011. The key themes are prevention or delaying the onset of dementia healthy lifestyles, raising awareness and addressing the stigma associated with the condition, access to early diagnosis, maintaining daily living and independence as far as possible and improving staff awareness and skills to respond appropriately to needs. The Health Minister stated that there is a very strong case for additional funding for dementia services, given increasing needs. However, due to financial constraints no new money was attached for implementation; • Transforming Your Care: A Review of Health and Social Care 2011 - The outworking of this means that there will be a shift of care from hospital settings to the community and in resources, as funds are reallocated in line with service delivery. It is envisaged that by 2014/15 there would be a shift of around £83 million, from the hospital services budget to other services based on population plans for each area drawn up by each of the Local Commissioning Groups with the HSC Trusts. Subsequent concerns have been expressed that the Review is aspirational in nature and has the potential to place additional pressure upon family carers. There are worries that the finances are not available to carry out the proposed recommendations and that staff morale is low; • The Service Framework for Mental Health and Wellbeing takes forward the values and principles of the Bamford Review.21 Person-centred care will enable the person to stay at home for as long as possible and will help to ensure that institutional care, when required, is a positive experience; • In 2012 Linking Generations NI began a partnership programme with Age Sector Platform and the Northern Ireland Youth Forum to promote the EU Year of Active Ageing and Solidarity between Generations. It involved the creation of intergenerational forums to offer older and younger people an opportunity to discuss issues that affect their lives. The areas of discussion included generational equity, age friendly initiatives, social justice, peace building and safer, shared and confident communities; • Belfast City Council identified older people as a priority within its corporate plan and in 2012 the Council agreed that the Lord Mayor should sign a declaration committing Belfast to becoming a more Age Friendly City, thereby encouraging active, healthy ageing. Additionally, senior policy representatives from the WHO and EU countries gathered in Belfast to explore public policy and the impact of an ageing population. Belfast Healthy Cities, the WHO body in Northern Ireland hosted the Healthy Ageing summit in 2012, which was followed with a lecture examining Ageing policy across Europe. More than 25 policy experts attended and the Belfast Healthy City lecture stimulated debate around healthy and active ageing. Speakers included Duane Farrell of Age NI, Iain Deboys, Commissioning Head for Belfast, Health and Social Care Board, and Belfast Councillor Bernie Kelly, who chairs City Council Cross Party Political Reference Group; • At an Assembly Plenary session in March 2013 Sinn Fein tabled a motion on age discrimination legislation:
“That this Assembly acknowledges and endorses the Programme for Government commitment to extend age discrimination legislation to the provision of goods, facilities and services; and calls on the First Minister and deputy First Minister to ensure that, in delivering on this commitment, the legislation affords protection to everyone regardless of age.”
The DUP amendment, which removed the last line and replaced it with "to people aged 18 and over, in line with international best practice", was defeated by 39 votes to 44. The Sinn Féin motion was carried on an oral vote.
21 Bamford Review: Living Fuller Lives: Dementia and Mental Health Issues in Older Age Report (June 2007)
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3.5 Arts Specific Policy
Despite a stated emphasis upon “unlocking the potential of the culture, arts and leisure sectors as instruments for positive change” [p46] in advancing social cohesion and integration and the identification of the Arts and Older People Strategy as a “Building Block” [p47] there is no specific commitment to increasing engagement/access to the arts amongst older people through a targeted programme (or otherwise) provided in the PfG.
In its response, to the “Fair Deal for the Arts” campaign the Executive stated that it fully recognised the importance of the Arts sector, both in economic and social terms and agreed to an additional allocation to DCAL for Arts Funding across the budget period.
Table 3.1 DCAL Non-Capital Expenditure 2010-2015
Year 2010/11 2011/12 2012/13 2013/14 2014/15 Arts £m 19.1 18.2 (-4.9) 17.1 (-6) 16.7 (-1.9) 16.8 (0.1) DCAL Total £m 113.3 112.1 (-1) 107.4 (-4.2) 107.4 (=) 104.3 (-2.9)
Funding to support the running costs of capital projects will be prioritised, in order to protect the substantial public investment already made in these venues. Programmes such as ASOP will continue but the levels of funding available will be reduced.
The Budget indicated that the health aspect of the DHSSPS budget would remain protected. However, DHSSPS outlined the financial challenges of delivering care against an increasingly ageing population. It was stated that the only sustainable long-term strategy is one that works with a population which is actively engaged in looking after its own health and wellbeing.
The PfG highlights that the potential of the and culture sector needs to be realised while the Public Service Agreement 9 and DCAL’s Corporate Goals focus on enabling as many people as possible to improve the quality of life by experiencing and accessing cultural assets.
The AOPP was set up to increase opportunities for older people to engage with the arts. It achieves this by providing funding to arts-based projects that address related social issues such as poverty, isolation and loneliness, as well as promoting positive mental health. It supports active, positive and productive ageing. The programme emphasises the need to promote wellbeing and life-long learning and to incorporate the needs and rights of older people. It recognises older people provide valuable resources and emphasises the importance of their ongoing participation in the local community.
In this sense, AOPP objectives are directly aligned to a range of government strategies and priorities (see Figure 3.1 for illustration) and in particular to the social inclusion agenda and current developments in health and social care.
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Figure 3.1 Arts & Older people Programme Strategic Themes and Policy Links
“Ambitions for the Arts: a Five Year Strategic Plan for the Arts in Northern Ireland, 2013- 2018’’ is currently out to public consultation. Reflecting over the past five years, the document highlights the arts’ flexibility in meeting community need and its ability to deliver important social outcomes by bringing people together, helping tackle economic, racial and ethnic divides, engaging with the most disenfranchised members of our community and helping to address anti-social behaviour and improve the health and wellbeing of communities and individuals.
There is a commitment to tackling barriers to engagement in the arts and encouraging development and diversification of audiences in order to deliver DCAL’s expressed vision to target poverty and social exclusion. Through its theme of Promoting Access the Arts Council will continue the roll-out of the Arts and Older People strategy developed as a means of promoting social inclusion for older people, recognising the barriers which prevent them from participating in a wide range of activities. It commits to improving access and participation, using the arts as a creative vehicle to explore and highlight social justice issues through a series of artist-led interventions. The document states that the AOPP will continue throughout the life of this plan and will seek new funding partners.
Additionally, in terms of rural inclusion the Culture Arts & Leisure (CAL) Committee’s 2013 Inquiry on Maximising the Potential of the Creative Industries recognises that there is scope for the development of skills and employment in rural communities through the Creative Industries. Around 35% of Northern Ireland’s population live in rural areas and it is important that their needs are considered in any major policy. The nature and scale of many of creative enterprises means that they can be established within rural communities. The Committee believes that there are significant opportunities for the
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development of the Creative Industries within the ‘Urban/Rural Linkages’ and ‘Rural Economies’ themes within the Rural White Paper Action Plan.
3.6 Opportunities and Links
Ageing in an Inclusive Society aims to support increased inclusion of older people. It focuses upon lifting older people out of exclusion and isolation, improving health and quality of life, providing access to services and facilities and promoting equality of opportunity. In 2008, OFMdFM announced a review of the Northern Ireland strategy in light of the review of the 2005 Westminster strategy Opportunity Age.
There is now a strong policy argument and drive towards “active ageing.” This is essentially a process towards optimizing opportunities for health and participation in order to enhance quality of life and extend healthy life expectancy. Maintaining autonomy and independence is a key goal within the active ageing policy framework and the approach has the potential to address many of the challenges of both individual and population ageing. It is proposed that when health, labour market, employment, education and social policies support active ageing there will potentially be fewer disabilities associated with chronic diseases in older age, more people enjoying a positive quality of life as they grow older, more people participating actively as they age in the social, cultural, economic and political aspects of society, in paid and unpaid roles and in domestic, family and community life and lower costs related to medical treatment and care services.
During an Assembly Question in March 2013, OFMdFM stated that the new draft active ageing strategy and implementation plan was extensively reworked following the feedback from the ageing strategy advisory group, chaired by the Commissioner for Older People. It highlights the key issues facing older people and will be implemented through the Delivering Social Change framework - focusing on what Departments can do to add to existing work to make a strategic change to services or programmes for older people. The consultation for the strategy will be launched in September 2013 and will take account of the views of older people, their representatives and those who care for them.
Within the health arena, the Older Person’s Health and Wellbeing Service Framework is currently in development. It aims to improve the health and wellbeing of older people in Northern Ireland, promote social inclusion, reduce inequalities in health and improve quality of care. Achievement of these aims goes beyond traditional health and social care boundaries and is strongly influenced by population/individual attitudes and behaviours and the contribution of carers and other sectors. This Service Framework aims to reflect the diverse needs of older people as well as developing positive attitudes to ageing within the wider community. The Older People’s Service Framework will address:
• Promoting Health and Social Wellbeing in Older People – to include emotional and social support and promoting social inclusion, in particular tackling isolation and depression; • Protection of Vulnerable Older People; • Person-Centred Care – focusing on age discrimination, dignity and respect, recognising individuals as experts in their own life and care, personalisation of care and support services and advocacy; • Care Management and Managing Transitions of Levels of Independence - Single assessment tool, independent and supported living, residential and nursing home care, intermediate care, hospital based care and supportive and palliative care; • Conditions More Common in Older People – to include cognitive impairment; and
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• Support for Carers and Identifying Carer’s Needs.
The increase in the numbers of older people who will require support in the community means that investment will be targeted at developing services such as domiciliary care, day care and respite care in line with a more social, community-focused model. Additionally, the Health and Social Care Board has been developing the ‘Releasing Time to Care’ Project over the last two years across all 23 Acute Mental Health Wards in Northern Ireland. This programme focuses on developing systems and processes which will provide staff with more time to engage in therapeutic activities. The HSCTs are increasingly focused upon providing services which will enable more older people to live fulfilling lives, independently in their own homes for as long as possible, supported, where required, by a network of health and care services. This includes reablement services offered to those who have experienced deterioration in their health and/or have increased support needs to relearn the skills required to keep them safe and independent at home.
In January 2013 Belfast Health and Social Care Trust in partnership with Arts Care launched its Arts in Health Strategy (2013-15): Unfolding Arts in Health. In developing the Arts Strategy the Trust defines “Arts in Health’ as arts-based activities that aim to improve individual and community wellbeing, enhance the healthcare environment and contribute to the quality of healthcare delivery across all services and facilities. The Vision is for “Better health and wellbeing through access to the arts for all who come into contact with Belfast Trust.” The strategic framework aims to raise awareness of the role that the arts can play in prevention, healing, health and wellbeing, to integrate the arts into mainstream health and social care and to make greater use of the arts to promote health and wellbeing and engage with communities. Significantly, the Trust pledges to source specific funding to deliver Arts in Health.
In line with the move towards a more localised approach, Local Government Reform will ensure that councils are citizen focused and more responsive to the needs, aspirations and concerns of local communities. Each will have a new statutory duty of Community Planning and a new Power of Wellbeing. With regards to the latter, under Section 3(6) of the Local Government Act 2000 there will be a discretionary power available to local authorities to promote or improve the economic, social or environmental wellbeing of their area – to include encouragement of the voluntary sector, access to the arts or leisure opportunities, access to education, promotion of good physical, social and mental health and developing and promoting policies which have a positive impact on health inequalities.
In Ambitions for the Arts, the Arts Council recognises that local authority funding for the arts is also a challenge, and sees the potential for greater engagement in the context of the new 11 council configuration. It commits to looking at new ways in which relationships might be developed and re-articulated.
3.7 Discussion
The challenges associated with population ageing are becoming increasingly apparent to policymakers and service delivery agents. Older people now constitute a growing segment of society, while the share of the working-age population is declining. There are concerns that pensioner poverty is likely to increase as the basic state pension continues to decline as a percentage of average earnings and, many pensioners remain reluctant to claim means-tested support. However, framing the debate in terms of dependency discounts the past, current and future contributions made by older people.
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In the light of demographic trends and in order to meet the policy goal of maintaining prosperity and social cohesion, mobilising all available human resources is crucial. Policies need to ensure that, as people grow older, they can continue contributing to the economy and society and be able to look after themselves for as long as possible. It is essential that the needs of older people are, alongside other groups, given their place, in debates on poverty and social need.
In policy terms there is an increasing awareness of the need to develop positive solutions to address the challenges it brings. The EY2012 mobilised a wide range of stakeholders across NI to take action and created the momentum to raise awareness of and debate important policy initiatives. The AOPP creates innovative and positive opportunities to deliver upon a range of inter-linked challenges associated with an ageing population.
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4 The Arts and Social Justice 4.1 Introduction
This chapter provides an updated summary of existing research on the potential benefits of participating in arts activities for older people, presented at Interim phase.
4.2 Older People and the Arts
The AOPP Baseline Report utilises findings from the Arts and Culture in Northern Ireland survey to illustrate that attendance at arts events declines with age, with attendance lowest amongst those aged 65 years and over. Similar to attendance levels, participation levels also appear to decline with age, with those over 65 years least likely to participate in arts activity. However, arts attendance and participation amongst 50-64 year olds has proportionately increased over the last few years. Analysis of NILT also indicates that the amount of free time spent on learning, or developing a new skill declines with age, as does participation in cultural groups.
As referenced by the 2012 General Population Survey crafts, singing or playing a musical instrument are the most popular arts activities for the over 50s. However 77% stated that they did not take part in any arts related activities (see Figure 4.1).
Figure 4.1 Participation in Arts Activities: Over 50s
Source: 2012 General Population Survey
Figure 4.2 illustrates that creativity, increasing self-confidence and concentration are the primary motivation for arts involvement amongst older people.
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Figure 4.2 Benefits of Participation in Arts Activities: Over 50s
Source: 2012 General Population Survey 4.3 Barriers to Arts Participation
The Right to Participate in artistic and cultural life is enshrined in the Universal Declaration of Human Rights. Article 27(1) states that ‘everyone has the right freely to participate in the cultural life of the community, to enjoy the arts’.
However, there can be many actual and/or perceived barriers to attendance and participation. Arts Council Research into the actual and perceived barriers to publicly funded arts in Northern Ireland (2005) identifies a number of issues that impede take-up and participation by older people in the arts. These include:
• Longstanding illness or disability which can affect the individual’s access to or enjoyment of art forms; • Poverty and lack of disposable income which makes the cost of attending cultural events or venues prohibitive to some sections of the older person community; • Access to transport, particularly in rural areas where there is limited transport available. In urban areas issues such as personal safety (i.e. travelling in the evening) can impede attendance; and • Older people’s perceptions of the arts as being elitist. Similarly, social stereotyping can also assume a narrower range of interests in arts events and activities, than is actually the case.
Indeed, the main barriers, as identified in the 2012 General Population Survey are ‘it’s difficult to find time’, ‘my health’s not good enough’, ‘I prefer to spend my free time in other ways’ and ‘I’m not really interested’. Cost can also be a significant barrier for some age groups.
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Figure 4.3 Barriers to Participation in Arts Activities: Over 50s
Source: 2012 General Population Survey
As a result, the Arts and Older People Strategy’s central purpose:
“...is to assist older people overcome barriers and increase access and participation in arts-related projects that address both their creative and social needs. While this strategy will set out a number of measures that will help tackle broad issues and encourage partnership working, the fundamental objective of this engagement strategy is to increase the number of avenues for older people to become involved in the arts.” [ACNI, p.18] 4.4 Potential Benefits of Engaging with the Arts
There is increasing evidence that participation in creative activities and programmes has a positive effect on the physical and psychological wellbeing of older people. Despite methodological limitations, rigorous evidence-based research on the impact of arts programme participation does exist. For example, one American controlled study into the impact of professionally conducted cultural programmes on older adults found benefits in relation to physical health (e.g. fewer doctor visits, less medication use and fewer falls), increased self-esteem, reduced loneliness and increased activity.22
Studies on the impact of the arts on older people have led the Mental Health Foundation to the conclusion, ‘it is evident that engaging with participatory art can improve the wellbeing of older people and mediate against the negative effects of becoming older’.23
22 Cohen, G. et al., (2007) “The Impact of Professionally Conducted Cultural Programs on the Physical Health, Mental Health and Social Functioning of Older Adults – 2 year results”, Journal of Aging, Humanities and the Arts, 1: 5-22. 23 Mental Health Foundation, (2011). An Evidence Review of the Impact of Participatory Arts on Older People.
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Research also suggests that community arts programmes which promote active social contact encourage creativity and use mentoring are likely to positively affect health and wellbeing. Impacts include reduced depression, increased social support, alertness, social activity, enhanced self-worth and optimism about life.24 Studies also indicate that music programmes that are socially supportive promote cognitive capacity.25 Cohen also demonstrates the value of music, art, and creative engagement in promoting health with ageing as well as providing cost savings to society.26
There is also evidence that arts programme participation within care settings can have beneficial impacts on the physical health of patients and on their psychological wellbeing.27 For example, there have been reports of reduced anxiety and depression in patients undergoing chemotherapy, in addition to reduced blood pressure, heart rate and demand for oxygen. Such programmes also enabled enhanced communication between patients and medical staff and there was evidence that music enhanced pain management. There is also evidence that active engagement with the arts has positive effects on patients with mental health difficulties (e.g. patients were calmer, more attentive and collaborative, they were better able to express themselves after participating in the creation of work under the guidance of art specialists).28 A four week theatrically-based controlled study in subsidised retirement homes provided evidence of pre-./post-improvement on cognitive/affective test measures that included word recall, prose comprehension/recall, word generation, digit-span ability, and problem-solving.29
The overall benefits of arts engagement can largely be divided along the interrelated dimensions of health and relationships. Age & Opportunity30 state that the participation of older people in the arts can assist personal fulfilment, the creation of meaning, lifelong learning, social linkages, celebration of life, generation of new ideas and their expression, dignity and self esteem, empowerment and maintaining and improving health. Belfast based research31 investigated the impact of a comprehensive arts programme on older people with moderate to severe dementia in supported residential care settings. Older people and staff participated in a series of music, dance, drama and visual art workshops over a six-week period. Key outcomes included increased levels of social interaction and reduction in isolation amongst the older people, reduced stress and anxiety amongst the older people and healthcare staff and improved professional care relationships between older people and healthcare staff.
The Baring Foundation32 commissioned a research review to illustrate the impact of participatory arts on older people. This aims to provide evidence to funders about the
24 Greaves, C.J. and Farbus, L. (2006), “Effects of creative and social activity on the health and wellbeing of socially isolated older people: outcomes from a multi-method observational study”, The Journal of the Royal Society for the Promotion of Health, 126/3: 134-142. 25 Strumpel, C. and Billings, J. (2008), Overview on health promotion for older people. European report. (Vienna: Austrian Red Cross). 26 Cohen, G (2009) New theories and research findings on the positive influence of music and art on health with ageing Volume 1, Issue 1, Arts & Health: An International Journal for Research, Policy and Practice pp: 48-62 27 Staricoff, R. (2004), Arts in Health: a review of the medical literature (London: Arts Council of England). 28 Malley, S. M., Datillo, J., Gast, D. (2002), “Effects of visual arts instruction on the mental health of adults with mental retardation and mental illness”, Mental Retardation, 40/4: 278-296. 29 Noice, H. and Noice, T. (2009). An Arts Intervention for Older Adults Living in Subsidised Retirement Homes. Neuropsychol Dev Cogn B Aging Neuropsychol Cogn.; 16(1): 56–79. 30 Age & Opportunity, (2006). Guidelines for Working with Older People in the Arts: A Resource for Bealtaine Organisers and Others Involved in the Arts and Older People. 31 Elliott, Morison and Grant, (2010). “Forever Growing” Creative Ageing Partnership Programme, Queen’s University, Belfast 32 The Baring Foundation (2010). An Evidence Review of the Impact of Participatory Arts on Older People.
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benefits accrued through art activities and to support arts organisations to improve their work. Twenty-four peer reviewed articles (one review and 23 primary studies) were selected for inclusion and seven unpublished and/or non-peer reviewed studies were also included to cover identified gaps in the evidence base. The 31 studies all included people over the age of 60 years. Whilst most of the studies were of older people who were in generally good health, six of the studies involved people with dementia, usually in a residential or day care setting. Activities spanned music, singing, dance, drama, story- telling, visual arts, festivals and mixed art forms. The researchers summarise the impacts as follows: • Mental Wellbeing: Participants were perceived to benefit from increased confidence and self esteem and there appeared to be particular added value in cases whereby they performed to an audience. It was suggested that older adults can embrace new and positive aspects to their identity and life role through participative arts and that involvement in community arts may be particularly important in counterbalancing low mood, anxiety and social isolation. For older adults with dementia, it was concluded that participatory art can help improve cognitive functioning, communication, self-esteem, musical skills, pleasure, enjoyment of life, memory and creative thinking. On the other hand, participation can cause frustration when individuals find that they are not able to meet their own or others’ expectations. However, many individuals exceed their personal expectations about what they could achieve, which enhances their mental wellbeing; • Physical Wellbeing: It was concluded that particular art forms may lend themselves to significant physical health improvements (e.g. cardiovascular, joint mobility and breathing control), including dance, singing and playing musical instruments. Even engaging in activities which are not obviously physically exerting, can lead to increased levels of general daily activity which should have a positive effect upon physical wellbeing; • Communities: There is evidence that participatory arts programmes provide opportunities for meaningful social contact, friendship and support within the art groups themselves as well as improving relationships between established groups. Indeed, ‘giving something back’ to the community can have a positive impact on other members of the community as well as the direct participants. Participatory art that affords people with dementia increased access to their community or increased interaction with professionals was believed to address age discrimination by raising awareness and helping to break down stereotypes. Additionally, participatory art that involves both people with dementia and their carers proved to be an effective way of breaking down relationship barriers and in day and residential care settings can foster improved social cohesion; and • Society: The research indicated that large-scale, high profile festivals have the potential to positively transform attitudes to older people, particularly when they include intergenerational events. It was concluded that participatory art can help challenge and break down the societal stigma of being older. 4.5 Arts and Social Justice in Practice
The Atlantic Philanthropies invest in campaigns, institutions, movements and individuals that give voice to the people most affected by injustice, in the belief that lasting progress comes from building capacity to advocate on one’s own behalf. The organisation affirms that the arts can be a powerful path toward these goals, by elevating and amplifying the voices of those most affected by injustice.
Community arts have been a distinct part of the arts in Northern Ireland for the past 25 years. It is an established sector with a number of component parts, including individual
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artists working in a community context, community arts provider groups and the former umbrella and networking organisation, Community Arts Forum (CAF).33
Empowerment and skills development are key elements of community arts. The potential benefits of participation include rural and urban regeneration, socio-economic regeneration, capacity building, contribution to peace building and improved self- confidence and life opportunities. However, despite good practice examples (e.g. Big Telly’s Spring Chickens, Age on Stage, Arts Care, Musical Memories, Valuing Heritage, Valuing Memories, Elderflowers) arts practice by and with older people in Northern Ireland, is generally deemed to be fragmented and lacking in public profile, particularly since the demise of the Arts for Older People Network (see Section 4.5.5).34
4.5.1 Isolation and Loneliness
Although older people can live alone without feeling lonely, living alone is a leading indicator of the potential for social isolation. Indeed inter-personal contact has been found beneficial to health across adulthood into old age. The following project examples, illustrate the ability of the arts to address and highlight feelings of loneliness and isolation:
• Newark and Sherwood District Council’s Visible project offered over 50s the chance to discover new interests, make new friendships and discover a sense of belonging in their local community. Visible is designed to appeal to people who’ve had limited access to the arts, live in rural areas or may need help dealing with life-changing experiences like bereavement, divorce or retirement. The programme also provided training for artists and others working with older people and is a stepping stone for further progression. Participants were given the chance to become volunteers or mentors themselves; and • Westminster Cinematic Arts (WCA) developed a project “The Forgotten” which used documentary film to raise awareness on loneliness, isolation and depression among older people. The project provided a platform for older people suffering from loneliness, depression and social exclusion and to encourage a public debate about the isolation of older people. A medical professional was invited to introduce the screening events with a lecture on the effect of loneliness and depression in older people, including symptoms, precautions treatment available and open discussions took place after the screenings. DVD copies of the film were distributed to a variety of local organisations and community groups, schools and libraries to promote and explore the issues covered in the film.
4.5.2 Social Inclusion
The arts have the ability to help promote community engagement and develop relationship - fostering a sense of place and belonging. Hence a number of cities hold high profile events that celebrate and showcase the importance of active participation by older people as performers, participants and volunteers to celebrate arts, creativity and ageing (e.g. London’s Capital Age Festival, Gwanwyn Festival of Arts For Older People, Scottish National Festival). The following examples highlight the use of the arts to address social inclusion and promote cohesion:
33 CAF and New Belfast Community Arts Initiative have now merged to the Community Arts Partnership (CAP) 34 Arts for Older People Network, (2006). The view from the Hill: A study in current practice by, with and for older people.
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• Arts Care, in partnership with Health and Social Care Trusts throughout Northern Ireland, aims to make all forms of art accessible to patients, clients, residents and staff. Those who participate have the opportunity to experiment with forms of expression not usually available to them. The organisation hosted an Older People’s Arts in Health Festival for the Public Health Agency of Northern Ireland in early 2013. This offered a series of 320 co-ordinated, skill- building arts workshops over a twelve-week period, the equivalent of 200 days delivery and bought a range of high quality arts programmes to older people in health and social care and community settings. The arts festival provided older people with an opportunity to explore and experiment with different arts forms, such as contemporary dance, music, sculpture, film making, creative writing and much more. The project aimed to unleash older people’s creativity and to offer them a life- long learning opportunity involving learning new creative skills that will be valuable in their everyday life. It is anticipated that new creative skills will not only enhance the older people’s quality of life, but will access them to exciting arts participation. An integral part was the engagement of Health and Social Care staff, who also had the opportunity to be creative in the workplace; • Bealtaine has inspired a number of similar festivals – running from 1994, it is one of Ireland’s largest arts festivals, spanning the month of May. Celebrating creativity in older age, it is coordinated by Age & Opportunity in Ireland and includes events organised by hundreds of partner organisations. The festival encourages greater participation in the arts by older people as artists and performers, participating as both event organisers and audiences. The ethos is one of fun, empowerment and exploration. In 2009 Age & Opportunity commissioned an independent evaluation of the festival’s impact.35 It concluded that there is more interaction between agencies, non-governmental organisations and individuals as a result of the festival. The majority of beneficiaries agreed that participation in Bealtaine also improved their quality of life. Indeed, friendships, networking with other groups and involvement in other community events followed on from Bealtaine, with the majority of participants agreeing that the festival increased their involvement in the community. It was also suggested that the festival has a positive impact for arts practice - attracting new and participatory audiences and changing how arts organisations work with older people; • Cultural Companions is a new Bealtaine Festival initiative. It creates local networks of people interested in arts and culture who will accompany each other to events. By recruiting Volunteer Companions (people who enjoy socialising, have an interest in the arts or regularly attend events themselves), the initiative aims to facilitate a more active social life for older people who wish to broaden their horizons, meet new like-minded people and get out more; • A Big Lottery Grant will enable Spring Chickens to bring the theatre and the arts to older people in rural communities many of whom have never been to the theatre before. The Company will travel throughout Northern Ireland, targeting the isolated and lonely, in sheltered housing, residential and care homes. They will continue their Targeting Older Men (TOM) programme which will use a touring portable theatre to tour all over NI and encourage men to take part by telling a joke or doing a short performance. Workshops will also be held encouraging older people to take part in plays themselves. Family fun days will also be organised by the older people themselves where they will get involved in intergenerational activities and coach younger people in schools and workshops; and • The ‘Black Box Trust’ has recently been awarded a Big Lottery Reaching Out Connecting Older People grant to create recreational support for older people with learning difficulties who have previously been isolated or excluded from mainstream
35 Irish Centre for Social Gerontology, (2009). The impact of the Bealtaine arts programme on the quality of life, wellbeing and social interaction of older people in Ireland.
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venues. They will offer a range of events in Belfast, Omagh and Bangor, where users will be encouraged to share their memories as well as enjoying workshops of storytelling, dance and drama. They will also attend discos and dance and practice different arts themselves. The three year project will culminate in a full scale production put on by the users themselves.
4.5.3 Poverty & Disadvantage
While the arts cannot eradicate poverty or disadvantage, it can nevertheless create social links, inspire and develop dignity and confidence. The arts can also be used to highlight what it means to live in poverty:
• “Art Partner” project was one of the key activities in the European Year for Combating Poverty and Social Exclusion. Launched in May 2010, the project aimed to create “duos” made up of art/design students and individuals experiencing poverty. The central “(IN)VISIBLE” theme sets out to use art to make the individuals behind poverty visible and provide those living below the poverty line with a creative means of expression through photographic art. NGO’s working in the poverty sector played a key role as facilitators, helping to create the “duos” and building a bridge between the two. The duo then conceptualised their ideas in tandem, getting behind the camera, being creative, and co-producing their photographs. An artistic committee selected fifty photographs which were displayed at an exhibition in Brussels; and • Worchester City Council and Age Concern’s “Tales of the Credit Crunch” aims to provide a cinematic forum for Worcestershire’s Older and Younger people to discuss the impact of economic downturn on their communities in urban and rural areas. Through film making the project aims to encourage and increase the positive interaction between younger and older people and to reinforce community cohesion. In the course of capturing the historical and educational value of local residents’ experiences and memories, the project aspires to increase individual’s sense of well being and their ability to make a positive contribution to the community.
4.5.4 Health & Wellbeing
The arts and health agenda is seeing increased momentum. For example, the Department of Health and Arts Council England have developed a Prospectus for Arts & Health, which celebrates and promotes the benefits of the arts in improving wellbeing, health and healthcare. This publication stems from the recommendations of the Review of Arts and Health Working Group, commissioned by the Department of Health. The Arts Council England has since published its national framework for arts, health and wellbeing. Arts Council of Northern Ireland has also developed an Arts & Health policy and as noted previously BH&SCT has recently launched an Arts and Health Strategy. Illustrations of arts and health partnership projects include:
• Artists have been working in hospitals in Northern Ireland since 1989. Originally, this meant putting art into hospital wards to improve the look and feel of the environment. As relationships and confidence grew, the benefits of and possibilities for creative intervention between artists, patients and staff became clear. In 1991, the Department of Health created the arts & healthcare trust, ArtsCare. Working in visual art, dance, music and creative writing, the organisation engages 19 artists-in- residence and many artists are additionally involved on a project basis; • ArtsCare is a developing a programme called Skylarks which aims to work with people living with moderate to severe dementia. The programme is a clowning performance programme with a strong emphasis on music and movement. The pilot
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programme (running in early 2013) has two strands – strand one involves developing the methodology of the programme and strand two pilots the methodology of the programme with people living with dementia in various care facilities in the greater Belfast area; • The ‘Sharing Memories, Building Communities’ project which is an initiative funded by the Big Lottery and employs three reminiscence workers. The project, the first of its kind in Northern Ireland is a partnership between the Reminiscence Network Northern Ireland, (RNNI) and the Trust’s Health Improvement/Community Development Service and Day Care Service. The project aims to address the needs and issues affecting older people with disabilities including, social isolation, loneliness, depression, low self-esteem, limited supports, minimal social interactions and poor mental health and wellbeing that impacts on physical health. The promotion of one to one life story book work in service users own homes is also part of this four year project; • Arts on Prescription in Stockport has been running for over ten years and is now funded through the NHS and Sefton Creative Alternatives. Research generated during the projects suggests that participation in regular arts activities may have a positive and significant impact on the mental wellbeing of those experiencing mild to moderate mental health issues. The project offers a non drug based alternative (or supplementary) intervention for people experiencing mild to moderate mental health issues, such as depression and anxiety. Clients are referred into through project through GPs and other health professionals and are offered a series of arts workshops with expert tuition from practicing artists, as well as mental health support from therapists or counsellors. Whilst the project focuses on using the Arts to promote mental wellbeing, it does not constitute art therapy. Rather, it aims to engage participants in arts activities as part of a weekly group, over a maximum of fifteen weeks. Upon completion, participants are signposted on to other arts and cultural activities that they can access within mainstream provision or mental health services, depending on their ongoing support needs; and • Turtle Song is an Arts4Dementia project for people with dementia and their carers. The project is a long-term partnership, now entering its 6th year, with Turtle Key Arts and the Royal College of Music. In 2013 it collaborate for the first time with the Wolverhampton Grand Theatre and Wolverhampton Art Gallery. Turtle Song aims to bring music, movement and singing to people with Alzheimer’s and all forms of dementia and their carers. Each project lasts for 10 sessions spread out over 10 weeks. Over the course of the project the participants write the lyrics and compose the music for their own song cycle. The piece is then recorded on CD and shared with friends.
4.5.5 Strengthening the Voice
A number of local initiatives aim to address stereotypes associated with growing older and old age, through promoting the artistic talents of mature adults. For example:
• Members of the Black Widows Dance Company are aged between 85 and 102 years and all have various degrees of dementia. The group took part in the Arts Care 21st anniversary international conference hosted in Belfast in 2012. The Black Widows, are members of Ballyowan Day Care centre in North Belfast and the group formed during the Arts Care Older Peoples Art Festival in 2010; • The Crescent Elderflowers Dance Theatre offer performance opportunities to women aged 55+. This established company is building on the momentum of their performances at A Crescent Overture and Feile An Phobail. Weekly dance workshops include movement, theatre and story-telling/reminiscence. Workshops are facilitated to suit the needs of the group and no previous dance or theatre experience is necessary;
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• Big Telly has broken new ground with its innovative theatre work with older people. Spring Chickens was inspired by work with the older generation on its past productions. It is an innovative creative arts project which focuses on increasing creative expression and engagement among older people throughout Northern Ireland, and challenges perceptions about their potential. During the two year programme, 2007 -2009 , 3,496 older people in 28 rural and urban geographical locations throughout Northern Ireland experienced 517 artistic workshops, 25 professional theatre performances and 19 intergenerational workshops in a wide range of, residential and care homes, sheltered and assisted living accommodations, health trust day care centres, community centres, church and council venues. Through the project, older people were introduced to a total of 14 different art forms, including drama, magic, puppetry, carnival, mask making, storytelling, dance, multimedia, craft, poetry and creative writing; and • Age on Stage provides contemporary dance/creative movement for people aged 60+ regardless of mobility or ability. Participants also have the opportunity to perform, with Age on Stage dancing at ISLAND Arts Centre, Carrickfergus Town Hall, the Ulster Museum and the Waterfront.
There is an expressed need for ongoing professional development for artists, age sector and health and social care representatives in order to build the capacity and profile of this work. Much of the skills and experience has grown out of professional practice. However, specific initiatives elsewhere focusing upon sectoral development include:
• The Creating a New Old Network is made up of leaders in the fields of health, culture arts and the educational sectors. The network was formed from the CANO Conference as part of the 2012 Bealtaine Festival. The conference explored the potential for creative activity to help people maintain dignity, quality of life and independent living throughout older age. It also built upon the recognition that older people have the creative powers to make a positive contribution to society; • Creative Exchanges is the Arts in Care programme of Age & Opportunity. The aim of which is to make creativity intrinsic to life in care settings by providing Further Education and Training Awards Council accredited training to staff working in care settings. They can then, in turn, run arts programmes on a regular basis with their clients. The training is unique in that it has been tailor-made for staff working with older people in care settings. Workshops aim to enable participants to facilitate creative activity with the older people in their care. So far the training has involved drama, visual arts and dance. They also manage ‘Agewise’, a programme of age equality training for a range of public service organisations, including arts organisations; • Equal Arts aims to improve the quality of people’s lives by helping older people participate in high quality arts activity. The organisation works with professional artists in partnership with residential care homes, sheltered accommodation schemes, GPs and hospitals, community venues, arts and cultural venues, local authorities and a range of older people’s organisations. In response to interest and increasing levels of activity in arts and dementia, Equal Arts developed the Arts & Dementia Network to champion the role of the arts in dementia care and support artists and health and social care professionals working in the field; • The Baring Foundation is focusing its funding on the theme of arts and older people in care in partnership with Arts Council England. Grants for three year projects to commence in 2013/14 will build on the existing examples of good practice where artists, and arts and cultural organisations are making a real difference to people’s lives and providing a bridge between older people and the wider community. The programme aims to encourage residential care providers in partnership with arts organisations to commit to and invest in on-going programmes that give residents access to high quality arts experiences and showcase artistic
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excellence in residential care settings and help residents access and experience. The funding also aims to demonstrate the role of the arts in providing a voice for older people and bring local communities and people in care homes closer together; and • The Arts for Older People Network was established in Northern Ireland in 2001, with the support of the CAF (now CAP). Although it is no longer in existence, the group aimed to provide networking activities and an opportunity for the work of older people in the arts to be evaluated and documented. The organisation provided help and advice regarding grants, funding and sponsorship for older people’s work in the arts, a platform for lobbying and profile change and support through education and training for older people and those working with them. The Network appears to have been particularly active between 2006-08 and co-ordinated two celebratory events entitled ‘Over the Hill – But Look at the View’ as part of the Cathedral Quarter Arts Festival in Belfast and at the Flowerfield Arts Centre in Portstewart and has supported the development of a short play ‘The Bench’, created with 30 older residents in sheltered accommodation in Belfast and Ballycastle. It also held seminars for older people, policy-makers and practitioners to promote awareness and encourage links across the age and arts sectors.
There is an increasing range of activity relating to the arts and older people within NI. As noted previously the Arts Council provides support through several funding programmes. The Regularly Funded Organisations (RFO) database provides information on arts organisations which work with older people. Analysis indicates a decrease in the proportion of the organisations funded which target older people (41.7% in 2009/10 to 16% in 2011/12). In terms of actual participants, older people accounted for 8.7% in 2009/10 and 5% in 2011/12.
Table 4.1 Regularly Funded Organisations
2008/09 2009/10 2010/11 2011/12 No. of RFO 97 84 99 94 Organisations % targeting 12% 9% 13% 16% older people % of 7.3% 8.7% 7.9% 5% participants over 60 years Source: ACNI RFO Survey 2008/09, 2009/10, 2010/11, 2011/12
A total of 664 older people benefited from RFO activities in 2011/12 (10% of all groups targeted). It is apparent that the Arts Council continues to have a role to play with regards to encouraging more arts organisations to develop their work with older people. In an attempt to encourage artistic practice and disseminate learning in this area, reflections on creativity with older people stresses:36
• The need to balance process and product as striving too prescriptively or too rapidly for an end product can result in closing down the exploratory stages of creativity too soon; • There can be a danger of relying too much on the past. Works of art are frequently biographical but, to become meaningful beyond the specific biographer, there needs
36 The Baring Foundation, (2013). After You are Two: Exemplary Practice in Participatory Arts with Older People.
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to be an element that goes beyond the past and into the present and offers a sense of future too; • The voices and imagination of older generations have a vital part to play in shaping understanding and decision-making in the public realm; and • There are no limits to the kind of art or art form that might be appropriate at any age or stage of life and choice needs to be at the heart of participatory arts processes. For many people choices diminish in older age. Therefore, responsibility remains on all involved in participatory arts to expand choices and to make choice a strong principle in all activities. 4.6 Discussion
Although not an in-depth review, this chapter highlights the increasing recognition of the potential benefits of the arts to address personal and social issues. The research suggests that particular art forms such as dance and movement may have both physical as well as mental health benefits. However, regardless of the activity it is important that individuals achieve a positive experience in order to ensure that benefits are maximised.
Examples of ongoing work in this area, highlight how activities funded through the AOPP might serve to address the programmes strategic themes of loneliness and isolation, social inclusion, poverty, health and strengthening the voice of older people. This is a relatively new concept for both arts organisations and community and voluntary sector partners and as such capacity building and training is likely to be needed in order to ensure that social justice issues are the heart of activities.
Arts Council research reveals that there are barriers to overcome, in order to increase older people’s involvement in arts activities. Whilst there are financial implications, lack of information and lack of interest also need to be tackled. Old age is typically perceived as a time of difficulty and loss which ultimately leads to increased dependency. The AOPP is one potential vehicle under which to challenge this stereotype – highlighting the benefits of life-long learning, participation and illustrating a zest for life.
Recent research by The Baring Foundation37 illustrates how the arts can help older people build and grow their confidence and feel valued. However it concludes that there needs to be more opportunities to bring together the people and organisations working with older people to share good practice and build common understanding - embedding arts activities in services and settings in order that they are part of the day to day routine.
37 The Baring Foundation, (2012). Tackling Loneliness in Old Age: The Role of the Arts.
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5 Programme Applications and Awards 5.1 Introduction
This chapter provides an overview of the totality of applications to the AOPP over the three funding rounds. Information is taken from the GIFTS database and moderator assessment notes.
5.2 Application Summary
There has been a high level of interest in the AOPP programme with 49 organisations applying for funding in the initial round, 33 applications assessed in Round Two and 45 applications received during Round Three. Overall, 120 submissions have been made (seven Round One applications were carried over into Round Two). Overall, funding of £2,660,444 has been requested to date, with an average request of £22,170.
Arts/Community Arts based organisations accounted for 48% (n57) of lead applicants. This was followed by generic community/voluntary groups (20%; n24). Almost half of the proposed projects concentrated on using combined art forms (41%; n49) – with 18% primarily using visual arts (n21) and 10% using crafts (n12).
Applications were received from each of the six counties (see Figure 5.1). The majority of applicant organisations were based in County Antrim (48%; n57), followed by County Derry/Londonderry (18%; n21), County Down (12%; n14), County Tyrone (8%; n7), County Armagh (7%; n8) and County Fermanagh (7%; n8). Three applicant postal addresses were based outside NI.
Figure 5.1 Applicant Location
Overall, 56% of applications were unsuccessful. Over the three rounds nine applications were deemed ineligible and three were withdrawn by the applicant. However, the primary reason for rejection was insufficient evidence regarding how the specific social justice issues would be addressed through the project.
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Unsuccessful applicants were deemed unable to meet the required levels of one or more of the necessary criteria. For example, some projects did not provide evidence of the need for the project and how these needs would subsequently be met, whilst others did not adequately illustrate the experience and expertise of the artists. Others were perceived to have failed to illustrate sufficient partnership working or concerns were raised over the lack, or quality of beneficiary engagement. In some cases, the applications were deemed to lack challenging activity, whilst others were overly ambitious. There was also apprehension over delivery and/or financial standing of some organisations and excessive resource requests. 5.3 Funded Applications
Table 5.1 overleaf provides summary information on the 50 applicants which received AOPP funding (i.e. name of the lead applicant, sector of interest, proposed art form and financial award). Four organisations (Golden Thread, Waterside Theatre, Play Resource Warehouse and NI Hospice) were successful in two of the funding rounds.
5.3.1 Sector of Interest
On the whole, a wide range of arts and community/voluntary based organisations (e.g. representing age, health, community relations, sports, Irish Traveller and women’s sector) were awarded grants.
The majority of the Round One awards were led by community/voluntary based organisations (75%; n12). However, in the second round the majority of awards were lead by arts organisations (69%; n11). In the final funding round the distribution of awards was balanced, meaning that overall 52% (n26) were community/voluntary led and 48% of awards were artist led.
Thirty-six percent (n18) of grantees stated community/amateur arts as their primary practice. The majority proposed the use of combined art forms (n18), whilst the remainder predominately focused upon visual arts (n11), drama (n5), crafts (n5), digital media (n2), dance (n2), traditional arts (n2), circus arts (n2) and music (n3).
Figure 5.2 Proposed Art Form
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Table 5.1 Funded Applications Primary Organisation Sector Practice Art Form Award Round 1 (16 awards) £163,052 Older People North West Age Community Arts Visual Arts £2,197 The Monday Club Age Other Crafts £2,310 Castlereagh Lifestyle Forum Age Community Arts Combined £2,429 Golden Thread Gallery Arts Other Visual Arts £2,500 Loughinisland GAC Sports Other Combined £3,825 Peace- Harmony Community Trust building Community Arts Crafts £4,245 New Belfast Community £5,040 Arts Initiative Arts Community Arts Combined Carew II Family & Training Centre Women Community Arts Visual Arts £7,407 Praxis Care Group Health Unspecified Combined £7,449 An Munia Tober Travellers Community Arts Combined £9,920 Derg Valley Care Ltd Health Health Arts Combined £12,470 Alzheimer's Society Health Community Arts Music £13,500 Northern Ireland Hospice Health Unspecified Combined £15,000 Prime Cut Productions Arts Other Drama £17,500 Upper Springfield Community/ Development Trust Voluntary Community Arts Combined £19,410 Big Telly Arts Other Drama £37,850 Round 2 (16 awards) £211,556 Dance United NI Arts Dance Dance £6,600 Age on Stage Arts Dance Dance £4,300 Engage with Age Age Other Combined £6,700 Play Resource Warehouse Arts Community Arts Visual Arts £7,600 Belfast Community Circus Arts Community Arts Circus £8,914 School Mindwise New Vision Health Other Visual Arts £9,389 Arts Care Arts Health Arts Clowning £9,783 South West Age Partnership Age Other Visual Arts £11,342 Waterside Theatre Arts Venue/Festival Drama £11,830 Company Ulster Orchestra Arts Music Music £15,000 Verbal Arts Centre Arts Literature Digital Media £15,977 Ederney Community Community Other Traditional £16,074 Development Trust /Voluntary Northern Visions Arts Community Arts Combined £17,750 Live Music Now Arts Community Arts Combined £20,797 Carn Media Ltd Arts Community Arts Digital Media £22,500 Open Arts Arts Health Arts Combined £27,000 Round 3 (18 awards) £252,899 The Mummers Foundation Arts Traditional Arts Traditional £20,152 Golden Thread Gallery Arts Visual Arts Drama £10,968 The Mac Arts Venue/Festival Combined £3,160 Big Telly Arts Other Drama £24,754 Play Resource Warehouse Arts Community Arts Visual Arts £12,980 Down Community Arts Ltd Arts Community Arts Crafts £25,030
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Primary Organisation Sector Practice Art Form Award Reminiscence Network NI Health Health/ Combined £24,913 Disability Arts Oh Yeah Music Centre Arts Unspecified Music £13,814 Forthspring Inter Community Community Arts Combined £17,396 Community Group /Voluntary Waterside Theatre Arts Venue/Festival Visual Arts £3,555 Company Workers Education Community Other Visual Arts £11,765 Association /Voluntary Loughshore Care Health Other Crafts £12,015 Partnership NI Hospice Health Unspecified Crafts £16,194 Border Arts 2000 Arts Community Arts Combined £19,800 Peninsula Healthy Living Health Community Arts Combined £5,324 Ardtea & Desertcreat Community Community Arts Visual Arts £3,714 Senior Citizens Group /Voluntary Creggan Enterprises Ltd Community Unspecified Visual Arts £16,400 /Voluntary Armagh Senior Citizens Community Community Arts Combined £10,965 Forum /Voluntary Total (50 awards) £627,507
5.3.2 Funding Awarded
Over the course of the programme, £627,507 funding has been granted. Payments range from £2,197 (to Older People North West) to £37,850 (awarded to Big Telly Theatre Company). Nine organisations received funding amounts up to £4,999, 21 were awarded £5,000 - £14,999 and the remaining twenty organisations received between £15,000 and £40,000. Between them, grantees requested funding totalling £1,167,111. Forty-four percent of this figure was achieved.
Figure 5.3 indicates that a total of £229,348 was awarded to projects using combined art forms (i.e. using a range of mediums), followed by drama (£102,902), visual arts (£88,849), crafts (£59,794), music (£42,314), digital media (38,477), traditional arts (£36,266), dance (£10,900), circus/clowning (£18,697).
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Figure 5.3 Award by Art Form
Analysis of average grant by art form (Table 5.2) indicates that drama projects received the highest average payment (n5; £20,580). This was followed by digital media (n2; £19,239), traditional arts (n2; £18,113), music (n3; £14,105), combined art forms (n18; £12,742), crafts (n5; £11,959), circus/clowning (n2; £9,349), visual arts (n11; £8,077) and dance (n2; £5,450) projects.
Table 5.2 Average Award by Art Form
Art Form Grants (n) Average Award Drama 5 £20,580 Digital Media 2 £19,239 Traditional 2 £18,113 Music 3 £14,105 Combined 18 £12,742 Crafts 5 £11,959 Circus/clowning 2 £9,349 Visual 11 £8,077 Dance 2 £5,450
5.3.3 Location of Project Activities
Figure 5.4 indicates that the majority of grantees were based in County Antrim (n28; 56% - of these 82% (n23) were in Belfast). Applicants based in County Armagh and County Fermanagh had proportionally fewer awards and one organisation (Live Music Now) had headquarters outside NI.
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Figure 5.4 Grantee Location
Postcode analysis indicates that 11 applicant organisations (22%) are based in rural areas. However, 26 organisations (52%) intended to include rural areas in their activities.
Some applicants provided the precise location of project activities, including Omagh (n2), Cookstown (n2), Coalisland (n1), rural North West (n1), Castlederg (n1), Enniskillen (n1), rural Fermanagh (n4), Dungannon (n2), Draperstown (n1) in the West and Lisburn (n3), Downpatrick (n1), Ards (n4), County Down (n3) and Belfast (n22) and Holywood (n1) in the East. In the North of the province, activities will be situated in Derry (n8), Claudy (n1), Magherafelt (n1), Ballymena (n1), Ballymoney (n2), Ballyclare (n2) and in the South in Armagh (n2), Portadown (n2), rural Lough Neagh (n1), Newry (n3), Castlewellan (n1), Kilkeel (n1), Banbridge (n1) and Lurgan (n2). Three Round Two projects (i.e. Play Resource Warehouse, Northern Vision, Live Music Now) stated that they would operate in areas throughout NI.
Twenty-six grantees (n6 in Derry, n1 in Downpatrick, n19 in Belfast (n11 of these in Inner North Belfast)) were located within Neighbourhood Renewal Areas (NRAs). Based upon the moderator reports 33 applicants (66%) specified that they would target NRAs (e.g. Alzheimer Society’s “Memories are Made of Music” project, An Munia Tober “Traveller Reflections” project, Forthspring Inter Community Group “The Art of Memory”, Reminiscence Network NI’s “Life In A Box”). This criterion was added into the Round Two assessment process in order to ensure effective targeting.
Further geo-spatial analysis is presented in Chapter Six, utilising participant evaluation material.
5.3.4 Partnership Working
Forty-two projects intended to work in partnership with other organisations (apart from their own membership) in the delivery of their programmes. For example, Castlereagh Lifestyle Forum aimed to form partnerships with Engage with Age, South Belfast Lifestyle Forum, Castlereagh Borough Council and the Community Safety Partnership. Waterside
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Theatre forged links with Ally Foyle, an organization that works with over 50 organisations in the Foyle District Council area. Additional contact has been made with the North West Rural Network, Age NI, Sai Pak Chinese Community Project, Volunteer NI, Seven Oaks Nursing Home which specialises in dementia and other local community- based agencies. Creggan Enterprises Ltd has partnered with The Rath Mor 50+ Club which has a membership of over 60 local residents.
Selected partner organisations represent a variety of sectors, to include older people, libraries, Housing Associations, community/voluntary, statutory agencies such as Health and Social Care Trusts and Councils, women’s groups, residential care, arts organisations, trade unions, education and health and social care.
The majority of successful applicants had already identified artists to facilitate their activities. However, four Round One organisations requested Arts Council assistance to identify suitable artists (i.e. Alzheimer’s Society, Derg Valley Care, Loughinisland GAC and Carew Family Centre). Ederney Community Development Trust was also subsequently provided with advice regarding the lead artist having responsibility for coordinating the project. Funded during the final round, the Reminiscence Network NI received procurement guidance and assistance and advice regarding the quality of the artist and their input to the project. Artist quality and suitability is of central importance to the Arts Council. For example, Derg Valley Care participants were uncomfortable with the initial “Theatre of Witness” approach and received support to develop an alternative.
5.3.5 Social Justice Issues
The extent to which projects aim to address issues of isolation, social inclusion, poverty, health/dementia and strengthening the voice of older people was a core criteria considered at application evaluation. Thirty-one of the successful organisations aim to address all five social justice issues through their activities (62%).
Issues of isolation and loneliness will be addressed by 49 projects (98%). Social inclusion (n44; 88%) and strengthening the voice of older people will be addressed by 45 of the projects (90%). Forty-one projects (82%) will address health/dementia within their strategic aims and 32 projects will include poverty (64%).
Table 5.3 Proportion of Social Justice Issues per Grant
Number of Social Justice themes addressed Number of Projects Five 31 (62%) Four 5 (10%) Three 9 (18%) Two 3 (6%) One 2 (4%)
The following project aims illustrate relevance to the strategic themes:
• One element of the Derg Valley Care Ltd project aims to improve the psychological and physical abilities of older people who have suffered strokes or have Parkinson's disease through a series of art therapy sessions based around pencil drawing. This will culminate in an exhibition of their work; • Newtownards Road Womens’ Group will participate in creative art (i.e. drawing, painting, collage, clay) and photography sessions aimed at improving their mental
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and physical wellbeing, reducing stress and helping them develop social networks through learning a new skill. Project Lead, Carew Family Centre stated that many older people in the area do not go outside of their own home and have lost the skills and confidence to engage in social conversation as they feel they have nothing to offer. All work will be exhibited upon project completion; • Carn Media Ltd will focus upon addressing issues of social inclusion and social exclusion and will raise awareness of concerns through an inter-generational project based in Draperstown. The medium of arts and multi-media will represent and celebrate old age at a community level and a wall mural will be placed in the local Primary School to celebrate the links made between the two groups. A DVD detailing personal accounts and interviews from the older participants and highlighting super 8 footage of the area will be developed. There will also be a short animated film produced by the local primary school children detailing what they have learned from the elderly people through the project; • Big Telly’s Spring Chickens Take Flight highlight that older people are increasingly valued because of their memories rather their contribution to the present and the future. The organisation was awarded funding in Round One to mentor selected participants as facilitators who initiated and led their own arts projects. Older people’s groups were also supported to use theatrical techniques as a means of exploring solutions to local issues. Big Telly has been awarded Round Three funding will actively target older men to enable them to present a short piece of theatre in their area. The project is motivated by the belief that the arts can combat isolation, build confidence and contribute to better understanding between generations; and • The Mummers Foundation project aims to actively promote the five UN Principles for older people in tandem with the marking of the European year for Ageing and Solidarity Between Generations 2012. A tailored programme of Fermanagh based traditional and heritage arts and crafts aimed to run alongside intergenerational workshops on ageing and reminiscence. The project focuses upon improving relationships and understanding between participation, knowledge and skill sharing and enhanced confidence and self-esteem.
The projects funded ranged from two months to around two years in duration. Three projects (i.e. Golden Thread Gallery, New Belfast Community Arts Initiative and Belfast Circus School) were funded as feasibility studies.
5.4 Discussion
The volume of applications over the three rounds indicates that interest in the programme has been sustained throughout the duration of the Programme.
The AOPP CDO, felt that the overall quality of Round Three applications had been very high. Despite increased submissions from Fermanagh and Tyrone compared to the initial Round, interest in leading AOPP projects outside Belfast and Counties Londonderry and Down is lower. However, it is intended that groups in rural areas will benefit, as evidenced in the application forms.
It is important to note that 51% (n29) of Antrim based applicants were rejected, compared to 88% (n7) of those based in County Armagh, 71% (n15) of Derry/Londonderry, 64% (n9) of Down and 75% (n6) of Fermanagh based applicants. Only 14% (n1) of County Tyrone based applicants were rejected. However, on the whole further work could be undertaken not only to encourage rural applications, but also to increase the standard of their submissions.
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When we look at awards by the sector of the lead applicant, 47% of arts/community arts organisations were successful, compared to 33% of generic community/voluntary groups. All but one of the six health based organisations received awards. Successful projects demonstrated evidence of inter-sectoral partnership working - illustrating the potential for relationship development and sharing resources and skills.
Over half of the applications specified that they were targeting NRAs. However, many more projects will recruit vulnerable individuals dealing with mental and physical health problems, life-limiting illness and low confidence and self-esteem. This will be explored via the beneficiary analysis in Chapter Six.
Those awarded funding clearly highlighted their ability to address the strategic theme of isolation and loneliness. Upon recommendation at Interim reporting stage, projects’ ability to strengthen the voice of older people theme was given more centrality and overall AOPP coverage of this theme is 90% upon closure of the programme.
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6 Beneficiary Feedback
6.1 Introduction
AOPP programme participants were asked to complete questionnaires upon entering and exiting funded activities. The “entrance” surveys collected demographic information, level of arts participation, self-rated health and wellbeing, level of community action undertaken and their expectations for the project. The exit questionnaires replicated the above and additionally collected feedback on participants’ experience of the activities undertaken.
6.2 Beneficiary Numbers
In order to eliminate double-counting, participant numbers have been obtained from the End of Project Reports (n35) which are submitted by grantees upon project completion. Monitoring Reports which are submitted at mid/end-point have also been used to gauge participant levels. However, this is recognised to be a significant under-estimation of actual activity.
Overall 4,105 participants have been registered as benefiting from sustained AOPP project activities.38 An additional 15,698 people have attended AOPP events, typically involving a showcase, exhibition or performance of participants’ work. A total of 4,404.5 session hours have been delivered across the 33 projects completing this information (on average each project delivered 133 hours usually on a weekly basis).
6.3 Data Coverage
At the time of final reporting39 a total of 1,321 entrance and 986 exit questionnaires had been received across 39 projects. The breakdown can be found in Appendix One.
Pre/post- survey completion, although encouraged, was voluntary. For example, it was agreed that the questionnaires would not be suitable for completion by beneficiaries of the Alzheimer’s Society project. It was also agreed that An Munia Tober would conduct respondent discussions rather than submit questionnaires, due to literacy issues within the target group. Feasibility studies were not required to submit participant questionnaires.
It is difficult to estimate the overall response rate, as 16 projects had not yet submitted detail on participant numbers. However, despite omitting those that were not required to submit participant surveys, based upon the reported monitoring information it is estimated that 3,782 entrance questionnaires should have been received from those who had completed End of Project Reports. In actuality, 1,120 entrance questionnaires have been received from these Grantees (30% response rate).
6.4 Respondent Profile
Analysis of the entrance survey illustrates that the majority of the respondents were female (n992; 75%) and aged between 60-79 years (n791; 60%), with an average age of
38 34 complete End Reports & 3 Mid/Final Monitoring Reports 39 10 May 2013
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70 years. The oldest recorded participant was 101 years. Figure 6.1 illustrates the age breakdown in more detail.
Figure 6.1 Respondent Age
Most respondents stated that they lived in their own home (n853; 65%), whereas 14% (n180) lived in sheltered/warden accommodation and 12% lived in residential care (n165).
Figure 6.2 Respondent Living Arrangements
Under half the respondents reported that they lived alone (n546; 41%), many between 1- 5 years (n109; 20%) or in excess of 15 years (n100; 18%). Forty-seven percent of
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respondents stated that they had a long-term illness, health problem or disability (n623) and 6% (n79) stated that they were a carer.
After geo-spatial mapping of valid postcodes (n908; 69% coverage) by the Arts Council, it was identified that 27% of those providing postcode information lived in NRAs (n249). Fifty-nine percent were located in Belfast NRAs (n146; 48%), 21% in the North West NRAs (n53) and 20% were located elsewhere (n50). Indeed 253 respondents (28%) live in the most deprived 20% Super Output Areas (SOAs) in NI (n162 of these are within the top 10% most deprived SOAs).
Sixty-two percent of participants (n563) were located in Urban areas, whereas 38% (n345) of participants lived in Rural areas. Figure 6.2 provides a breakdown by County.
Figure 6.2 Respondent by County
The spatial analysis indicates that participation levels are highest in County Antrim (n319; 35%) and Down (n226; 25%). Belfast accounted for 23% of the overall responses. County Tyrone and Fermanagh fall significantly behind. It must be noted that the spatial analysis is based solely upon participant entrance forms which have provided a valid postcode. Further analysis indicates that participation levels in these areas did increase slightly in Phase Two and Three after targeted recruitment.
6.5 Arts Engagement
Fifty-eight percent of respondents (n766) had attended an arts event within the last 12 months and had participated in arts activities (n768) over the same period. Forty-three percent (n565) had both seen and participated in the arts over the last year.
In terms of gender, 59% of females (n585) had attended an event and 58% (n576) had participated in activities. Fifty-six percent of males (n179) had attended an event and 59% (n187) had taken part in arts activities.
Figure 6.3 illustrates that respondents aged 70+ years were less likely to have engaged in the arts than younger age groups. Younger respondents were more likely to have
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attended one-off arts events in comparison to arts participation, whereas it was the reverse case for older respondents.
Figure 6.3 Non-Arts Attendance & Participation by Age
Nineteen percent (n98) of those who had not attended an arts event within the last year and 17% (n85) who had not participated in arts activities lived in a NRA. Indeed Figure 6.4 indicates that respondents living within NRAs displayed relatively high levels of arts engagement. Event attendance (n341; 61%) and participation (n358; 64%) was comparatively higher amongst respondents living in urban, rather than rural areas (n196; 57% attended an event and n185; 54% arts participation).
Figure 6.4 Arts Attendance & Participation within NRAs
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Respondents were also asked to describe their own feelings about non-regular attendance/participation in arts activities (see Figure 6.5). The analysis indicates that the primary reasons for non-participation were a lack of information about what’s on (n355; 27%), a feeling that it would be too costly (n358; 27%), lack of confidence (n265; 20%), poor health (n260; 19%) and a lack of knowledge about the arts (n257; 19%), rather than a lack of interest per se.
Figure 6.5 Respondents’ Reasons for Non-Participation in the Arts
For those living within NRAs the costs often attached to arts events/classes was the greatest barrier (n76; 31%), followed by a lack of information about what’s on (n69; 28%).
These findings contrast with the 2012 General Population Survey results, which indicate lack of interest/time to be the primary barriers for older people.
Examination of the comments provides evidence that poor mobility and access to transport (combined with the associated cost) is a significant barrier to participation for older people. Other prohibitors include fear of going out alone, the lack of someone with whom to attend and a lack of information outside their usual club activities.
“Main reason, due to health problems I need transport and assistance. I live alone in the country and don’t drive and would need to be taken. I don’t like to impose on others, everyone is so busy.”
6.6 Health & Wellbeing40
Figure 6.6 illustrates that the majority of the sample rated their physical health (n994; 75.5%), mental health (n1,058; 81%) and enjoyment of life (n1,110; 84%) as being good or fairly good. However, physical health was rated less favourably in comparison to mental health and enjoyment of life.
40 NI Hospice requested for this section to be removed for their project.
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Figure 6.6 Respondents Self-Rated Health
Increased age was a factor in rating physical health as not good (42% of 80+ respondents compared to 5% of those U50 years). Twenty-two percent of males (n70) stated that their physical health was not good compared to 15% of females (n149). Eighteen percent (n46) of those living in a NRA reported poor physical health compared to 13% (n85) of those living outside a NRA.
These trends followed for perceived mental health, with a greater proportion of males reporting lower levels (n36; 11%) than females (n72; 7%). Only 2% (n1) of those U50 years reported their mental health as not good compared to 72% (n26) of those aged over 80 years. Self-rated enjoyment of life was also negatively correlated with increasing age, although there were no gender differences.
Table 6.1 indicates respondents’ appraisal of how they have been feeling over the last two weeks, upon entrance to the AOPP project activities. The following questions are taken from the 7 item Warwick Edinburgh Wellbeing Scale (WEMWBS) which is often used to measure population wellbeing. However, rather than scoring, proportionate responses are presented.
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Table 6.1 Wellbeing - Entrance % Statement Rarely/ Some Often/All None of of the of the the Time time time I’ve been feeling optimistic about the future 15 39 46 I’ve been feeling useful 13 37 50 I’ve been feeling relaxed 11 39 50 I’ve been dealing with problems well 12 39 49 I’ve been thinking clearly 8 32 60 I’ve been feeling close to other people 10 30 60 I’ve been able to make up my own mind about 8 21 71 things Sample: Those answering the question
The findings indicate that respondents were most likely to say that they have been able to make decisions (71%; n836), feel close to others (60%; n696) and think clearly (60%; n685) often or all of the time over the last couple of weeks. However, a small proportion of respondents reported that they have been feeling optimistic about the future (15%; n170), feeling useful (13%; n145), or able to deal with their problems (12%; n134) rarely or none of the time.
Figure 6.7 illustrates responses to Hughes et al. (2004) three point Loneliness Scale.
Figure 6.7 Loneliness Scale - Entrance
The findings illustrate that feelings of loneliness – at least sometimes is quite widespread amongst participants entering the AOPP projects. Further analysis indicates that
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respondents are most likely to experience loneliness in terms of a lack of companionship (n629; 53%), in comparison to feeling left out (n549; 47%) or isolated (n551; 47%).41
Analysis indicates that living alone was connected with reported lack of companionship, feeling left out and/or isolated. Males were slighly more likely to report feeling left out (n139; 44%) or isolated (n141; 44%), than females (n407; 41% and n406; 41% respectively). Females (n473; 48%) were only marginally more likely to report lack of companionship, than males (n151; 47%). Increasing age was also related to lack of companionship with 31% (n11) of U50s reporting this compared to 50% of those aged 80+. However, although increased age was also a factor in feeling isolated and left out, respondents aged 80+ were affected to a lesser extent than the 50-79 age groups. Those rating their physical health as not good were more likely to report lack of companionship (n147; 67% compared to n468; 47%), feeling left out (n135; 62% compared to n401; 40%) and/or isolated (n138; 63% compared to n402; 40%). This trend continued for respondents rating their mental health and enjoyment of life as not good.
6.7 Social Action
Respondents were asked to outline any actions that they had undertaken in an attempt to solve a problem affecting people like themselves over the last 12 months. Table 6.2 indicates that respondents were most likely to attend a public meeting or action group (16%; n208) or get involved in a petition or event (14%; n187)42. Thirteen percent (n175) stated that they had not experienced any problems over the period.
Table 6.2 Action on Social Issues
Action Yes (%) Contacted a local radio station, TV station or newspaper 7 Contacted an organisation, Councillor or MP 13 Attended a public meeting or action group 16 Been involved in a petition, performance or event to highlight an issue 14
Upon entering the AOPP project, 61% of respondents (n812) wanted to increase their skills and try something different and improve their social life (n810). Fifty-five percent (n729) wanted to feel better and improve their confidence, 48% (n729) wanted to be creative and express themselves through the arts and 47% (n624) wanted to show others what older people could do.
“To show 'old people' are not useless, are interested in other people and events. Have a sense of fun and adventure.” [Castlereagh Lifestyle Forum]
“To start painting again after two years.” [Play Resource Warehouse]
“At my age it was good to get the opportunity to try something new and different.” [SWAP]
“Opportunity for company and few hours out of the house.” [SWAP]
41 around 33% of respondents did not complete these questions. 42 Slightly lower than average, NILT (2005) 20% of those aged 55+ had signed a petition in the last 12 months.
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“Reason to get up, get showered, get dressed.” [Upper Springfield Development Trust]
6.8 Pre- and Post-Project Comparisons
The entrance and exit evaluation datasets were reconciled on the basis of the submitted postcode and demographic information. This enabled comparisons to be made over time using the same sample of people (n503) – see Table 6.3. However, it must be noted that any pre- and post-project differences cannot be directly attributed to participation in the AOPP.
Table 6.3 Pre-/Post- Responses by Grantee
Grantee Sample (n) Age On Stage 15 Big Telly 15 Border Arts 31 Castlereagh Lifestyle Forum 10 Dance United 7 Ardtrea & Desertcreat 5 Down Community Arts 92 Ederney 37 Engage with Age 6 Golden Thread 1 Harmony Trust 12 Loughlin Island GAC 2 Loughshore Care 35 The MAC 7 MindWise 2 The Monday Club 11 NI Hospice 8 Northern Visions 15 Oh Yeah Music Centre 17 Older People NW 28 Open Arts 15 Play Resource Warehouse 45 PRAXIS 21 Prime Cut 2 RNNI 14 SWAP 6 Upper Springfield 11 Verbal Arts 15 Waterside Theatre 16 WEA 2 Total 503
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The matched pre-/post- sample profile is relatively similar to the larger respondent pool in terms of gender (76% female) and age profile (66% aged 60-79 years). Living arrangements were also aligned with the majority living in their own home (67%), 14% in sheltered accommodation and 7% in residential care. However, the matched sample was slightly more likely to live alone (43%; +2%) and less likely to have a long-term illness or disability (42%; -5%). Six percent were carers, the same as the wider sample.
Twenty-five percent of respondents (n103) lived in NRAs, compared to 27% of the wider sample and 56% (n227) lived in an urban area (compared to 67% of the wider sample).
The matched sample displayed slightly higher levels of arts attendance (n303; 60%) than the wider sample (58%) upon entry to the AOPP projects. Participation in arts projects was also higher (n312; 62% compared to 58%). As would expect those reporting attendance at events (+10%) and arts participation (+17%) within the last year increased over the project duration.
Figure 6.8 illustrates respondents’ reasons for non-participation in the arts before and after participation in AOPP projects. As with the wider respondent pool, cost and a lack of knowledge about available activities were cited as the primary barriers to becoming involved in arts activities. Upon project completion these barriers remain the most prominent, although diminished. Although reported obstacles have decreased overall, lack of confidence has seen the greatest reduction post-project (12%; -6%).
Figure 6.8 Pre-/Post- Reasons for Non-Participation in Arts Activities
The matched sample did not indicate increased involvement in social action within the last year upon completion of the AOPP.
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Table 6.4 Pre-/Post Action on Social Issues
Action Yes (%) Pre- (%) Post (%) Contacted a local radio station, TV station or 7 8 8 newspaper Contacted an organisation, Councillor or MP 13 12 11 Attended a public meeting or action group 16 14 14 Been involved in a petition, performance or event to 14 15 13 highlight an issue
Figure 6.9 illustrates that there were small increases in the proportion of people who rated their physical health (86.5%; +2%), mental health (95%; +4%) and enjoyment of life (99%; +3.5%) as good or fairly good at project exit. Similarly there were decreases in the proportion of people rating their physical health (3%; -2%), mental health (7%; - 6%) and enjoyment of life (0.5%; -4%) as not good upon completion of the AOPP project.
Figure 6.9 Pre-/Post- Health Rating
Table 6.5 provides a comparison of responses on the WEMWBS statements upon entry and project completion.
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Table 6.5 Wellbeing – Pre-/Post (%)
(%) Rarely/ Some of Often/ Statement None of the time All the time the Time Pre Post Pre Post Pre Post I’ve been feeling optimistic about the 13 10 39 33 48 57 future I’ve been feeling useful 10 6 40 30 50 64 I’ve been feeling relaxed 10 7 38.5 34 51.5 59 I’ve been dealing with problems well 10 8 40 34 50 58 I’ve been thinking clearly 5.5 4.5 31.5 23 63 72.5 I’ve been feeling close to other people 7 5 32 23 61 72 I’ve been able to make up my own 7 5 22 15 71 80 mind about things Sample: % of those answering question
As can be seen, there has been small positive changes in responses across all of the items and particularly with regards to the proportion of respondents stating that they have been feeling useful (+14%) and feeling close to people (+11%) all of the time/often (see Figure 6.10).
Figure 6.10 WEMWBS – Pre-/Post (%)
The WEMWBS can capture the full spectrum of positive mental health without floor or ceiling effects and is suitable both for monitoring trends over time and evaluating the effect of mental health promoting programmes or interventions. However, it is not designed to identify people who have a mental illness and does not a have a ‘cut off’ level to divide the population into those who have ‘good’ and those who have ‘poor’ mental well-being. A smaller sub-set of participants (n310) was developed in order to undertake WEMWBS scoring. This subset fully answered each of the WEMWBS scale components and were matched pre- and post-project.
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On a possible range from 7-35 points, participants scored a mean of 26.1 upon entry and 27.4 upon exit, indicating a slight increase. Fifty-one percent (n159) of respondents showed individual increases in wellbeing and 22% (n69) of respondents’ scores remained the same. However, in 26% (n81) of cases the scores decreased – females, those over 80 years and those living in supported housing accommodation were proportionately more likely to have decreased WEMWBS scores upon project exit. Some participants displayed significant increases with 19% (n30) adding 8 or more points to their entry score. Overall, the percentage with the highest wellbeing increased from 45% (n139) to 54% (n168).43
Figures 6.11, 6.12 and 6.13 illustrate pre-/post- project ratings on the various elements of the Loneliness Scale.
Figure 6.11 Lack of Companionship
The analysis indicates that the proportion of respondents stating that they lack companionship (sometimes/often) has decreased slightly (54%; -4%) upon exit. Similarly, the proportion feeling left out (sometimes/often) has decreased (44%; -4%).
43 Classified as a score of 28 and above.
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Figure 6.12 Feelings of Exclusion
Figure 6.13 Feelings of Isolation
Figure 6.13 indicates a decrease in the proportion of respondents who reported that they sometimes/often feel isolated (43%; -4.5%).
6.9 Project Appraisal
Table 6.7 presents the feedback from respondents at project end. The appraisals are predominately positive and indicate that the majority of respondents (n833; 84%) feel a sense of achievement, have learned new skills (n819; 83%) and feel that they have played an active role in the sessions (n800; 81%). Seventy-six percent (n753) of
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respondents expressed a desire to take part in similar activities. However the findings indicate that respondents were relatively less likely to agree that the activities have encouraged them to attend arts events (n660; 67%) nor join other groups (n465; 47%).
Table 6.7 Respondents’ Evaluation of the Project
Statement Agree/Strongly Agree (%) These sessions have really made me want to go to arts events 67 I played an active part in this project 81 I have tried and learned new things 83 The sessions have made me want to take part in more arts activities 76 I’ve been able to express myself at these sessions 75 The sessions were not well run 8 I’ve surprised myself & others by what I can do 72 These activities have given me confidence to try different things 76 I’ve made good friendships out of this project 77 I feel good about what I have achieved during these sessions 84 I have taken part in other groups and activities due to this project 47 Sample: n986
Analysis of the comments indicate that many respondents felt that involvement had met their expectations expressed upon entrance – particularly in terms of improving their social networks, learning something new and having fun.
“As a result of this project I have joined the Gateway Theatre Portadown. Absolutely loved the project.” [Big Telly]
“Good company with like minded people, free, interesting. Learned entirely new subject which I can use.” [Castlereagh Lifestyle Forum]
“Great project, liked flexibility of timing. All tutors very supportive and encouraging. Great fun. Hope it succeeds in presenting a really positive image of getting older.” [Open Arts]
“I liked this project as there was good interaction between the generations. Working towards a film and a further performance had a good impact on everyone taking part also feeding in different opinions and ideas.” [Dance United]
“I met others who went to local senior citizens groups. I go to their club now.” [SWAP]
“Meeting other people and discussing various points of view. Finding out that lots of us face the same problems and worries and that talking about them helps to share and solve them - sometimes. I enjoyed all projects I was involved in and found the facilitators very good and very patient with us. Taking time to answer and explain any queries.” [Castlereagh Lifestyle Forum]
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However, 8% of respondents (n75) stated that the sessions were not well organised44 and it appears that there may be issues in terms of session structure and support, in addition to the appropriateness of the chosen activities.
“I felt there was little encouragement in having to tackle a new art form which I knew nothing about.” [Harmony Community Trust]
“Didn't like that I couldn't participate in the art project because of difficulties with my sight.” [Upper Springfield Development Trust]
“Because I'm confined to wheelchair it was nearly impossible to take part in art activities.” [Loughshore Care]
6.10 Event Feedback
Thirty-two of the projects which submitted an End of Project Report (89%) stated that they had held a showcase event. Overall, 1,130 event questionnaires have been submitted to date (against an estimated 15,80345 event attendees recorded in the End of Project Reports; 7% response rate). These were from 20 projects:
• Prime Cut (n23): “Performances of Still Life”, undertaken over a one week period – evening and matinee. Each participant created a “museum of me” to include drawings, poetry and items of significance and audio, written and video recordings were developed and exhibited to the general public; • Golden Thread Gallery (n3): Give & Take participatory consultation event in the Golden Thread Gallery. Participants were invited to bring along an object to gift to another attendee. They were given coloured envelopes with consultation questions and paired with a younger person who would speak to them about their replies. Everyone chose an object to take home with them and older people’s main concerns were identified through the exercise; • Older People North West (n19): The final drama showcase, based on the outputs from a series of drama workshops including music and comedy sketches, was attended by 30 audience members. This was an upbeat performance, for example, incorporating overheard conversations in a doctor’s surgery. However, one participant recited a poem which she had written which reflects upon ageing and the associated loneliness; and • Carew Family Centre (n26): Taster sessions for Art Break to include an introduction to the project, background on the artists and examples of their work, discussion around activities offered and showcase opportunities and a three week exhibition of work was held at Connswater Shopping Centre, Belfast; • Praxis (n51): Individuals living in Praxis supported accommodation schemes took part in drama, dance and crafts sessions. Three dance/drama performances were held in Lisburn and Derry (n2). These were attended by families, carers and the wider community; • Big Telly (n251): Spring Chickens Take Off (n119) involved 10 flashmob events and 20 cameo performances in locations throughout NI. Performances were held in 10 post-primary schools and post-performance discussions were held. The Phase Three
44 Age on Stage (n2; 6%), Big Telly (n3; 5%), Castlereagh Lifestyle Forum (n1; 9%), Down Community Arts (n16, 11%), Ederney (n1; 3%), Mac (n1; 14%), Mindwise (n1; 6%), Loughshore Care (n10; 15%), Northern Visions (n2; 4%), Upper Springfield Development Trust (n5; 17%), Praxis (n6; 17%), The Monday Club (n4; 22%), Open Arts (n1; 4%), RNNI (n3; 14%), Older People North West (n8; 13%), NI Hospice (n3; 8%), Harmony Community Trust (n4; 15%), Verbal Arts (n1; 4%), WEA (n1; 6%). 45 Omits NI Hospice Live Music Now event
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Theatre on the Move Targeting Older Men (TOM) Project (n132) delivered almost 150 street performances using its refurbished horsebox theatre; • Down Community Arts (n210): Artfully Ageing conducted a range of artistic activities to include photography, life story drawing, intergenerational drama, ceramics and textiles. The intergenerational drama group performed over two nights. Local exhibitions were also held; • Armagh Senior Citizens Forum (n147): The group launched the Mummer’s Ball project in connection with the Armagh Rhymers at Armagh City Council and the Mummers Ball concert featured a performance by older people alongside the Armagh Rhymers. The latter event was held in the Armagh City Hotel and was attended by participants, family and friends, to include song, poetry, dancing and audience participation; • Border Arts (n40): Sound and Vision of Castlederg Townlands aimed to attract older people into the local rural heritage centre. Dance classes, music and painting sessions prepared for a final performance and celebration event; • Carn Media (n18): The intergenerational Step Back in Time project was launched in Draperstown. The project compiled stories from young and old and a booklet and DVD was produced; • Engage with Age (n7): The Travelling On Project aimed at raising awareness of older people’s transport issues launched their DVD to older people, Forums and decisionmakers; • Loughshore Care Partnership (n16): The intergenerational Get Crafty Project held a storytelling event and an exhibition at the Millennium Court Arts Centre, Portadown of the lace making, weaving and basket making outputs developed in a rural day care setting; • MindWise (n28): The AOPP exhibition for MindWise took place at Belfast's Waterfront Hall in July 2012. As well as a range of drama and physical theatre performances by older participants, an exhibition of the artwork that was produced. The event was attended by the Lord Mayor of Belfast and the Mayor of Newry and Mourne and Downpatrick, service users from MindWise centres across Northern Ireland, staff and members of the public. The event has been considered successful and MindWise are now developing further projects using this model; • Northern Visions (n37): Grand Visions incorporated film making and digital media project, in addition to ceramics, painting and storytelling for people with dementia. The project was presented and screened in the Queens Film Theatre, Belfast. It was attended by participants, older people’s groups and arts organisations; • Oh Yeah Music Centre (n26): In the Mood delivered 10 intergenerational music workshops examining how music has affected participants’ lives. A new composition was created and performed as part of a live radio Variety Show; • RNNI (n57): The Life in a Box exhibitions took place at the Playhouse in Derry, Strule Arts Centre in Omagh and Ards Art Centre. This was the culmination of concentrated artistic activity during which men constructed, painted and created a life story in three dimensional form. RNNI captured the process and utilised the photographs at the launch events. Memory Boxes were also displayed in Newtownards Library; • Verbal Arts (n68): Three showcase events were held in Coleraine, Derry and Belfast as part of the iStory project. The events included presentation of an area specific DVD of participants’ digital stories to the general public, family/friends and wider stakeholders; and • Waterside Theatre (n70): The initial AOPP grant funded a drama project. The final performance “The Paths We Take” was held over two nights and was attended by young and old. The UCAN ceramic art project was a partnership between a primary school and a residential care home. A 5 day exhibition was held in the theatre and mosaic artwork was launched in the Rectory Field Care Home.
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The majority of those completing the event forms were female (n673; 60%) and aged over 55 years (n674; 60%). However, 19% (n215) were aged under 35 years old.
Fifty-nine percent (n665) of those completing feedback had attended an arts event within the last year (n434; 38% had not), 25% (n277) were members of an arts or cultural group (n820; 73% were not) and 40% (n453) had taken part in arts activities over the period (n635; 56% had not).
Overall 723 attendees (64%) provided valid postcode information. Figure 6.14 illustrates that the majority of attendees lived in County Londonderry (n218; 30%). Thirty-seven percent (n63) of those from County Antrim lived in Belfast. Again, low numbers lived in County Tyrone (n30; 4%) and County Fermanagh (n26; 4%).
Figure 6.14 Event Attendee Area of Residence
Of those providing valid postcodes, 16% (n116) lived in a NRA, whereas 84% did not (n625). Sixty-nine percent (n80) of those living in NRAs had attended an arts event within the last year, 35% (n40) belonged to a cultural group and 54% had taken part in arts activities over the last year (n63).
Respondents stated that they had primarily attended the event because they:
• Know people who were taking part (n474; 42%); • Like this type of event (n214; 19%); • Like to support local events (n173; 15%); and • There’s no cost involved (n97; 9%).
Seventy-seven percent (n869) felt that the quality of the event was very good and 78% (n882) reported that they were very satisfied with the event.
Figure 6.15 highlights that the majority of attendees felt that the event (n899; 80%) which they had attended had met the overall aim of the AOPP - to engage and stimulate older people through the arts – a lot.
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Figure 6.15 Extent that the Event has Engaged & Stimulated Older People in the Arts
Under half of those attending stated that the event had increased their awareness of the issues facing older people (n668; 59%) a lot. However, 10% (n112) felt that they were already knowledgeable on these issues.
Figure 6.16 Extent that the Event has Raised Awareness
Sixty-nine percent of attendees (n777) stated that they felt more positive towards older people as a result of attending. However 21% (n232) stated that they were already positive (n25; 2% no).
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6.11 Discussion
Sample analysis indicates that just under half of respondents live alone and a similar proportion has a health related problem. However, it appears that respondents were more likely to have attended and participated in arts activities than the general public. Therefore respondents indicated that lack of information, associated costs, lack of knowledge and confidence were the primary barriers for them to overcome, rather than lack of interest.
Post-project analysis suggests that perceived barriers to arts engagement have decreased. However, associated costs, transport and lack of infiormation remain dominant for many. Similarly, some of the comments indicated that a few participants had found the activities weren’t suited to their physical ability and as such indicates that careful planning needs to take place in order to maximise enjoyment and participation.
Although non-attributable, the pre-/post- comparison group analysis shows positive movement in terms of self-rated health and the wellbeing and loneliness indicators. There are indications that participants received substantial enjoyment from the sessions – making new friends, learning and refreshing skills and techniques and building their confidence. However, future programme activity should place emphasis upon signposting to other groups and activities within the local area. Despite targeting in Phase Two and Three, there do appear to be gaps in participation around Tyrone and Fermanagh and difficulties in recruiting males.
Analysis of the Audience evaluations indicate a high level of satisfaction from event attendees. However, it is believed that there may need to be greater emphasis placed upon targeting audiences with little or no arts participation and/or understanding of older people’s issues. The final exhibitions and performances are the primary vehicles under which to raise awareness of the AOPP’s strategic themes and as such, must convey core messages.
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7 DU Dance: Alternative Energies 7.1 Introduction
DU Dance (NI), formerly Dance United NI, is a Belfast based dance development company which aims to advance dance as an art form, build community connections and provide access to innovative contemporary dance across communities which may have limited dance provision – challenging traditional views of the relevance and value of dance. Although Dance United’s work has primarily focused upon youth, intergenerational projects have been undertaken.
This relatively low cost AOPP funded project highlights the ability of the arts to break down barriers across the generations, as well as the value of community/artist partnerships. The informal workshop design and artist’s expertise enabled participants to really get to know individuals’ past and present. It highlights the stereotypes and prejudices which can perpetuate societal perceptions of the young and the old and the separatism which can exist in communities. Importantly, this case study demonstrates the commonalities of experience between women at different life stages and how dance can be adapted to suit physical ability to bring health and wellbeing benefits. Learning new skills, expressing ideas and emotions and showcasing your talents can and should be enjoyed regardless of age.
7.2 Project Aims & Description
The company applied to the second round of the AOPP and received an award of £6,600 to undertake Alternative Energies - an intergenerational project aimed at engaging and developing relationships between women from diverse age groups. Proposed outcomes included:
• Improved health, wellbeing and flexibility for all participants; • Increased communication between generations leading to greater understanding and cohesion; • Diminished feelings of isolation and loneliness; • Enhanced self-esteem and confidence through active participation; and • Increased knowledge and understanding of technical skills and creative ability.
The project consisted of a partnership between Dance United, Girlguiding Ulster and Clanmil Housing Association. Three local intergenerational groups were established in Ahoghill, Ballymena and Belfast. There were 67 creative sessions delivered (137 hours activity) over a 12 week period incorporating the following:
• Dance: An intensive dance workshop programme aimed to develop physical, creative and communication skills. The programme began with younger and older residents working separately with the artistic team in order to create a safe environment for self-expression and exploration. Once trust with the artistic team was established participants were introduced and worked creatively together; • Film: Two short films were made – reflecting a joint Ahoghill/Ballymena group and the Belfast group. Filming facilitated by Triplevision took place on location over a two-day period; and • Music and composition: Original music to accompany the movement and films was composed by violinist Ruby Colley.
Older participants also took part in internet/email training aligned to the project in order to bridge the technology gap between young and old. An informal “Oscars night” in
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Clanmil celebrated and showcased the films developed as part of the project. A subsequent large-scale intergenerational performance to include the participant groups was held in St Anne’s Cathedral Belfast as a result of funding from The Queen’s Silver Jubilee Trust. The performance was based upon the AOPP project and intended to link time and energy in a reflective way, using set, sound and visuals - woven together by the commissioned score which was performed live by a string quartet and choir.
7.3 Beneficiary Feedback
Overall, 60 participants took part in Alternative Energies, 30 elders and 30 teenagers. Twenty-three Entrance and 16 Exit Questionnaires were completed. Analysis of the Entrance Questionnaires illustrates that the average respondent age was 67 years (ranging from 47 years to 88 years). Nine respondents (39%) lived in their own homes, whilst the remainder lived in Clanmil supported accommodation. Ten respondents reported that they lived alone (43%), 10 stated that they had a disability and four reported that they had caring responsibilities. Only five individuals reported that they had not attended an arts event in the last 12 months, in part due to the Company’s on going involvement and encouragement. However respondents were less likely to have participated in an arts activity over the same period (n10). Figure 7.1 illustrates that respondents embarking on the project primarily cited lack of confidence, followed by poor health and associated costs to be barriers to arts participation.
Figure 7.1 Barriers Towards Arts Participation: Entrance
Post-project respondents perceived there to be fewer barriers to arts participation with only one person stating that confidence inhibited participation. Figure 7.2 demonstrates that respondents were most likely to rate their enjoyment of life and mental health as good, in comparison to their physical health. However, appraisal was positive overall.
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Figure 7.2 Respondents Health Rating - Entrance
Table 7.1 illustrates that although the majority of respondents report positively to the wellbeing scale statements, they were less likely to report feeling optimistic about the future or to feeling relaxed often/all the time.
Table 7.1 WEMWBS - Entrance
% Statement Rarely/ Some of Often/All None of the time the time the Time I’ve been feeling optimistic about the future 13 39 43 I’ve been feeling useful - 26 69.5 I’ve been feeling relaxed 13 30 52 I’ve been dealing with problems well - 26 69.5 I’ve been thinking clearly - 22 69.5 I’ve been feeling close to other people - 9 87 I’ve been able to make up my own mind about 4 9 87 things
Further examination of the datasets (via postcode matching) indicated that only seven participants were represented across both, meaning that direct pre-/post- comparison is not possible. Figure 7.3 illustrates that lack of companionship is at least sometimes an issue for almost one third of those surveyed.
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Figure 7.3 Loneliness Scale - Entrance
The analysis indicated that the majority of respondents had not taken action on local social issues over the past year. However despite low numbers, respondents reported that they were most likely to sign a petition (n8) or attend a local meeting (n5) regarding issues that concerned them.
Table 7.2 illustrates that upon entering the Alternative Energies project, participants were most interested in developing friendships, self-expression, improving confidence and trying something different as opposed to demonstrating their abilities.
Table 7.2 Anticipated Benefits from the Project
Benefit Agree (%) Better Social Life – friendships, company, fun 96 Increase Skills – learn something new, try something different 87 Feel Better – cheer you up, improve confidence 87 Be Creative – express yourself through the arts 87 Be Heard – show others what older people can do 74
Upon project completion participants were asked to evaluate their experience of the programme and the results are displayed in Table 7.3.
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Table 7.3 Respondents’ Evaluation of the Project
Statement Agree/Strongly Agree (%) These sessions have really made me want to go to arts events 69 I played an active part in this project 100 I have tried and learned new things 94 The sessions have made me want to take part in more arts activities 69 I’ve been able to express myself at these sessions 94 The sessions were not well run - I’ve surprised myself & others by what I can do 88 These activities have given me confidence to try different things 88 I’ve made good friendships out of this project 56 I feel good about what I have achieved during these sessions 88 I have taken part in other groups and activities due to this project 50
“I liked this project as there was good interaction between the generations. Working towards a film and a further performance had a good impact on everyone taking part also.”
“I liked the combination of ages from Primary school through teens and beyond to the 80s and how well each age group adapted to each other.”
“...liked the fun exercise, didn’t like the thought of outdoor filming.”
Analysis indicates that 69% of respondents have been encouraged to attend and participate in further arts events and activities. All of those completing the evaluation felt actively involved in the programme and there is evidence of personal development in terms of skills development and unlocking creativity. However, individuals were less likely to state that they had further developed friendships or participated in other groups as a result of the experience.
7.4 Stakeholder Feedback
Dance United stated that they had particularly wanted to target older women living in rural and disadvantaged areas and they felt that it was important that the young women also lived within the same communities to ensure continuity of relationships. The participants were selected as they had not traditionally access arts based activities and the majority had little or no dance experience. Similarly, a number of participants were carers for their husbands or other relatives and had seldom taken part in group activities.
“These are people who wouldn’t normally access the arts... a section of the community who are poorly served. We have to bring the arts to them, encourage them to do more and more.”
Participants felt that the workshop sessions and overall project had been professional and well prepared. The fact that participants were able to get to know the artistic team and the routines before working on an intergenerational basis was perceived to have helped develop initial confidence in the process and their own capability to deliver. Importantly, the sessions were also utilised for discussion and exploration of relevant social issues.
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“Older participants would talk about seeing young mothers in the shopping centres, on their phones, some would be very critical of their parenting skills. You know they were probably sitting in the shopping centre to keep warm...save on the electric bills same as them.”
Discussions around the meaning of “home” helped determine the eventual location of filming at Bluebell Woods, Portglenone, Slemish, Belfast Lough and Conway Mill towards the completion of the project.
The intergenerational sessions were held in the respective Housing Associations, in local schools and in community centre’s and began with the assignment of partnerships and a “getting to know you” exercise through exploration of previously prepared memory boxes.
“The memory boxes helped the person became real and opened up a lot of questions about music...families. There wasn’t any shyness, conversations just happened. It was very relaxed.”
“Bringing the young people into the sheltered accommodation brought a whole new energy to the place...to the group.”
Younger participants stated that they had initially been excited about taking part in the dance project, although they had been worried about learning the routines. Those consulted admitted that they had also been apprehensive about what the older women would be like.
“We were surprised at how young they were. You think of older people and you imagine zimmer frames. They said they had been a bit nervous too.”
A number of challenges were highlighted by the artists. These included difficulties in establishing the intergenerational groups (initially a partnership with Barnardos had been envisaged) and overcoming participant concerns.
“No one had really done any dance before. I think most were thinking “why am I here?” I was worried I wasn’t going to get enough people to participate to form the groups, as some of these were new centres that I hadn’t worked with before. People are often nervous of taking risks so we started off with simple stretches...talking, exploring and getting a sense of what they wanted.”
“The classes became very important to some of those women. There were varying levels of ability. Some were physically very able and healthy, but others were not. It’s about caring about the person, thinking what’s right for them. It’s important that everyone is able to contribute at whatever level they can.”
There were also minor disruptions to the project due to participant illness and difficulties in providing high quality costuming and film within the AOPP budget. Furthermore, the choice of an outdoors film location and scheduling precluded some people from participating. Provision was made to film some scenes inside to help counter this. Despite these difficulties it was believed that much had been gained from the experience. For example, positive changes in physical ability, social understanding and personal confidence. It was stated that the project had helped develop relationships between the partner organisations, as well as between participants. Preconceptions regarding age were thought to have been broached in a non-threatening manner and there are plans to continue contact between the groups post-funding.
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“Older people have a wealth of experience...something to offer young people. Families move around a lot and sometimes that connection between the ages is lost. This project has set up a means of communication, sharing information and insight. We wouldn’t want that to be lost.”
“It was important that the younger women understood the limitations of an older body. Sometimes young people can be frightened of a shaking body, of talking to someone who is hard of hearing. It’s important to respect limitations and work in partnership to overcome them. Physical contact is so important.”
A number of the young women consulted planned to participate in the performance at St Anne’s Cathedral and the AOPP film was to be utilised as a backdrop. The Girlguiding representative felt that the project helped the younger women understand the similarities and differences between themselves and the residents from Clanmil as well as providing a tangible benefit in terms of contributing to badge work. Those who had taken part in the filming felt that this had been extremely worthwhile, despite the coldness of the location shoot.
“It was really interesting to see how many takes it took. It’s not as glamorous as you’d think. We also got to wear costumes. It was a big commitment, but I didn’t think we would enjoy it as much.”
The Oscar Night was also believed to have been an appropriate ending to the project. Participants believed the resultant films, which reflected the women’s relationship to nature and to one another, to be impressive and provided them with a greater respect for the arts and what it can represent and achieve.
“We should be proud of ourselves. We learnt so much, it took you out of yourself for a while. When we were filming we had people coming up to us. We felt very important that these people thought we were actors. Doing the movements to music out there was so beautiful and I love seeing my name coming up on the credits at the end of the film.”
“People were surprised at what we could do. There is a problem with stereotypes of old age. You know I recently got a certificate for maths. I got it framed and it means a lot to me. As I’ve got older I’ve started to become more involved in things, I can see the change in myself...more outgoing. I think it’s never too late to learn.”
7.5 Conclusions
The following appraisal is made in relation to the AOPP’s strategic aims:
Isolation and Loneliness: Feedback suggests that there were stark contrasts between and within the three groups of older people in relation to the levels of loneliness experienced. The Ballymena group were the most outgoing and “connected” participants, whereas some Ahoghill and Belfast members were relatively isolated. Indeed survey analysis indicated that a significant proportion of respondents lacked companionship, with the majority initially hoping to increase their social networks through the sessions. Many older people living alone suffer from loneliness, but encouraging participation can be difficult as confidence or habit tends to act as a barrier. Clanmil stated that their organisation strives to encourage residents to become involved in community based activities as social interaction improves individual wellbeing and quality of life. A number of Alternative Energy participants, were carers with infrequent social interaction and the project was considered to have been particularly successful in providing a fun diversion and outlet for expression. The project partners are realistic in terms of the impact which can be achieved over the short duration of the project. However, during the
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consultations it was apparent that participants were keen to continue to push boundaries and try new experiences. The project was clearly enjoyable and had helped to encourage participants attend and engage in further arts events/activities. However, around half the participants reported that they had joined other groups as a result of the project.
Social Inclusion: Alternative Energies was a cross-community project based in marginalised rural and urban areas. It succeeded in bringing Clanmil tenants together with not only young people, but other older people living within the wider community. Most of the younger participants had not visited supported accommodation prior to the project and they praised the welcoming and friendly nature of their hosts and environment. The project focused heavily upon developing shared understanding between generations of women, with the artist facilitators establishing the trust and rapport which enable conversations to flow freely. Older consultees recognised similarities between their previous selves and their younger partners – for example the vanity in not wanting to put a coat on over costumes whilst filming despite the harsh weather conditions. The reflections indicated an understanding that despite ongoing technological and environmental changes, there are inherent traits and/or shared experiences that can act as mutual bonds between generations. Indeed older participants benefited from computer based training in order to close the digital gap which can widen with age. Participants felt that ageing does incur negative stereotypes and more opportunities for contact and joint collaborations are needed. Despite initial apprehension about their physical capability, Clanmil tenants were keen to illustrate that older people can have fun and be fun. However, the project indicates that groups need to be proactive about recruitment in order to reach the most vulnerable within the community.
Poverty: Participation in Alternative Energies was free of charge to the beneficiaries and this was believed to have been essential due to the fact that individuals were on low incomes. Participants were also invited to attend the St Anne’s Cathedral performance. It is clear that affordability is a decision-making factor which can impact upon social contact and enjoyment of life. Therefore it is important to provide low cost activities in recognition that poverty can further exacerbate isolation. The high quality workshop facilitation, costuming and resultant film would have undoubtedly been unattainable without AOPP funding. Participants appreciated the financial investment made and felt that they had been given access to a very special and unique experience. The project targeted those living in NRAs and rural communities and provided increased access to arts participation and connected older people to the wider community. Although numbers are small, consultation feedback indicated that the project helped develop increased respect for artistic talent, dance and performance. The budget for Alternative Energies was relatively small and the artist contributed above the assigned hours in order to add value to the work and improve the participant experience. For example, the informal Oscar’s Night party had not been factored into the initial budget. However, it had a lasting impact with participants as they dressed up in their formal wear for a night of celebration which showcased their work to family and friends.
Health Issues/Dementia: Analysis of the participant surveys illustrates that participants do feel that health problems can act as a barrier to the arts and presumably other activities. However, Alternative Energies adapted movements according to strength and ability to ensure that everyone had a positive experience regardless of their mobility. Indeed, just under half of the survey respondents had a longstanding illness and/or reported that their health was “good”. Participants felt that they had become more flexible through regular use of the stretching routines and noted that their preconceptions of “dance” had changed as a result of the sessions. Older participants felt that self- confidence declined with age and is often reinforced by physical limitations. Indeed, many thought that well-meaning family members can sometimes inhibit enthusiasm,
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participation and enjoyment of activities. However, participants felt that the project had led to increased confidence and self-belief and practicing and remembering the dance movements had kept their minds as well as their bodies agile. The facilitator was adept at ensuring that the routines were suitable for all abilities, to include those with mobility problems and this helped develop an inclusive and positive project experience. As the filming was completed outdoors, some older members were unable to attend. Therefore, in order to increase access, partial filming was undertaken at the supported housing venues.
Strengthening the Voice of Older People: Alternative Energies served to develop and strengthen the voice of older participants initially through pre-funding consultation and bringing different generations together to listen, discuss and work creatively. Relationships have developed between the Girl Guides and Clanmil and marginalised groups have been given the opportunity to progress towards common goals. The evaluation feedback indicates that each of the respondents felt that they had significantly contributed to and, played an active role throughout the project. Indeed, individual life stories influenced the dance movements chosen – reflecting actions carried out in previous work roles – the content of the music composition and the location of the filming projects. The films were informally showcased at an Oscar night, where family and friends were provided an insight into the intensive three month project and again to a wider audience at the Festival at Queens. Alternative Energies has undoubtedly illustrated the creative capabilities of older people through dance and movement and the high quality films communicate the powerful links between nature and the intergenerational role of women. The performance at the Festival, although not funded via the AOPP, has benefited the programme as it provided an opportunity to reach a wider audience. Alternative Energies was the first part of a three year programme and therefore the legacy has continued subsequent to the initial funding, with Dance United hoping to further develop the partnerships established.
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8 Northern Ireland Hospice: Arts for Hospice
8.1 Introduction
Northern Ireland Hospice has pioneered new approaches in palliative care and creative therapies ranging from creative arts, dance, music, creative writing and drama over the past three years. In 2006 in partnership with Arts Care NI, an Artist in Residence was appointed to work across the day Hospice and Inpatient Unit at the Somerton Road Hospice. During this time a creative culture has matured and nurtured the growth of the arts throughout Hospice services. Arts for Hospice is managed and coordinated by the Adult Hospice Care Services team who meet regularly to discuss and develop a creative programme and gallery space. However, activities are dependent upon available financial resources and due to current budget limitations it has been difficult to plan and develop the work.
This project occurred over a sustained period of time and was based within a highly clinical setting. The case study demonstrates the ability of the arts to engage and enhance mood through creative skills development and to “soften” and transform physical environments. The Arts for Hospice incorporated a range of art forms and illustrates the importance of pre-planning to ensure that physical and/or psychological barriers do not limit enjoyment or sense of achievement. The art work produced showcases the ability of the arts to communicate otherwise hidden feels, fears and strength, facilitating relationship development amongst participants and staff. The outputs of these sessions are precious, each representing unique, tangible art pieces for oneself and loved ones. This project has demonstrated the value of artistic expression to medical staff within the Hospice and two AOPP grants have enabled this area to continue and develop.
8.2 Project Aims & Description
Round One AOPP funding aimed to cement and plan an annual programme for patients in Somerton Road Day Hospice and Inpatient Unit and to introduce art mediums to Day Hospice patients in Ballymoney. Proposed outcomes were:
• Improved quality of life: empowering people to be expressive and reducing isolation through social interaction; • Reduced anxiety levels and loneliness associated with terminal illness: Increasing feelings of control and mastery in order to help reduce anxiety, depression, fear or anger which are often associated with living with a life limiting condition; • Improved communication and self-esteem: Through learning new skills the patients can feel more confident and "more understood" through self expression; and • Increased skill and activity: Involvement in Art can help overcome the feeling that they are unable to participate in activities due to their illness. Through visual arts and creative writing patients can voice their concerns and fears about the future.
The Hospice applied to the first round of the AOPP and received an award of £15,000 over a period of twelve months. The programme consisted of several elements:
• Creative Writing: Moyra Donaldson a published writer, poet and a founding member of the Creative Writer’s Network first worked with Hospice two years ago. She facilitated eight sessions, each lasting one hour (the Artist in Residence facilitated two further sessions in Ballymoney Hospice). This particular strand feeds into all aspects of the visual and dance programme;
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• Visual Arts (Ceramic Architectural Installation): The stories developed through creative writing workshops explored many aspects of the lives of service users and providers. The Hospice Artist in Residence helped patients encapsulate imagery into ceramic decal prints. The patients then applied the prints to various different coloured plates. These were mounted as a wall piece entitled ‘Plate Spinning’ and the circular plates act as a metaphor for the circle of life and its continuous journey. Each individual piece embodies something personal to the participants involved and expresses feelings they want to project. The work symbolises the fact that Hospice offers all-encompassing support and care to everyone who uses the service; • Visual Arts (Print): Seacourt Print Workshop facilitated a print project with NI Hospice Care (nine, one hour sessions). This medium lends itself to healthcare environments were physical and artistic abilities vary greatly. The visual arts element was also based upon the creative writing, with a range of prints framed and exhibited around the building. Copies were also made for patients to take home, or leave for loved ones. As part of the funding a printing press and materials were purchased and the Artist in Residence conducted around 20 one-on-one print sessions with patients at their bedsides. Two group sessions were also conducted in Ballymoney Hospice. High quality presentation aimed to give each participant and strong sense of achievement and the work was presented in a professional manner within the Hospice gallery space and through the different Trusts’ exhibition spaces (e.g. Belfast City Hospital, Musgrave Park Hospital); • Multi Media Audio Visual: Availing of new multimedia kits procured last year, Studio On Creative Learning Centre captured the poetry and stories of patients, staff, volunteers and surrounding building environment. This presented an alternative platform for palliative care patients and, or loved ones, to express creatively how they feel and what they want for the remainder of their time - celebrating creativity, promoting innovation and encouraging a fresh and enthusiastic approach; • Dance: Sheena Kelly facilitated six dance workshops, each lasting one hour over the period. Dance was tentatively introduced to patients last year, but was so successful that Hospice wanted to develop this work further. Staff also participated on the basis of research evidence illustrating that dance can help boost the morale and lower stress levels of those working within difficult health care settings; and • Musical Performances: Live Music Now facilitated three, one hour musical performances over the period.
A professional photographer was commissioned to capture the project and the outputs will be used in Hospice publicity material. An exhibition of the outputs of the project took place in February 2012.
8.3 Beneficiary Feedback
Overall, 149 participants took part in arts related workshops and a further 12 have attended a Live Music Now performance at the Hospice. All participants are existing Hospice clients. In discussion with the Hospice, it was agreed that the pre-/post- participant questionnaires would omit questions regarding health and wellbeing (i.e. Q6, Q7, Q11, Q12, Q13). All Hospice patients have advancing, progressive illness (e.g. cancers, motor neuron disease) and their health and mobility is deteriorating. Individuals are generally referred through community nurses and GPs and they attend Day Hospice or the Inpatient Unit for treatment adjustment or respite care.
Eighteen Entrance and 17 Exit questionnaires were completed and represent participants who had sustained involvement in the various elements of the project. However, further
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examination of the datasets (via postcode matching) indicated that only four participants were represented across both, meaning that direct pre-/post- comparison is not possible.
Analysis of the Entrance Questionnaires illustrates that the average respondent age was 61 years (ranging from 31 years to 92 years) and the majority were female (n11). Thirteen people lived in their own homes, three lived in a residential setting and two lived in sheltered dwellings (1 stated “other”). Only four people reported that they lived alone.
Whilst the majority of respondents stated that they had not been to see an arts event (n13) in the last 12 months, only six people stated that they had not taken part in any arts activities over the same period.
Despite low returns, Figure 8.1 illustrates that respondents embarking on the project primarily felt that their illness inhibited them from regularly participating in acts activities, rather than lack of interest. This was followed by a lack of knowledge of what’s available, lack of confidence and a belief that arts involvement would be expensive.
Figure 8.1 Respondents Feelings towards Arts Participation
Respondents who completed the post- project questionnaires also stated poor health and lack of information as primary reasons for non-participation. Cost was also cited as a factor but the proportion of respondents reporting lack of confidence as an inhibitor was comparatively low.
Those entering the Arts and Hospice Programme were asked what they hoped to gain from involvement. Analysis illustrates that participants were most interested in improving their mental wellbeing, developing friendships and trying something different as opposed to creative expression or demonstrating their abilities.
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Table 8.1 Potential Benefits from the Project
Benefit Agree (%) Better Social Life – friendships, company, fun 83 Increase Skills – learn something new, try something different 72 Feel Better – cheer you up, improve confidence 89 Be Creative – express yourself through the arts 39 Be Heard – show others what older people can do 50
Upon exit participants were asked to evaluate their experience of the programme and the results are displayed in Table 8.2.
Table 8.2 Respondents’ Evaluation of the Project
Statement Agree/Strongly Agree (%) These sessions have really made me want to go to arts events 41 I played an active part in this project 94 I have tried and learned new things 94 The sessions have made me want to take part in more arts activities 82 I’ve been able to express myself at these sessions 88 The sessions were not well run 0.5 I’ve surprised myself & others by what I can do 82 These activities have given me confidence to try different things 94 I’ve made good friendships out of this project 100 I feel good about what I have achieved during these sessions 100 I have taken part in other groups and activities due to this project 76
The results indicate that, whereas the project has not encouraged large numbers of respondents to attend arts events, a substantial proportion have reported that it has encouraged them to take part in more arts activities. It is apparent that those completing the evaluation felt actively involved in the programme and there have been social benefits, not only with regards to developing friendships but leading to involvement in additional activities. Self-reported evidence of increased confidence, achievement, self- expression and skills development are also clear.
“Enjoyed the company and made me aware of what I could achieve in an art [form] I would otherwise not have considered doing.”
“Really enjoyed the creative writing and would like to do more.”
“I enjoyed joining in with all the sessions and meeting people, new friends.”
“Stimulating and gives you an uplift with something to do.”
“I enjoyed watching my friends taking part in the activity but due to my ill health I was unable to participate a lot.”
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“I used to belong to a singing group and miss that. I would like more music and quizzes. I taught myself to knit and cross-stitch, it takes me out of myself. I can forget about any aches and pains.”
“Enjoyed using my hands for creative purposes. It’s important to have someone to show us how to do these things.”
“I think these activities are wonderful but do need assistance to help with the process and outcome and direction. These projects achieve a state of wellness in physical and mental areas that are important for anybody.”
“For me it all was very good. Only time is short to continue the enjoyment.”
Unfortunately, the research team was unable to discuss the project outcomes with participants due to ethical constraints and the lengthy approval process. However, discussions did take place with a variety of stakeholders and an appraisal of the output from the creative writing sessions highlight the potential for future development this work within the Hospice. Examples are as follows:
“I am a carrier of a burden Struggling to lighten a load Which sometimes is not all of my own I am a deep quiet pool in a forest glade I am a snowdrop Reaching for the elusive ray of sunlight To warm the winter hard soil I am a loved one warmed by the sun of love I am a mace Trying to dispel many problems I am myself.”
“I am a mother I loved looking after my home and family Now the wheels have turned and they look after me When I tell them to “stop” or to “shush” I did it for them for years I am strong – I have to be for my family If I break they will break along with me It’s very important for all of us to hold each other together I want them to have the life we always had and to keep up as long as I can.”
8.4 Stakeholder Feedback
As previously noted, the evaluation team was unable to speak directly with participants and/or family members or carers. However, a range of medical and care staff were consulted in addition to the Hospice’s Artist in Residence and the associated artists.
8.4.1 Artist Experiences
Each of the artists commissioned to work on the project had previous experience of working with older people and with one exception, working within the Hospice. The Artist in Residence coordinated and quality assured the work undertaken and briefed artists upon the clinical setting and potential difficulties that patients may have in terms of participation.
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As a result artists were flexible in terms of their delivery and clearly adapted the work to individuals’ circumstances. For example, using soft materials and mechanical print presses or ensuring that work can be anywhere in a room rather than at a table. Artists also commented upon the fact that the Day Hospice is a multi-use space, rather than a dedicated activity/social space and they reported that this also needed to be considered in terms of determining types of activities and equipment utilised. Therefore, adequate pre-project briefing, experience and training is important to the success of the engagement.
Overall, the artists involved felt that the primary benefits for participants were social in nature. The activities were perceived to act as a vehicle for interaction and social cohesion in what would otherwise be a predominately clinical setting. It was pointed out that many individuals learned new skills and techniques (e.g. drag point, release techniques in screen printing, creative movements). As a result it was believed that participants did achieve a sense of accomplishment from the artistic process and were surprised that they do have a “creative side”. It was also stated that communication between patients and the artists increased as their confidence grew.
“There’s a real benefit in learning a new skill, but it has to be failure proof so that people get something that they can feel good about and share. Many of them took things home to give as presents. That’s an essential element to ensure they produce something that they’re proud of.”
“People were surprised at what they could create and what they could say. It was very valuable for self expression...they weren’t saying it directly. The act of creation gives a sense of control and confidence.”
“You could see their confidence grow. Some people were really up for it and supported others. You’d see them doing a little bit more each time, using their arms, adding in movements.”
Those consulted felt that many people have misperceptions about the arts – feeling that they have to excel at drawing to participate, afraid of being laughed at and a general societal belief that the arts are not worthwhile. Essentially, this means that artists need to be prepared for initial reticence and at times reluctance.
“I think that they have overcome the opinion that dance and exercise are not for them due to age and health and are now more positive and confident to participate in it.”
Whilst the creative writing sessions appeared to have been most successful in providing an emotional outlet for people within a relatively short period, it was generally believed that the short-term nature of the programme and the fact that artists were not working with the same people every week, meant that their work was indicative of what might be achieved in a more sustained environment. Hospice staff were actively involved in the sessions and this was believed to have helped strengthen bonds between themselves and the patients. However, one artist commented upon the fact that some staff members were worried about unearthing hidden feelings and that training should be provided, in order that staff may understand the potential of the arts as a mechanism for emotional release/wellbeing.
“Just due to the extent of engagement that we had it was very difficult to get to the stage of self-expression.”
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“There needs to be continuity...give the artist the chance to work through. Trust is a major issue. Sometimes the staff were nervous about what might come out. It can be scary when you hit a deeper emotional level.”
Artists commented that they did increase their understanding of older people’s social issues as a result of this work. All of the artists consulted felt that there was a need for more cross-sectoral collaboration and in several instances, the project had directly influenced subsequent funding applications and partnerships. It was also believed that these types of partnerships are beneficial to artist’s professional and artistic development as well as providing valuable experience in basic engagement techniques and honing skills in group dynamics.
“I found it very moving...the courage of people, being prepared, getting on with stuff, dealing with the pain.”
“It’s definitely a project that should be pursued. There seems to be a lot of work geared towards younger people. This is important. The arts have so much to give.”
8.4.2 NI Hospice Staff Experiences
Medical staff stated that pain management is a large part of day-to-day work in the Hospice. However, the charity also offers a support system for the individual, their families and carers. The Artist in Residence works across the Day and Inpatient Unit and although there is a separate Activities Therapist, the Hospice use of arts appears to lean towards the social as opposed to psychotherapeutic model. It was believed that Hospice patients feel socially isolated due to their illness and loss of independence and, this can negatively impact upon their participation in the arts and wider activities. However, non- associated project staff commented that during the art sessions the Day Hospice is a lively, light hearted and sociable place to be, with participants and onlookers engaging with the activities. Some participants had past experiences of the dancehalls and particularly enjoyed the dance sessions, others had never seen a printing press and liked trying something different. However, the overall aim was to create a positive experience.
The different elements of the programme were thought to have worked well, with non- arts based staff and volunteers also taking part and developing relationships. However, it was felt that many people did need active encouragement to participate as many lacked confidence in their physically abilities. Due to the degenerative nature of their illnesses, staff and artists were aware of the need to adapt activities according to individuals’ capabilities. As a result, wheelchair bound patients have taken part in the dance sessions and one-to-one art sessions were conducted at inpatient’s bedsides – these individuals are typically very weak and some do not feel able to work in a group situation. Staff believed that the arts activities were mood enhancing and had a positive impact upon mental wellbeing. They also felt that individuals valued the fact that they were able to produce art pieces for their loved ones.
“We’ve worked on stencils, silk, ceramics, sketches. They like to take something away. Many feel they’ve lost whatever ability they had, so it’s good for them to produce things. Many family members have no idea that they’ve been working on the pieces.”
The Artist in Residence described how one patient had visited the Hospice on his daughter’s wedding day, before they went to the church.
“With one of her wedding photographs we developed a black and white intaglio print. The patient was able to give his daughter the unexpected present and you can imagine
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how emotional it was for both of them. I would say I have worked with about twenty individual patients in the unit with this process.”
Although, much of the arts activity is commenced with the aim of increasing interaction and helping to reduce feelings of isolation, some of the work produced has been very powerfully communicate how individuals feel about being terminally ill. Staff stated that although immensely rewarding, their work can negatively impact upon their own mental health. However, the Artist in Residence felt that she had strong support from Arts Care and within the Hospice team.
“There’s a level of honesty at this stage of the game.”
“It just comes out of people...arts is a vehicle for expression.”
“Sometimes I can’t read them as we are all so emotionally involved.”
It was reported that the work undertaken under the AOPP has led to discussions regarding end of life planning and that this is an area that Hospice would like to explore further - signalling the potential for utilising the arts to create deeper connections between staff and patients. In the past, the Hospice Music Therapist has worked with patients to develop songs/lyrics as a legacy for family members and there have been discussions around using film to communicate messages. However, this work is dependent upon obtaining funding from grant awards and staff feel that activities are not highly valued by service commissioners.
“One patient recorded a song that she used to sing for her niece...others have made memory boxes for their children.”
It was thought that the power of the arts to enable communication and self-expression is extremely important to wellbeing and it was reported that ongoing psychological pain can at times inhibit release from physical pain, even when medication has been administered. Staff felt that they had seen evidence that strength of will, can at times serve to prolong life expectancy.
“We deal with a range of palliative care patients at different stages. When they’re first diagnosed they’re thinking “why am I coming here?” Their thoughts and feelings are about leaving their family behind. “What are they going to do without me?” Others who have known for a while may have come to terms with it to a certain extent.”
Through the discussions it appeared that some patients treat the time spent on the arts as “private” time and family members often do not realise the extent of their activities or expertise until the pieces are passed on after death. Hospice staff also stated that they recognise the importance of supporting their carers group and feel that the arts could also assist in this area.
There are plans to extend the Hospice at Somerton Road and to include dedicated arts facilities (at the moment the space is restrictive and multi-use) which reflect the Hospice’s growing recognition of the intrinsic role that the arts has to play in their work. At the moment, the Activities Therapist, Artist in Residence and Music Therapist work closely and deliver group and individual programmes based upon initial assessments of clients’ hobbies and interests. However, it is proposed that there is scope for increased collaboration between clinical and therapeutic arts interventions and that the work now needs to be taken to a different level. Indeed NI Hospice were awarded a further AOPP grant to develop their work in Round Three.
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8.5 Conclusions
The following appraisal is made in relation to the AOPP’s strategic aims:
Isolation and Loneliness: It is considered that the Arts for Hospice programme has complimented the work which the NI Hospice undertakes in providing support to improve the quality of life of people with terminal illness. Consultations with staff and participants’ creative outputs highlight the social isolation, worry and fears which people undergoing end of life care regularly feel. There is significant evidence from the participant, artist and staff feedback that the chosen activities served as a bonding mechanism. For example, through sharing life stories and insights during the creative writing sessions, singing favourite songs during the Live Music Now performances and engaging in group work during the dance sessions. Upon entering the project the majority of people hoped that participation would help lift their mood, lead to friendships and fun and enable them to try out something new. The quotes provided illustrate that the sessions have served to lift people out of their immediate situations and have provided stimulus, interest and enjoyment within a clinical setting. The post-project evaluation forms demonstrate that these expectations have been met.
Social Inclusion: It is considered that this project has helped combat social exclusion as it has opened the potential of the arts to individuals who believed that they were excluded due to health grounds - as demonstrated through the majority of individuals’ reports that poor health was a barrier to participation. Furthermore, the majority of participants reported that the sessions had made them want to take part in more arts activities and/or that they had actually taken part in other groups/activities as a result, suggesting a potential impact beyond the project itself. The artists’ flexibility and experience meant that sessions have been successfully adapted to suit individual and group capacity and this needs to be central to any AOPP project. There have been good communication and support channels between Hospice staff and commissioned artists, in order to ensure that people are able to participate regardless of their physical limitations. The dance sessions in particular, have illustrated that creative movement can be achieved irrespective of mobility and conveys an important message to people in poor health, as substantiated by the participant feedback. Similarly, the Artist in Residence has worked across both the Day and Inpatient Units during the course of the project and capital purchases have been made with the grant to ensure that work may be sustained.
Poverty: This project was not specifically targeted at NRAs, rather marginalisation and poverty of experience may be more relevant to this group. However, the evaluation questionnaires do suggest that many participants felt that the arts are costly and that this is a barrier to participation. Although, direct pre-/post- comparisons cannot be made, analysis of the Exit questionnaires suggest that cost was also an issue for respondents upon leaving the project. Therefore it is felt that this potential barrier has not been adequately addressed.
Health Issues/Dementia: The programme of activities did challenge participant perceptions of what they were physically and creatively capable of doing. It is interesting that although poor health as a barrier to arts participation featured highly in the Entrance group, it was not as dominant within the Exit group (substantiated by direct pre-/post- analysis). The majority of participants reported that the sessions had given them more confidence and that they had been surprised by what they could do. Specific health and wellbeing benefits, as reported by staff and artists, included increased confidence, increased physical activity and improved concentration and memory skills as sessions progressed.
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With the exception of the dance sessions, participants have been encouraged to produce art pieces and it is apparent that this in itself has fostered a sense of accomplishment and pride. Indeed, the Artist in Residence demonstrated a strong commitment to ensuring that artist contribution and outputs were of a high quality and this is considered important in ensuring a positive experience – resulting in artwork that people are proud to gift to their family and friends.
Strengthening the Voice of Older People: As the creative writing sessions were at the core of the project, artists, participants and Hospice staff listened and learned from the views and life experiences of others. However, the short duration of some of the activities meant that long-term relationships between the commissioned artists and patients were not fully established. The exhibition of participants’ work has helped to raise external awareness of the valuable contribution which arts engagement can make to the quality of life of Hospice patients. However, it is suggested that the greatest impact of this project, has stemmed from highlighting the potential benefits of embedding this work within the Hospice. Discussions with senior staff have illustrated that they are committed to widening the current role of the arts towards more therapeutic outcomes and the second AOPP award has helped to progress this work further. The creative writing output, in particular has illustrated the value of the arts in assisting communication and self-expression and opening up conversations regarding life-limiting illness. However, although there is a good internal support system, there does appear to be a need to ensure that staff understand the rationale for this work and can cope with the depth of emotions that it may uncover. It is also important that the Hospice does not lose sight of the fact that enjoying the social aspects of arts participation can also lead to benefits in wellbeing. Not everyone will go down a therapeutic route and therefore a considered balance of activity should be adopted.
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9 Upper Springfield Development Trust: Engage in Art Age
9.1 Introduction
The Upper Springfield Development Trust (USDT) is located in West Belfast. The organisation aims to address various social and environmental issues through the imaginative use of art and engagement of marginalised groups, to include older people. The surrounding area is characterised by some of the highest levels of socio-economic deprivation in Northern Ireland. As such, there are a range of associated problems to include high unemployment, poor health, antisocial behaviour and poverty.
This case study demonstrates how the arts can be utilised to raise awareness of issues related to poverty, isolation and social exclusion within the societal and political arena. A series of groups comprising of Upper Springfield residents came together to develop art pieces which would portray their past, present and future in a high profile final showcase at the Andersonstown Barracks site. The project highlights the combined power of community activism and the arts to drive home high priority policy issues such as increasing pensioner poverty. In this instance wax tiles were embedded with the imprints of old money, coins and symbols and price tags were attached to everyday items. These were exhibited at the showcase to attending MLAs and resulted in an invitation to Stormont to discuss issues in more detail. Engage in Art Age also provides learning for the AOPP in that it demonstrates that with, ingenuity and desire, arts activity can be low cost with groups becoming self-sustaining through skill-sharing and creative use of otherwise discarded/unwanted materials.
Table 9.1 illustrates the extent of deprivation within the Upper Springfield Ward.
Table 9.1 Upper Springfield Ward: Relative Deprivation Ranking
Domain Rank Multiple Deprivation Measure 11 Income 16 Employment 9 Health Deprivation & Disability 6 Education, Skills & Training 15 Proximity to Services 529 Living Environment 107 Crime & Disorder 98 Source: NISRA, Noble Indicators of Deprivation (2010)
Overall, Upper Springfield is ranked the 11th most deprived ward in terms of multiple deprivation (out of 582 wards in Northern Ireland). It is ranked 6th in terms of health deprivation.
The Upper Springfield/Whiterock NRA consists of three broad geographic areas - Greater New Barnsley, Greater Ballymurphy and Greater Turf Lodge. According to the 2011 Census, within the NRA:
• 32.2% of people had a limiting long-term illness, health problem or disability (20.7% NI average);
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• 14% of people noted that they provided unpaid care to family, friends, neighbours or others (11.8% NI average); and • 67.2% of people stated their general health was good or very good (79.5% NI average).
In areas with high levels of material deprivation, health status is poor and a wide range of social and health related problems are more prevalent. For example, people become ill or disabled at a younger age in deprived areas compared with affluent areas and their life expectancy can be reduced. Indeed, a 2008 Healthy Cities publication 'Divided By Health: A City Profile' brought together statistics on obesity, economic inactivity and smoking and highlighted that a male born in west Belfast is expected to live six years less (71 years) than one from south Belfast (77 years).
USDT has managed a local participatory Public Art in the Community Programme for approximately 13 years. This activity has expanded over the last few years and as a result a West Belfast Public Art Strategy has been developed. Their approach to public art reflects a grassroots approach aligned to economic, social, physical and community regeneration.
The West Belfast Public Art Strategy emphasizes permanent and temporary arts. For example, land mark and iconic pieces of public art, performance based ‘Spectaculars’ at pivotal times of the year, peace wall performance based art interventions, physical regeneration and streetscape improvements.
9.2 Project Aims & Description
The Engage in Art Age project was a public art project targeting older people in West Belfast. Five participant groups were involved, three of which were already established (i.e. Forthspring, Bleach Green Sheltered Dwelling, Springfield Charitable Association, Tiermann Fold) and one group (i.e. SVP, Turf Lodge) was developed specifically for the project. Nine artists were commissioned as a result of open tender and 150 artist hours were delivered (+22 hours staff by one artist on a GAP Placement with USDT). Sixty-four individuals participated in the sessions.
The project aimed to increase the quality of life for older people by creatively exploring and addressing what it means to grow old. It explored social history in Belfast throughout the 1940s, 50s, 60s and 70s with those who lived there. Participants used art to remember personal and collective experiences and to creatively convey the roles of older people during these times. Identified outcomes were to:
• Express concerns in a collective artistic way; • Educate the wider community; • Articulate social justice issues; • Capture oral history; • Explore loss, isolation, inclusion and health issues such as dementia; and • Enable older people to have a positive role in community life and challenge perceptions of ageism.
The USDT applied to the first round of the AOPP and although they initially requested £47,520 they received an award of £19,410. Therefore the initial proposals were adjusted in order to reflect this and the agreed project comprised of workshops in visual art, storytelling, creative writing and poetry. This meant that fewer residents benefited from artistic sessions.
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• Creative Writing: For each group, eight creative writing workshops were intermingled with storytelling and visual arts workshops and these will result in a publication of poetry and prose. Participants were encouraged to talk about their feelings about growing older and to identify issues that are important to them. Short writing pieces were then developed from these insights; • Visual Arts: Fifteen workshops took place with each group. These focused upon developing skills in drawing, painting, collage, weaving, knitting sculpture, yarn bombing and wax sculpture. The knitting and crochet conducted by SVP focused upon making a large tree which symbolised growth and the family tree. Participants made the leaves which held written messages and aspirations. The Forthspring group discussed the cost of living and wax tiles were embedded with the imprints of old money, coins and symbols, price tags were attached indicating what could have been bought with the currency years ago. A large teapot and teacups were constructed to symbolise coming together over conversations and reminiscence. Grey spilling tea illustrated the perceived invisibility associated with going grey, against the vibrancy of people’s memories – an overflowing cup of memories and skills that older people have. Bleach Green participants talked about the memories of their gardens and the Andersonstown Barracks site itself. They made a patchwork of grass to cover the boulders on the site and knitted lawns were laced with knitted crochet flowers. The Tiermann Fold group learned to create sculptures out of plastic bags; and • Storytelling: Each group received eight facilitated storytelling workshops and museum service Loan Boxes were utilised to stimulate discussions. The Springfield Charitable Association group had a significant number of people with dementia and they focused upon developing memory books using photographs from magazines in collaboration with the creative writers. Images were taken from the books and transformed into bank note style graphics. These were used to trade for refreshments on the day of the showcase and were based upon the concept of the Brixton Letts currency which could only be used in the local area.
An outdoor showcase of handcrafted sculpture using the knitting, weaving and visual art produced took place on the former Andersonstown Barracks site in West Belfast and was attended by approximately 100 people (with passing footfall of approximately 500). This was followed by a storytelling session in the Felons Bar. A publication “Me and Money: Portraits in Collage” has been developed in association with participants from the Springfield Charitable Association, West Belfast. USDT have recently commissioned an artist to develop a publication of poetry and creative writing stemming from the sessions in order to creatively convey messages on social issues which affect participants’ lives.
9.3 Beneficiary Feedback
A total of 64 West Belfast residents participated in the project over a five month period.
Overall, 43 Entrance and 30 Exit questionnaires were completed and submitted across the five groups. However, further examination of the datasets (via postcode matching) indicated that only eleven participants could be confirmed across both datasets. This means that pre-/post- comparisons are extremely limited.
Analysis of the Entrance questionnaires illustrated that respondent ages ranged from 57- 91 years (average 72 years) and the majority were female (n39). Over half lived in their own homes (n24; 56%), one person lived in a residential setting and 37% (n16) lived in sheltered dwellings (2 stated “other”). Fifty-one percent (n22) of respondents stated that they lived alone, 79% (n34) stated that they had a long-term illness, health problem or disability and four individuals were carers.
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Less than half the respondents stated that they had been to see an arts event (n38; 46%) in the last 12 months and 53% (n23) stated that they had taken part in arts activities over the same period.
Figure 9.1 illustrates that respondents stated that lack of information regarding arts activities (n24; 56%), lack of knowledge of the arts (n13; 30%) and lack of confidence (n11; 26%) were the main reasons for non-participation.
Figure 9.1 Barriers to Arts Participation – Entrance
Respondents who completed the post-project questionnaires also stated lack of information as the primary reason for non-participation. Cost and lack of knowledge of the arts were also cited as factors but lack of confidence was ranked 5th, rather than 3rd as in the pre-project group.
Aligned to the high proportion of respondents reporting that they have a long-term illness, Figure 9.2 demonstrates that respondents were most likely to rate their enjoyment of life and mental health as “good”, in comparison to their physical health. However, appraisal was positive overall. Although the pre-/post- comparable group numbers are extremely small (n11), analysis suggests that although self-reported physical health deteriorated, mental wellbeing improved slightly (i.e. 8 rated “good” pre- and 9 post-project) and enjoyment of life increased for some (6 rated “good” pre- and 9 rated “good” post-project).
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Figure 9.2 Respondents Health Rating - Entrance
Table 9.1 illustrates that although the majority of respondents report positively to the WEMBS wellbeing scale statements, just over one quarter reported that they rarely/never feel optimistic about the future, nor feel that they deal with their problems well. This is higher than the wider participant sample.
Table 9.1 WEMWBS - Entrance
% Statement Rarely/ Some of Often/All None of the time the time the Time I’ve been feeling optimistic about the future 26 49 26 I’ve been feeling useful 12 53 33 I’ve been feeling relaxed 9 47 39 I’ve been dealing with problems well 26 44 28 I’ve been thinking clearly 12 47 31 I’ve been feeling close to other people 9 37 51 I’ve been able to make up my own mind about 9 23 65 things
There were small increases in the number of respondents reporting that they felt optimistic, useful and close to others often/all the time amongst the pre-/post-project comparison group. There were also small decreases in the proportion stating that they felt relaxed, able to deal with problems and able to make up their mind often/all the time.
Figure 9.3 illustrates that lack of companionship is an issue for more than half of those surveyed at least sometimes.
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Figure 9.3 Loneliness Scale - Entrance
The pre-/post-project comparison group indicated a minor decrease in the proportion reporting a lack of companionship and feeling left out. However, the proportion stating that they often felt isolated, remained stable.
Respondents were more likely, than the wider participant sample to have acted upon social issues over the last year and were most likely to contact local representatives for help (16%; n7), or attend a local meeting (20%; n8) regarding issues that concerned them.
Fifty-eight percent stated that they hoped to achieve a better social life as a result of attending the sessions, with lower proportions stating that they wanted to “Be Heard” and show others what they could achieve.
Table 9.2 Potential Benefits from the Project
Benefit Agree (%) Better Social Life – friendships, company, fun 58 Increase Skills – learn something new, try something different 42 Feel Better – cheer you up, improve confidence 40 Be Creative – express yourself through the arts 47 Be Heard – show others what older people can do 37
Upon exiting the project participants were asked to evaluate their experience of the programme and the results are displayed in Table 9.3.
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Table 9.3 Respondents’ Evaluation of the Project
Statement Agree/Strongly Agree (%) These sessions have really made me want to go to arts events 67 I played an active part in this project 90 I have tried and learned new things 93 The sessions have made me want to take part in more arts activities 83 I’ve been able to express myself at these sessions 90 The sessions were not well run 17 I’ve surprised myself & others by what I can do 77 These activities have given me confidence to try different things 77 I’ve made good friendships out of this project 73 I feel good about what I have achieved during these sessions 87 I have taken part in other groups and activities due to this project 53
As with the wider sample, respondents were more likely to say that the sessions have encouraged them to take part in similar activities, rather than to attend other arts events. The feedback indicates that the majority of respondents felt that they had learned new skills and were able to express themselves through the tasks. However, just over half of the respondents reported that they had taken part in other groups and activities as a result of the project. Specific comments around their likes and dislikes include:
“Companionship, laughter, challenge, there were no negatives.”
“I enjoyed everything about the project I got to reflect on my life and what things mean to me.”
“I loved meeting people and really enjoyed the company as I live alone.”
“I loved taking part and being able to tell my story through pictures that meant something to me. Brilliant group of artists love to work with them again.”
“Time when not on call, learning new things, meeting new people, having a life during the few hours here.”
Seventeen percent of respondents (n5) stated that the sessions were not well run and examination of the feedback suggests that this may have been due to the fact that some people felt unable to fully participate as a result of the chosen activities.
“Struggled due to health to do as much as you would like.”
“Didn't like that I couldn't participate in the art project because of difficulties with my sight.”
“Project more for women than men.”
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9.4 Stakeholder Feedback
9.4.1 Participant Experiences
A discussion was undertaken with a number of female participants from the USDT- Forthspring group, located on the Springfield Road/Shankill interface. They indicated that they had a great deal of experience of art participation and had skills in knitting, crochet and lacework. They are members of a weekly Golden Girls group at Forthspring and regularly enjoy crafts activities.
“You can’t do anything wrong. Everyone has their own way of expressing themselves. Even if you have the same things to work with no two art pieces will be the same.”
They felt that taking part in arts activities can lead to increased confidence and self esteem, not only as a result of mastery, but also due to the fact that you are speaking with others in a social situation. However, they felt that lack of confidence and poor experiences of art at school are hurdles that need to be overcome.
Indeed one participant spoke about her reservations regarding the creative writing sessions and her surprise when she found that she enjoyed it and, indeed discovered a hidden talent.
“It really wasn’t what I wanted to do. I’m dyslexic and I have a real fear of writing in front of people, but it all came into place and I wrote really personal things...you know what my dad had said to me. I really have come out of my shell. I really hate to have to write but I could do it with some help. It surprised me the things that came out.”
The participants stated that, although they enjoyed the various elements of the project, the candle making workshops had been a favourite within the group. This had been a totally new art form and also was believed to have had therapeutic qualities.
“[Artist] showed us different methods...making flowers, twisting it round for the stem, our own creativity really came through.”
“The smell of them was amazing. It was very relaxing...soft. I have arthritis and the heat of the wax takes the swelling out...soothed my hands.”
Those consulted also described the symbolism behind their work and the imprinting of wax “money” to highlight the increased cost of living for older people.
“Many of us are living with our head barely above water.”
They believed that the showcase at the Barracks site had been an effective means of bringing the various groups together and highlighting the issues which are important to older people. They also felt that the artwork produced had been of a high quality. However, a number of personal stories regarding how local people had coped during the Troubles had not been showcased at this event and participants had felt that this would have been particularly poignant given the history of the location.
The participants stated that the majority of them will meet as a group, despite the AOPP project ending.
“We’ve now got a group together on a Tuesday...knitting sewing embroidery. It’s good to get together and give a bit of support and encouragement. You do things that you
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wouldn’t do on your own...it opens up a whole new world to you...see other things and together say “come on and give it a go.””
“We do share skills...we don’t have the money. Every now and then we’ll put something in the [shared resource] cupboard but it would be great just to have a wee bit of ongoing money to cover costs, or get someone in to show us how to do something. We don’t want to stop.”
“People do get a bit down. We will text each other “Where are you? Keep each other right.”
Those consulted stated that they do not have experience in completing grant applications and therefore largely rely on other larger organisations to act as lead partners. However, they would like to undertake an intergenerational project with the two local primary schools, perhaps teaching them traditional skills. They believed that the arts was a useful tool in helping cross-community engagement and stated that Forthspring had been used as a basis of a play about the green (interface) gate by Tony MCauley and they expressed a desire to do some arts activity along the interface wall.
9.4.2 Artist Experiences
All of the artists spoken to had previous experience of working with older people and they felt that specific considerations do need to be given to this age group (e.g. physical ability, visual and hearing impairments and potential memory loss). None of the team had specific experience of working with people with dementia and the artists working with Springfield Charitable Association stated that they had adapted their initial objectives significantly upon meeting with the group. Although the sessions worked well, it was suggested that previous training would have been beneficial (two artists subsequently attended the AOPP Dementia Awareness training).
Those involved felt that they had learned a lot about the types of issues which older people are facing as a result of the project and its interactive nature. The creative process was also thought to have served as a distraction for many participants and a lot of personal stories of childhood experiences and current family problems were told during the process.
“They were very critical of the way they were being treated...didn’t like the tag of being old. They spoke about being worried about money, going into a home, hospital waiting lists, the price of heating...they felt they had worked all their lives and had nothing at the end.”
“I wasn’t aware of the Barrack’s site and its significance. The men told of being taken to the Barracks and how they couldn’t imagine changing it into something positive as it had been so negative. It was interesting to see the history of the space and the community.”
“It’s really made me understand how important day centres are. They’re meeting points. A lot of their lives seem to be based around routine. It must be so lonely for them.”
It was believed that the project had primarily addressed social isolation and loneliness, particularly the SVP group which had recruited individuals with no previous history of attending group activities. This group consisted of vulnerable older people and it was reported that their confidence and level of social interaction had increased considerably as a result of participation. Similarly, the participants from Bleach Green Sheltered Housing, although they live in the same building had not met socially before entering the project.
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“They really improved their confidence, talked to each other. As their skills improved they became more articulate.”
“One of the group was really good at knitting. She started to show other members how to do it. Another showed how she was involved in card making. Before they would have thought “anyone can do that” but now they really did see it as a skill that people were interested in.”
“There’s been huge benefits. They bonded as a group, made something that they could take away. The books have been handed out round the families. The Foreward’s by Gerry Adams. It’s amazing. They’re so proud of themselves and each other.”
“Working with wax was something new to them. They made impressions of the old money. They really enjoyed working with that medium...it was warm and scented. I think they found it very therapeutic.”
It was suggested that there are class barriers to arts participation, with many working class residents in West Belfast feeling that they can’t afford arts activities or that they aren’t relevant to them. It was believed that this project’s success was due to the fact that it reflected real issues and lives.
The artists stated that the scale of outputs required (especially the knitting and crocheting groups) within the tight timeframe had been ambitious and it was hard to keep people’s interest when they couldn’t visualise the end product. In hindsight the visual artists felt that it would have been better to start off with smaller items at an earlier stage in order that participants could feel a sense of accomplishment and purpose from the outset. However, engaging in this art form was believed to have helped develop and maintain fine motor activity.
Similarly the artists working on the memory books believed that the visual prompts did help trigger memories and that the storyteller had worked with individuals to glean and capture more information. Memory loss was quite pronounced in this group and the artists reflected that the production of the books each week would obtain recognition. Improvements in some fine motor skills, such as cutting along a line and hand-eye coordination were also noted with this group and the repetitive nature of the tasks seemed to suit their needs.
“The visual prompts really helped with the dementia. They would really just be flicking through the magazines not reading but looking. We would encourage them to talk...”What’s this?” Why’s it important to you?”
It was also proposed that producing the various pieces of artwork, alongside the storytelling and writing had enabled participants’ voices to be heard. It was believed that the showcase had been well attended by the press, local political representatives and family members. However, the actual showcase location hadn’t been agreed at the outset and the artists felt that it had been difficult to design for the space. Also the event was held in October and some participants were unable to attend due to the cold weather conditions.
“Old people have a huge amount to say. There is a need to create situations for them to talk and write more and to feel they are part of the world, rather than that they’ve dropped off the end of it.”
There were also a number of physical health challenges to overcome as some of the participants had arthritis and eyesight problems and despite the introduction of larger
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needles and thicker wool a number felt that they were not able to continue. Some of the males also indicated that they weren’t interested in taking part in the knitting. It was believed that this may have been avoided with greater pre-project consultation and providing individuals with the choice to attend workshops according to their interests and physical ability, rather than geographical location.
Overall, the artists consulted believed that the project would have benefited from a more generous time-frame as participants were really only beginning to see the value of the work and their confidence was still growing. It was stated that the creative writing sessions could have extended into a drama project and this might have raised the profile of the work considerably.
9.4.3 USDT Staff Experiences
Staff indicated that many participants had never been involved in arts activities prior to this work. However upon exit, each of the groups has expressed a keen interest in continuing and developing further projects. The informal nature of the sessions was believed to have created a supportive and friendly environment within which people felt able to talk about their lives and hopes and fears for the future. The storytelling sessions in particular, were thought to have helped to break the ice and help identify shared experiences. Indeed, although people may have been working on individual pieces they were all part of the larger installation or publication.
The collaborations between the artists was believed to have proven extremely successful in terms of gaining the most out of the participants and there are plans to utilise this approach in other projects. However, it did mean that there was an increased need for coordination and complex scheduling and it was stated that the organisation has learned a great deal in terms of managing a large-scale creative team.
“We adopted so many different approaches with a variety of artists...creative teams. Those dynamics really brought things to life. It really did enhance this programme.”
USDT stated that they were delighted with the feedback which the project has received and their End of Project Report and participant evaluations contain many favourable quotes from the beneficiaries.
“They’ve all asked for more. One of the groups are still meeting. They are doing some art and writing unfacilitated.”
Those involved were believed to be isolated and marginalised within their communities and this was believed to have come across in the initial development stages and in subsequent group work sessions. Therefore being with people who understand and share the same feelings was thought to have been extremely important on a social level. It was stated that a variety of skills have been developed (and resurrected) as a result of the project, with many participants embarking on homemade Christmas presents for loved ones. Additionally, it was believed that a number of participants have increased their confidence and improved their communication skills through the group discussions.
“These are people who say “I’m not creative. I was never any good at art in school.” But when you get professional artists [working with groups in the community, people] start to realise they are creative. Maybe they don’t see writing as being art, but once they get exposed they start getting interested.”
“We brought [the] arts to groups who usually wouldn’t have had these opportunities. We’ve engaged new audiences.”
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The AOPP was believed to have complimented the existing community development approach to the arts which the USDT has adopted. Staff felt that they now understand older people’s issues in more depth and as a result wish to develop further work in this area and plan to submit an application for the final round of the AOPP.
“They were talking about issues of poverty...no money for heating, going to the shopping centres to keep warm, being frightened of winter, how they sat in one room to keep warm. It [was a learning experience] for the artists also.”
It was suggested that the arts can be a powerful means of highlighting social issues within the public arena – providing a platform to challenge existing stereotypes of older people. Staff believed that the project had secured a strong media profile, with the MP for West Belfast launching the Public Art Showcase at the Barrack’s site and Olivia Nash (AOPP Ambassador) attending the event.
“It did make a difference [Olivia Nash is] a household name. It endorsed the quality and importance of the work. She brought her positivity to the event and put her heart and soul into it.”
Follow-up activity is also planned as Paul Maskey has agreed to host a visit to Stormont for the participants to discuss the issues arising. Similarly, it is intended that the proposed creative writing publication will act as a lobbying tool for increased local resources. USDT stated that the art works will be exhibited again and the willow wall of wax tiles is being made into a permanent piece of art.
9.5 Conclusions
The following appraisal is made in relation to the AOPP’s strategic aims:
Isolation and Loneliness: Analysis of the participant forms illustrate that a significant proportion of the people taking part in this project feel lonely at least sometimes. The evaluations do indicate that people have found the sessions, not only an outlet for creativity, but for increased companionship and social interaction. The analysis indicates that a lack of information about available arts activities is a significant barrier for uptake and many feel they find out about things by chance. The project has assisted the establishment of a new group, who continue to meet up post-project. It has also served to increase bonding within existing groups through reminiscence and storytelling. The fact that the staff in the partner organisations (and participant carers in Springfield Charitable Association) also joined in the sessions has enabled shared learning and experiences to take place.
Social Inclusion: The conversations illustrate that participants do feel that society discriminates against them due to their age. They spoke about labels (“old biddies”, “duffies”), made to feel useless, not being listening to and not being respected. The social history aspect of this project, enabled exploration of what life was like through the decades. However, it is a stark contrast to the way in which people now feel. It is considered that the project has succeeded in highlighting these issues through the two publications. The work with the Springfield Charitable Association group which had a high proportion of people with dementia is a poignant reflection of the individual behind the illness. However, it is believed that more pre-planning could have taken place to ensure that the art forms themselves were inclusive as some people weren’t able to participate due to their physical health.
Poverty: This project was conducted within an area of significant socio-economic disadvantage and this was reflected in the group discussions about the difficulty they
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have living on pension credits, the increased cost of fuel and children asking about their wills. These concerns were effectively reflected in the overall art work, with the “currency” conveying the increasing cost of living. The project also incorporated a good relations element and explored issues relating to shared space through utilising Forthspring cross-community group and holding the showcase at the previously contested Anderstown Barracks site. Additionally, Andersonstown has been targeted for development as an economic hub and gateway to West Belfast.
Health Issues/Dementia: As noted previously a significant proportion of respondents reported that they suffered from poor health. Whereas the analysis is limited in terms of sample size, there is an indication that there were slight improvements in self-rated mental health and enjoyment of life for some people upon project completion. Confidence levels do seem to have improved and participants state that they have enjoyed the companionship and trying something different. Artists also reported that some individuals demonstrated improvements in their fine motor skills as a result of the tasks. Similarly, the memory books worked really well and triggered recognition amongst the participants with dementia.
Strengthening the Voice of Older People: The project has served to highlight the issues which are important to older people at community level. USDT, the project partners and artists do feel that they have a greater understanding about what it’s like to be older and the importance of lobbying to meet these needs. The planned publication will leave a legacy on paper. However, it is important that the issues uncovered are raised at political level. The showcase at the iconic Andersonstown Barrack’s site was extremely successful, in that it was covered in the mediums of print, film and radio broadcast – widening the audience beyond family members and the West Belfast community. The work of the project secured the support of both Paul Maskey and Gerry Adams and most importantly led to an invitation to Stormont to discuss local issues. It is crucial that the group receive support to achieve the maximum outcomes from this opportunity. USDT also plan to exhibit the art work and/or include it in a public arts trail and this will be an important factor in raising awareness of what older people can achieve and contribute to their communities.
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10 Ederney Community Development Trust: Golden Years Programme
10.1 Introduction
Ederney is a small rural village and townland in County Fermanagh. With a population of around 550 people, Ederny lies in the Glendarragh River Valley close to Lower Lough Erne and Kesh. The Townhall is one of the principle buildings along the main street and after years of dereliction it was taken over by Fermanagh District Council and redeveloped for community use following local lobbying. Today it is fully operational as a village community centre accommodating for and providing facilities and services for the community. It is the base for Ederney Community Development Trust (ECDT) which was established in 1990 with the objective of promoting social and economic development and the advancement of education and training.
This case study illustrates the transport barriers which many older people living in isolated rural communities may face in terms of arts engagement and participation. This AOPP project provided sustained opportunities to try and develop skills and abilities across a range of traditional and non-traditional art forms. It created a buzz within Ederney and the surrounding neighbourhoods and demonstrates how the arts can serve to promote community cohesion and improve community spirit as well as providing individual participant benefits – as indicated via substantial improvements in wellbeing. This project has undoubtedly raised the profile of older people within the local area and led to improved social networks as supported living and residential care venues were utilised for activities and informal transport sharing arrangements were instigated by participants. The variety of art forms on offer, extensive promotion/marketing, programme duration and signposting to other activities has provided a good practice model of community ownership.
10.2 Project Aims & Description
ECDT applied to the second round of the AOPP and received an award of £16,074 for the Golden Years Programme. The aim of which is to offer new creative, inspirational programming at grass roots level in order to bring older people from different backgrounds together. Proposed outcomes include:
• A programme which tackles isolation and loneliness; • Inclusion of people with specific health problems such as dementia; • Development of new skills and confidence; • Decrease in intergenerational stereotypes; and • Promotion of traditional arts and skill sharing.
The project consisted of a partnership between ECDT and a range of local groups and service providers to include Oaklee Drumakeen Court Tenants and Senior Citizens Group, Creamery House Day Centre, Mandelin Court Day Centre, Fermanagh District Council Arts Officer, Lack Women’s Group and Colaghty Senior Citizens Group. The project was conducted over a 40 week period with 160 creative sessions delivered (240 hours activity) incorporating the following:
• Dance: Dylan Quinn Dance facilitated 10 weekly process based dance classes in Ederney, Lack, Kesh and Collaghty. Each workshop explored movement techniques and taster sessions in hip hop and contemporary dance;
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• Traditional Singing and Storytelling: A 10 week programme aimed to teach the art of folks singing in the traditional Fermanagh ballad style, intertwined with chat, yarns and banter within a ceilidh style programme. These sessions were facilitated by Gabriel McArdle and Seamus MacAnnaidh and incorporated an outreach element in day care centres; • Arts and Crafts: A multi-disciplined arts initiative for up to 120 people to run throughout the year culminating in a photographic archive and visual arts exhibition in the Townhall. This was facilitated by a range of artists: Jon Kelly, Genevieve Murphy, Helen Sharp and Harriet MacMillan; • Drawing and Painting: Artist Helen Sharp facilitated a 15 week programme of sketching and drawing exercises ranging from still-life, to portraiture, landscape, oil painting, digital photography and watercolour; • Willow/Straw and Art: Jon Kelly facilitated four workshop artists primarily utilising willow to create sculptures; • Textile and Fabric Art: A 15 week programme to include heat transferring, sewing, collage and beading facilitated by Harriet MacMillan. This resulted in individual and collaborative artwork; and • Recycled arts and Crafts: Genevieve Murphy led this programme to create sculptural bags, decorative vessels and papier mache animals finished with specialist paint techniques.
Upon completion, an exhibition of Golden Years work was held in Ederney Townhall.
10.3 Beneficiary Feedback
Overall, 104 participants took part in the Golden Years Programme, with 221 people attending the end of project exhibition. Thirty-eight Entrance and 37 Exit questionnaires were completed. Examination of the datasets (via matching of demographic information) indicated that 37 participants were represented across both stages.
Analysis of the Entrance Questionnaires illustrates that the average respondent age was 66 years (ranging from 59 years to 78 years). The majority of respondents (60.5%; n23) lived in their own homes, or supported accommodation/residential homes (34%; n13). Eleven respondents reported that they lived alone (29%) and 63% (n24) had a disability/health problem. Arts engagement was relatively high with 66% (n25) having attended an event within the last 12 months and 63% (n24) participated in arts activities over the same period. Figure 10.1 illustrates that respondents embarking on the project primarily cited financial reasons for non-participation in the arts, followed by poor lack of knowledge and information about activities.
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Figure 10.1 Barriers to Arts Participation: Entrance
Post-project respondents perceived there to be fewer barriers to arts participation (n1 lack of interest; n1 lack of knowledge; n1 lack of confidence). Figure 10.2 demonstrates that respondents were most likely to rate their enjoyment of life and mental health as good, in comparison to their physical health.
Figure 10.2 Respondents Health Rating - Entrance
Although the sample is small, comparison of pre-/post- project health ratings show a positive change across all three variables.
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Figure 10.3 Respondents Health Rating - Exit
Although the majority of respondents report positively to the WEMWBS wellbeing scale statements upon entrance, they were less likely to report feeling useful often/all the time in comparison to the other indices.
Table 10.1 provides a comparison of respondent responses on the WEMWBS questions upon entry and project completion.
Table 10.1 WEMWBS – Pre-/Post (%)
(%) Rarely/ Some of Often/ Statement None of the time All the time the Time Pre Post Pre Post Pre Post I’ve been feeling optimistic about the 14 - 78 11 8 89 future I’ve been feeling useful 31 - 63 9 6 91 I’ve been feeling relaxed 17 - 72 9 11 91 I’ve been dealing with problems well 19 - 64 9 17 91 I’ve been thinking clearly 8 - 67 3 25 97 I’ve been feeling close to other people 17 - 77 3 6 97 I’ve been able to make up my own mind 9 - 77 3 14 97 about things Sample: % of those answering question
Although pre-/post-project comparison numbers are low, there were significant positive changes across all of the WEMWBS indicators amongst the comparison group participants. Figure 10.3 illustrates that upon entering the project the majority of participants reported that they felt a lack of companionship at least sometimes.
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Figure 10.3 Loneliness Scale - Entrance
Figure 10.4 Loneliness Scale - Exit
The pre-/post-project comparison group indicated a decrease in the proportion often reporting a lack of companionship (-10%), feeling left out (-12%) and isolated (-24%).
The analysis indicated that few respondents had acted upon local social issues over the last year. However despite low numbers, respondents reported that they were most likely to have contacted the local media (n5) regarding issues of concern.
Upon exit participants were asked to evaluate their experience of the programme and the results are displayed in Table 10.2.
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Table 10.2 Respondents’ Evaluation of the Project
Statement Agree/Strongly Agree (%) These sessions have really made me want to go to arts events 97 I played an active part in this project 97 I have tried and learned new things 97 The sessions have made me want to take part in more arts activities 97 I’ve been able to express myself at these sessions 81 The sessions were not well run 3 I’ve surprised myself & others by what I can do 97 These activities have given me confidence to try different things 97 I’ve made good friendships out of this project 97 I feel good about what I have achieved during these sessions 97 I have taken part in other groups and activities due to this project 95
The survey feedback has been extremely positive. However, individuals were relatively less likely to agree that they had been able to express themselves at the sessions. The majority of comments praised the artists and requested more activities such as those they had participated in.
“A thoroughly wonderful opportunity to make art and new friends.”
“Made some lovely sculpture, enjoyed chatting and company.”
“The classes were a good length, lovely new friendships were formed. Great!”
“More please! Great to get out!”
10.4 Stakeholder Feedback
Oaklee staff felt that the Golden Years Programme had provided a great deal of excitement and interest within Ederney village and surrounding rural communities. Although there were various senior citizens groups within the area it was felt that funding was hard to achieve and there would have been little possibility of conducting a coordinated large scale project without the AOPP.
“It was quite a big project and was well promoted amongst the senior citizens. People really enjoyed it and it brought people together – ones that wouldn’t normally be seen together were interacting and chit chatting. It was all very new to them and they really wanted to take part.”
Ederney was described as being a very tight knit community with high levels of community spirit and support. However, it was felt that Golden Years had been unique in that specifically targeted older people and highlighted their continued contribution to village life.
“It’s important to have these programmes. At that age people can feel shut off, a bit useless. Sometimes it’s an effort to get washed and dressed. This brought out the
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creativity in them...we definitely uncovered hidden talents and skills that we didn’t know existed. Some of them didn’t know they existed either, even the artists were impressed.”
The participants consulted had taken part in a full range of activities on offer. The traditional storytelling and ballads were believed to have worked particularly well at developing a common bond amongst those attending as well as providing a social outlet.
“It was great, we told old stories, sang Irish ballads, the craic was great. I thought it would be really slow at the start but it was just the opposite. The laughter we had...we’re still talking about it.”
The varied programme of activities meant that there was something to interest almost everyone, with residents encouraging one another to attend sessions and boosting each others’ confidence. Despite the fact that activities were spread over a number of sessions, individuals expressed a need for more prolonged programmes in order to develop their expertise further.
“I really looked forward to the classes. I had painted with oils before but not watercolours. I wasn’t at all confident. I didn’t think I’d have the skills to do something like that but because it was nearby I thought I’d give it a go.”
“I did the clay and basket making. With the clay we made moulds and tiles out of plaster of paris. You really would need longer to build up the skills...four weeks just wasn’t enough.”
Individuals felt that there had been health and cognitive benefits in addition to social benefits, particularly with regards to some of the crafts and dance sessions.
“The basket making was good for movement and the dance always got big numbers. We didn’t want it to stop. It was getting us fit...upper body and back movements...but the music was great. We were all terrified at the beginning, but the teachers were great. They repeated everything each week several times and we started remembering it better.”
“You know it gave you more confidence in your body. We were all in it together...gave each other confidence.”
The project also provided outreach to local day care centres and residential care. One group consisted of older people with learning disabilities who benefited from the storytelling and traditional music sessions. This work was believed to have been rewarding although challenging. The artist facilitators had previous experience in this area and learned to gauge the interests and needs of the participants, adapting their programme to suit. Indeed the artists felt privileged to be able to develop relationships over a sustained period of time, rather than through infrequent sessional work.
“The groups were all different, we had to establish ground rules...to listen, not to interrupt...some people couldn’t speak at all. The carers sat in with us. They knew it was very important to the participants, glad to see people coming in. Given time you do see a response...a recognition...a bit of change.”
“My mother had Alzheimer’s so I knew about the impact of music. We used that quite a bit and we were used being in [residential care] environments.”
The project was believed to have strengthened links between local community groups and Fermanagh District Council Arts Development, with funding being sought for further
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dance and movement projects. Additionally the project led to new artist collaborations and learning, some of these have continued past the Golden Years Programme.
10.5 Conclusions
The following appraisal is made in relation to the AOPP’s strategic aims:
Isolation and Loneliness: For some, involvement in Golden Years provided a reason to enjoy the company of people that they knew to see but maybe hadn’t struck up a conversation with. The activities were widely marketed and brought together residents within several rural villages and hinterlands. The arts have successfully provided a vehicle for increased social interaction and have communicated the importance of community action in meeting local needs. The overall feeling was that Golden years had created a buzz throughout the area and between peer groups by developing a calendar of events. It also targeted rural residential and day care centres, encouraging participation from people with few family ties or little external contact. The evaluation feedback lends evidence to the fact that people have felt encouraged to access the arts.
Social Inclusion: Participants stated that although they dearly loved living within the local community, its rural location meant that access to social activities was difficult as many did not drive. Rather residents relied on family members or organised transport through local groups. Participants stated that they looked forward to the sessions and believed that the classes attracted a diverse range of ages, gender, religion and abilities. The project has supported community cohesion both within Ederney and between the surrounding areas, through sharing of venues and active involvement in traditional art forms which served to uncover common heritage. Aspects of the programme such as set-dancing, storytelling and traditional singing were designed to support group reminiscence.
Poverty: The location of the project is one of the most disadvantaged in Fermanagh due to its marginalised rural and economic status. Participants reported that they couldn’t otherwise have afforded to attend dance or painting classes and valued the fact that the programme had been heavily subsidised. Some of the artists were employed after the workshops ended and others provided additional sessions free of charge. Poor transport infrastructure was considered to be a barrier to social integration and independence within this rural community and participants welcomed the fact that activities were held locally, with only a small affordable cost to cover heat and light (not included in the original AOPP funding application). During the project friendships were formed and individuals began to share transport to and from the venues. There was a consensus that whilst residents enjoyed attending events within the community, they did not consider themselves to be active art audiences or participants. Indeed, much of the artwork which participants brought in from home was souvenir type memorabilia. Through group discussions a new understanding and appreciation of art as a sensory, emotional stimuli was achieved.
Health Issues/Dementia: The evidence suggests that the artistic content of the programme supports increased wellbeing. For example, some of those consulted with arthritis felt that the regular dance routines and repetitive crafts had been good exercise and had assisted memory. Facilitators also reported that participants were encouraged to progress throughout as creative writing or drawing techniques were shared. This safe learning environment created a desire to test and develop skills leading to a greater sense of accomplishment and self-worth. Participants contrasted the Golden Years programme to the less specialised and significantly shorter programmes which they had taken part in previously. They believed that the artists had had the necessary qualities needed to establish empathy and trust with participants, encouraging people to believe in
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their own ability and to gradually build their confidence, leading to more positive attitudes. Pre-/post- analysis demonstrates significant positive changes on both the Loneliness Scale and the WEMWBS.
Strengthening the Voice of Older People: This varied and specialised programme demonstrates the value of exploring and introducing different art forms, rather than providing generic activities. Participants were mostly mobile and enjoyed taking part in village life - showing a keen interest in digital photography and enjoying talking about their connections with the local area. However, the project also targeted more marginalised older people, such as those with dementia and learning disabilities. Although challenging, artists felt that this work had heightened their awareness of this socially isolated group and demonstrated the ability of the arts to transcend communication barriers. The classes and final exhibition were well attended and due to its targeted marketing campaign, it is considered that the profile of older people within the community increased as a result. Similarly, it demonstrates the need to stretch people’s imagination in terms of the types of art forms offered and illustrate what can be achieved regardless of experience, physical capacity or indeed age. Those consulted stated that they hoped to continue to learn more about computers and photography and hoped to develop a crochet or knitting project linked to the local primary schools. The project was also thought to have helped the artists to get to know local people and the types of issues that affect them – assisting participants to express these creatively and challenging their own perceptions of ageing.
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11 Verbal Arts Centre: iStory
11.1 Introduction
The Verbal Arts Centre is an educational charity based in Derry. The Centre’s underpinning purpose is the promotion of language arts, celebration of commonality and diversity, development of knowledge, understanding and excellence in creation, performance and critical practice across verbal art forms. Services provided involve:
• Literacy building programmes with primary, post primary and special needs schools; • Structured Community Relations encounter opportunities using the literary heritage of the region; • Citizenship and Personal development programmes that engage with young people particularly those from areas of high socio/economic deprivation, with statements of special educational needs also vulnerable young people at risk; • Developing paper and IT based resources; and • Developing art forms such as reading, writing, speaking and listening and providing opportunities for public engagement as audiences and participants.
This AOPP funded activity highlights how developments in new technology can be utilised as a mechanism for artistic expression and intergenerational communication. Digital exclusion as a result of lack of understanding, access and in some cases fear was initially apparent amongst the older participants. However, touch screen applications and one-to- one tuition and encouragement have led to feelings of mastery and achievement. The personal digital stories which have been developed and showcased provide rich insights into older people’s lives – however they additionally show that older people can learn about and enjoy the latest gadgets and tools available. As a result of the project the Verbal Arts Centre have widened their reach into the community and this contact will be maintained – similarly many participants consulted stated subsequent interest in computing, digital photography and indeed purchasing Ipads for themselves.
11.2 Project Aims & Description
Verbal Arts Centre applied to the second round of the AOPP and received an award of £15,977 for the iStory digital arts programme. The aim is to tackle digital exclusion amongst older people due to fast paced technological developments and to help older people to articulate their stories, thoughts and experiences. Proposed outcomes include:
• Increased knowledge, understanding and practice of verbal art forms; • Participation in creative digital engagement which relates to the interests of older people; • Increased civic participation and the promotion of issues that directly concern older people; and • Older people involved in an advocacy role, articulating the specific needs of their community via accessible digital media.
The project consisted of a partnership between Verbal Arts Centre and 12 community and statutory partners to include Derry, Coleraine and Belfast Councils, U3A, Age NI, Arthritis Care and Engage with Age in order to widely promote the project. iStory was conducted over a 52 week period with 45 creative sessions delivered (135 hours activity) in Derry, Belfast and Coleraine. Older people living in NRAs, people with dementia/other health problems and those at risk of isolation were targeted via community networks. All participants received non-accredited digital training for story-telling and story-boarding
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via an introduction to iPads and iMovie. Participants were also guided through the process of identifying and building a story around social justice issues and training in editing.
Three public showcases, one in each location were held and a DVD was produced for those participants who created a digital story. A DVD was also produced for each showcase event.
11.3 Beneficiary Feedback
Overall, 81 participants took part in iStory and associated training, with 130 people attending the three exhibitions. Twenty-eight Entrance and 27 Exit questionnaires were submitted for inclusion in the evaluation. However, further examination of the datasets (via postcode matching) indicated that 15 participants were represented across both, meaning that direct pre-/post- comparison is severely restricted.
Analysis of the Entrance Questionnaires illustrates that the average respondent age was 77 years (range 63 years to 89 years). Ten respondents (36%) lived in their own homes, whilst 54% (n15) lived in supported accommodation. Twelve respondents lived alone (43%), 12 (43%) stated that they had a disability and three people had caring responsibilities. Eighty-six percent had attended an arts event in the last 12 months and 82% had participated in arts activities within the last year. Figure 11.1 illustrates that respondents embarking on the project were relatively positive with regards to participation. However, small numbers cited poor health, affordability and a lack of information as barriers to arts participation. Poor disabled access and parking facilities at venues was also mentioned. Post-project cost remained the dominant barrier to arts participation.
Figure 11.1 Barriers Towards Arts Participation: Entrance
Figure 11.2 demonstrates that respondents were most likely to rate their enjoyment of life as good (73%), in comparison to their mental (38%) and physical health (33%).
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Figure 11.2 Respondents Health Rating - Entrance
Table 11.1 indicates that although the majority of respondents report positively to the WEMBS wellbeing scale statements, they were less likely to report thinking clearly, dealing with problems well or to feeling useful often/all the time upon entering the project.
Table 11.1 WEMWBS - Entrance
% Statement Rarely/ Some of Often/All None of the time the time the Time I’ve been feeling optimistic about the future - 48 52 I’ve been feeling useful 4 50 46 I’ve been feeling relaxed - 31 69 I’ve been dealing with problems well - 52 48 I’ve been thinking clearly - 54 46 I’ve been feeling close to other people 4 33 63 I’ve been able to make up my own mind about - 31 69 things
Although pre-/post-project comparison numbers are extremely low, there were small increases in the number of respondents reporting that they felt relaxed and close to people often/all the time amongst the pre-/post-project comparison group. Figure 11.3 illustrates that lack of companionship is at least sometimes an issue for almost half of those surveyed. The pre-/post-project comparison group indicated a minor decrease in the proportion reporting feeling left out and isolated.
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Figure 11.3 Loneliness Scale - Entrance
The analysis indicated that respondents were most likely to have signed a petition (n9), attended a local meeting (n5) or contacted the media (n5) or local organisation (n5) regarding issues that concerned them within the last year. However levels of social action were low overall.
Table 11.2 illustrates that upon entering iStory, participants were most interested in developing friendships, and least likely to have been motivated by self expression or creativity.
Table 11.2 Anticipated Benefits from the Project
Benefit Agree (%) Better Social Life – friendships, company, fun 57 Increase Skills – learn something new, try something different 46 Feel Better – cheer you up, improve confidence 46 Be Creative – express yourself through the arts 32 Be Heard – show others what older people can do 46
Upon exit participants were asked to evaluate their experience of the programme and the results are displayed in Table 11.3.
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Table 11.3 Respondents’ Evaluation of the Project
Statement Agree/Strongly Agree (%) These sessions have really made me want to go to arts events 56 I played an active part in this project 85 I have tried and learned new things 56 The sessions have made me want to take part in more arts activities 70 I’ve been able to express myself at these sessions 100 The sessions were not well run 0.5 I’ve surprised myself & others by what I can do 85 These activities have given me confidence to try different things 81 I’ve made good friendships out of this project 100 I feel good about what I have achieved during these sessions 96 I have taken part in other groups and activities due to this project 70
“[I enjoyed] meeting new people, listening to stories, getting out and about.”
Fifty-six percent of respondents stated that they had been encouraged to attend and participate (70%) in more arts events and activities. All of those completing the evaluation felt actively involved in the programme, were able to express themselves and make new friendships. Seventy percent reported that they had joined other groups as a result of iStory.
11.4 Stakeholder Perspective
Verbal Arts Centre developed the project in discussions with various age sector organisations and three Age NI Regional Forums in response to concerns regarding the need to close the digital gap between the young and old. Although older people are actively involved in their communities they believed that they lacked knowledge, experience and confidence in new technologies. Hence, it was argued that increased capacity in this area could help capture the stories and perspectives of the most vulnerable within the community.
Although Verbal Arts Centre went to great lengths to promote the programme, recruitment proved difficult at times and although three programmes had been planned in Belfast, the final session was run in Derry. Participants stated that they were initially apprehensive about becoming involved as they hadn’t any experience with computers and were worried about using the equipment. Through discussion it was apparent that many people knew about different local arts events and activities but did not feel comfortable attending due to low confidence levels and a reluctance to step outside their own estates. Lack of transport was frequently cited as an additional barrier.
Each course lasted five weeks and those consulted reported that they would have happily continued for another five weeks. However, they recognised that some people had left after the initial session. It was believed that they may have been overwhelmed by the task but may have been too frightened to say.
“We basically started from scratch, had to get the hang of it...switching it on and off. None of us had anything like that at home and it was scarey.”
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“People say they feel their age. I never did but when I registered I felt 70...I was scared, it was awful.”
“When you leave work it can be quite isolating. You can lose your confidence...your self esteem. A lot of people think “Right I’m old now, that’s me done.”
Participants praised the facilitators and felt that they had been put at ease. There was also solidarity between the group members themselves, with people helping each other along.
“It was good fun. This is the first time I’d ever been in an over 50s group. We were shown the basic techniques and [facilitator] really took the fear out of it. They were saying “don’t worry you can’t break it.””
“There was a lot of self-help in the group, but everything was repeated for you week after week and we got good notes so that helped.”
Although provided with assistance to identify and develop their story, participants had initially found it difficult to identify with the social justice themes. However, further development work helped uncover personal stories regarding fuel poverty, older people’s treatment in hospital, caring for someone with dementia and the ongoing pain of not being able to bury a stillborn baby on consecrated ground many years ago.
The nature of the project was also thought to have successfully attracted older men, unlike other local groups. Participants felt that activities such as videos, photography, computers, short films, music editing etc are interesting for males.
“I was surprised it was so easy to do. I’ve got photographs from years ago and I can now go and make a film out of them. I’ll have those forever and I can make copies of them too. It’s just amazing when you can see what you can do...just takes a bit of confidence.”
Participants believed that iStory helped them to connect with younger people to a greater extent as they now knew about editing and filming and could contribute to conversations, or indeed get help from family members to develop their stories and talk about elements of their life.
“My 9 year old grandchild helped me on his iPad. It was fantastic to sit there and have something in common.”
Participants and facilitators stated that it would have been beneficial if a greater number of iPads could have been purchased and taken home in order to practice and work on their stories. It was also suggested that future projects could include a discount voucher in partnership with a retailer on completion of the course. However, it was mentioned that a few participants had purchased their own iPad, or received one as a present from family as a result of the sessions.
11.5 Conclusions
The following appraisal is made in relation to the AOPP’s strategic aims:
Isolation and Loneliness: Participation in the project provided the opportunity for ongoing social interaction and the nature of the work meant that there were group discussions and in-depth disclosure. The purpose of the project was to look outside established groups to bring older people together in a social setting to provide them with the skills to record their individual thoughts and experiences. Evidence from the
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consultations and survey material indicates that despite not knowing one another the group members forged friendships, with some of those from the Derry session intending to keep in contact after the project completed. Indeed, they expressed the desire for a follow-on course for the whole group as they had really enjoyed each other’s company. Indeed, the survey evidence illustrates that all the respondents stated that they had made good friendships from the project. Informal signposting to other local activities occurred between participants and Verbal Arts Centre have promoted their organisation and what it has to offer. Individuals are on their mailing list and will be contacted regarding other activities on offer.
Social Inclusion: IPads were chosen as they are relatively user-friendly, robust and depend upon touch screen rather than a keyboard operating system. They are also high profile and up-to-date, enabling older people to become involved in discussion outside the group. The iStory project has highlighted that many older people have little or no access to computers and are intimidated by their lack of knowledge and competency. The intensive one-to-one support provided has in many instances helped to overcome initial concerns regarding computer literacy. Additionally, Verbal Arts Centre ran consecutive courses in the same areas in order that people could re-register if they missed sessions or felt they needed additional help. This flexibility and relaxed manner was thought to have helped to reduce barriers/drop-out rates arising from low levels of confidence and staff stated that it is a method that they would employ in the future. Verbal Arts Centre also used the iPads with visually impaired participants in association with RNIB. The voiceover software and zoom facility was believed to heighten accessibility for a range of user groups.
Poverty: The use of digital technology as an art form was considered to be innovative amongst participants, as much of the activities targeting older people were crafts based. The project demonstrates that older people on low incomes are unlikely to be able to afford the latest technology and are less likely than working adults or schoolchildren to have access to computers. The project targeted working class rural and NRAs and provided sessions free of charge. The levels of attendance illustrate that the arts are wide-ranging and relevant to people from disparate backgrounds, not just the middle classes. IPads are expensive however and Verbal Arts Centre invested in seven which will continue to be used in other projects.
Health Issues/Dementia: Although not specially targeting health issues, staff and participants felt that the project was empowering. Aside from computer literacy, artistic skills such as creative thinking, logical thinking and story building have been developed leading to increased confidence. Social interaction and the sense of achievement developed through the publication of stories were considered to have improved wellbeing in relation to how participants feel about themselves. Istory indicates the importance of keeping up with developments, being active in the community and continuing to learn new things, regardless of age. The survey evidence indicates that participants felt able to express themselves through the digital media and had felt proud of their accomplishments.
Strengthening the Voice of Older People: Age NI agreed to promote the project due to their involvement in a similar initiative which trained older people as facilitators who would listen to and record the views of vulnerable older people. They had also assisted Verbal Arts to focus upon issues regarding ageing and equality, poverty and health and social care aligned to the organisation’s strategic plan. However, it had initially been difficult to encourage participants to share stories related to the AOPP social justice themes as some people didn’t feel comfortable, or didn’t feel that issues such as poverty really affected them. Others just wanted to learn about the technology and make new friends rather than provide insight on their personal lives. The project has provided a
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creative and innovative means of assisting people to open up about various issues and it is intended that the material will be shared with Age NI to assist with evidence building and advocacy. Digital media was considered to be a powerful communication tool and Verbal Arts Centre feel that the project has helped them to learn more about the organisations and people with whom they worked. However, on the other hand this must be balanced against privacy and the fact that some people will wish to participate for purely social value.
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12 Alzheimer’s Society: Memories are Made of Music
12.1 Introduction
Alzheimer's Society is the leading support and research charity for people with dementia, their families and carers. Through campaigning and lobbying Alzheimer’s Society strives to influence government policy and raise awareness of the challenges faced by people with dementia and the people who care for them. The organisation works to improve knowledge about dementia and its treatment - and pursues the ultimate goal of finding a cure. There are regional offices across the North East Area (with eight local offices) and the South and West Area (with seven local offices) and a range of practical support services are provided to include:
• The Dementia Support service offers community support by providing information, signposting of services and emotional support to people with dementia, their carers and families through direct contact visits in or beyond the family home; • A carer information programme provides the opportunity to increase knowledge and understanding of dementia. The programme runs once a year and consists of six weekly sessions covering a variety of topics. These can include sessions on communication, challenging behaviour, legal and financial issues etc; • The Carer Support Group gives family carers the opportunity to meet others in similar situations and a chance to share their experiences, concerns and problems in an understanding and confidential setting; and • Café style supported social get-togethers, providing a combination of information, knowledge and support within a structured and understanding environment. Lots of interesting activities are planned to encourage people to use the skills they have and to share these with others. Clients with early to moderate stage dementia with no personal care needs.
Memories are Made of Music demonstrates the power of music and collective activity to enhance mood, unite people and challenge societal stereotypes of dementia. This Alzheimer’s Society led project shows how the arts can break down communication barriers, ultimately enabling people with dementia to have a voice. The case study provides evidence of song recognition upon presentation of cues, enhanced verbal ability and ongoing capacity to learn despite a dementia diagnosis. The AOPP funding has led to the development of the Alzheimer’s Society Choir, a new piece of music specific to participants, a CD and opportunities to continue to raise awareness of both the disease and people’s hopes for the future at Stormont and local Council level. This project has had significant personal impact on all of those involved and has ignited the interest of both the Alzheimer’s Society and the respective artists in developing and sustaining this activity.
12.2 Project Aims & Description
Alzheimer’s Society applied to the first round of the AOPP and received an award of £13,500 for the Memories are Made of Music project. The aim was to develop an artist led project in association with Alzheimer’s Society volunteers in order to offer an opportunity for people with dementias and their carers to actively participate in therapeutic music. Proposed outcomes include:
• Increased social inclusion of people with dementia and decreased loneliness;
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• Provision of an innovative communication tool for working with people with dementia; • Enhanced self-esteem, confidence and well-being to enable participation within the community; and • To provide volunteers with experience in community arts.
The project consisted of a partnership between Alzheimer’s Society, Right Key Music and Roy Arbuckle. Alzheimer’s Society Activity Groups in Coleraine, Mid Ulster, Antrim, Ballymena, East Antrim, Newcastle, Lisburn, Ballynahinch, Newry, Craigavon and Kilkeel participated in the sessions. Sessions were conducted over a 10 week period with the focus being on sharing stories, memories and songs. Participants in Maghabawn and the Craigavon area combined to form a choir, composing a song and a CD “The Best is Yet to Come” was produced and launched at the Alzheimer’s Society Conference – lyrics below:
“There are words still to speak, Dreams still to live, Doors still to walk through Love still to give And while there is breath in this Thankful heart I’m going to lift Up my voice and sing.”
12.3 Stakeholder Perspective
Alzheimer’s Society representatives reported how internal organisational developments had initially delayed the project. Furthermore, they had found it difficult to recruit suitable musicians and felt that many artists did not have the necessary experience and skills to work with people with dementia.
“A lot couldn’t relate to the participants and found it difficult to draw them out of themselves. They hadn’t communicated with anyone with dementia before and what we needed was a supportive, life enhancing relationship to be built.”
Staff drew the distinction between artistic entertainment and active participant interaction. It was stressed that personal qualities and facilitation skills were extremely important. As a result, the AOPP CDO had provided support and recommended a number of experienced artists. It was felt that the project had quickly grown momentum and the final artists had succeeded in bringing the programme to life through the up tempo music choices on the guitar, piano and violin.
The music workshops were attended by people with dementia, their carers and Alzheimer’s Society staff/volunteers. The overall objective was to bring people together as one singing voice and as song sheets were handed out and melodies played, the words of songs were hesitantly sung at the early sessions. Participants were encouraged to interact with and complement each other over the duration. Throughout the activities a constant mix of laughing, talking, tears, singing and memories were unearthed. The majority of participants embraced the opportunity and joined in. However, a few appeared distracted or didn’t want to sing. Significant displays of emotion were witnessed, with one woman saying that she had never heard her husband sing before as he had been discouraged as a child.
Indeed project was felt to have brought staff, carers and those with dementia together within the newly formed cafe groups and strengthened existing relationships in those which had been more established, as well as providing personal benefits. It was also
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thought to have given more depth to the work undertaken during the Alzheimer’s Society cafes. Sing-along sessions had regularly occurred. However, the project had unlocked the cognitive benefits of storytelling, music and song for people with dementia.
“Our sessions were a lot more upbeat and engaging than usual. People really have made new friends. The social interaction has been great.”
“People who maybe didn’t say much would be singing solo. It really built their confidence and self-esteem. We’d get family and friends coming to us saying that they could really see the changes.”
Isolation was believed to be commonplace amongst people with dementia and indeed those who care for them. People can often become depressed and lack the motivation to make new friendships. Therefore the existing Alzheimer’s cafes with their emphasis upon social gatherings and activities were believed to be invaluable in reducing the negative impact of the disease upon social activities.
“People are afraid to go out, whether its embarrassment or protecting their loved one. Unless you’ve been there people don’t know how to relate to someone with dementia, how to communicate. There’s a definite stigma.”
During the project, staff uncovered new information about group members. Some had been members of choirs in the past. One person had been a choirmaster and music teacher in his youth. When the Rock of Ages was played it awakened a memory and he stood up and began to conduct the pianist in perfect time. The music was described as “bringing him alive”. As part of the CD production, participants were brought to a recording studio and this proved to be a new and exciting experience, creating excitement within the group.
“In our Northern group we have a man in his 50’s with dementia. It was only when we were making the CD that we found out that he had sung in pubs. I think this process has really let people get back in touch with their creativity...fulfil their dreams and ambitions. Dementia can really take away those dreams.”
“This has really stretched us to try new things. I do think the participants achieved ownership of the project and are so pleased with the end result. We are going to expand on this project. It was about a lot more than the music ... the CD has seven songs, one is written by the participants...the others were chosen and we’ve got Irish, Scottish, hymns...it’s all in there.”
At one workshop, a participant with dementia asked to recite a poem. All six verses were word perfect and everyone cheered and clapped in disbelief.
“There were moments when everybody started crying with tears in their eyes. Feelings and emotions came from the hearts of singers. There was a depth of understanding as the new tune “The Best is still to Come” was heard and everyone simply found themselves wanting to be part of it...everyone now had singing in their hearts, everyone simply joined in with laughs and smiles.”
“Individuals appeared to come to life and there were moments when the symptoms of Alzheimer’s took a back seat. Many did start putting words together and at times their true feelings became apparent and personal beliefs, values and individual faiths became audible. Their feelings and emotions were shared together and nobody wanted to go home and the success of the project hit home.”
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“I don’t know how I could have got through the last 9 months without this. I was so stressed. Joining the choir was wonderful. It just helped me, I looked forward to it...it was so personal...we connected.”
“There are moments on that CD that families will cherish forever. Some of the people singing can’t speak any more...people who couldn’t finish words and sentences are singing beautifully on that CD. It was one of the most moving things I’ve ever done.”
The project received positive media coverage and was featured on Radio Ulster and U105. However, the Alzheimer’s Society also succeeded in raising political awareness about the disease when the Alliance party hosted an event at Stormont and at a Celebration event hosted by Craigavon Borough Council with Councillors and MLAs in attendance. The words and melody of “The Best is Yet to Come” was thought to illustrate how those with dementia felt and their continuing aspirations.
“There is life after dementia and we need to change how society views it. You can live well with it...make each day count and it’s good to raise awareness.”
“This has all sneaked up on us. It’s snowballed. It’s amazing...I never thought I’d be at Stormont. I couldn’t ever have imagined that that would happen.”
As a result of the apparent success of the project, Right Key musicians were asked to deliver additional sessions and Alzheimer’s Society hope to expand the number of artists that they work with. The newly formed choir have received requests to perform and staff are excited about the prospects. The Alzheimer’s Society has received funding from the Big Lottery to extend its Dementia Cafes and it is anticipated that arts activities will help develop these outlets.
12.4 Conclusions
The following appraisal is made in relation to the AOPP’s strategic aims:
Isolation and Loneliness: Discussions highlight the isolating impacts of dementia upon not only the person who is diagnosed, but upon family and friends. The feedback illustrates the power of music, story-telling and song to bring people together is a fun and enjoyable way. Discussions highlight that even the quieter members of the group joined in after initial reticence. The fact that it was a group activity with a strong emphasis upon fun meant that individuals really became involved, with carers and Alzheimer’s Society staff and volunteers actively participating.
Social Inclusion: People with dementia and indeed their carers can be excluded from community life due to this progressive illness, with their social circle becoming smaller and smaller over time. However, there is evidence that the project instigated an emotional connection between group members and staff stated that they could see that the singing also acted as a release for family carers. The activities were cross-community in nature with participants sharing music from both traditions – also apparent on the resultant CD.
Poverty: Again, the project has been provided to participants free of cost – enabling increased accessibility. Alzheimer’s Society has limited activity budgets but feel that the benefits of the workshops would make them cost effective. None of those participating had ever been in a recording studio prior to the project and AOPP funding has uncovered and indeed cemented a desire to continue with this form of expression. The discussions do highlight the need for high quality and specialised arts facilitation and training when working with marginalised groups. However, there is strong potential for involvement to
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be life changing for all those involved. Indeed the artist facilitator stated that the work has been groundbreaking and something which she wants to continue on a personal/artistic level.
Health Issues/Dementia: There is a wealth of research on the health benefits of music to people with dementia with regards to lifting mood, relaxation, stimulation. Although this project is small in nature, those involved are convinced that they have seen individual improvements in memory, communication and confidence. The well known music and song choices helped trigger memory and people who found it difficult to communicate were finding a voice. Such was the transformation that staff/volunteers described the process as an “awakening of the brain.” The process has been empowering for those involved and every person participated to their ability, some participants sang, others hummed.
Strengthening the Voice of Older People: There is a sense that the AOPP project has unlocked immense potential for the Alzheimer’s Society and its beneficiaries. Earlier research highlights the fact that there is a lack of knowledge and stigma around the condition. Memories are Made of Music highlights the fact that people with dementia can continue to lead fulfilling lives full of creativity and self-expression. The project has been well publicised and promoted, having been brought to the attention of policymakers and commissioners through its launch at Stormont and subsequent performances. However, it is important that such work continues regularly at a local level, recruiting and refreshing the membership in order to maximise reach.
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13 Project Partners
13.1 Introduction
This chapter presents findings from the analysis of the Artist Reports and Lead Applicant End of Project Reports. Information from one-to-one discussions is also used to provide additional insights.
13.2 Report Coverage
Each artist involved in the AOPP projects is required to submit an Artist Report when their involvement ends. These explore feelings on project delivery, personal development, training, beneficiary impact and progress towards meeting the AOPP strategic aims. Similarly, grantees complete an End of Project Report upon project completion. This provides a project summary to include activities, perceived impact and further development potential. Appendix One provides a breakdown of the reports received.
13.3 Artist Perspectives
Seventy-four Artist Reports have been received across 23 projects. The majority of artists (89%; n66) reported that they had worked with older people prior to the AOPP project. Eight artists had not (i.e. Older People North West drama facilitator and Castlereagh Lifestyle Forum, Big Telly Spring Chickens, Down Community Arts and NI Hospice), but stated that this had not caused a problem.
13.3.1 Project Delivery
Table 13.1 illustrates artist responses regarding their experiences regarding AOPP project delivery.
Table 13.1 Project Delivery
Question Yes No, but it No, and it wasn’t a was a problem problem Were the objectives of the project clear from the n68 n5 n1 start? (92%) In retrospect, did you get all the information you n63 n9 n2 needed during the planning process? (85%) Did you feel you had a good working relationship n73 n1 - with the partner organisation(s)? (99%) Did you receive the support you needed from the n70 n3 n1 partner organisation(s)? (95%) Did you receive the support you needed from the n52 n10 n1 AOPP Community Development Officer? (70%) n11 N/A Did the space available suit your needs? n61 n11 - (82%) n1 N/A Did you find the older people easy to engage? n67 n6 - (91%) n1 N/A Did the older people contribute to the planning of n40 n29 - the sessions? (54%) n5 N/A
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Artists reported positive working relationships between the project partners and the majority didn’t have any problems in engaging participants. Whereas the majority of artists reported smooth delivery, specific issues were highlighted in relation to project planning. For example, the artist working on the older people’s consultation for Golden Thread Gallery stated that she had found it difficult to get access to a specific target group and that this had put time pressures upon project delivery. Also, a number of artists stated that there had been confusion regarding the specific art forms advertised and those which had been agreed or that there hadn’t been adequate communication between all the project partners. A few stated that it would have been easier to work directly with ACNI, with regards to understanding artistic needs and improving coordination and planning. Some groups were particularly large (more than 20 people) and facilitation and individualised attention was therefore difficult.
“Confusion was caused when the project discussed was a ceramics course, the course advertised was actually mosaic.” [Harmony Community Trust]
“Better clarity of style/type of dance provision required by artist to organise in advance as publicity material also inaccurate. After week 1 this was not a problem.” [Loughlin Island GAC]
“Several artists were involved but we did not meet beforehand to discuss the project. Schoolchildren came to join in some of the sessions but we weren’t told beforehand so we weren’t prepared.” [Loughshore Care Partnership]
Some artists reported difficulties in engaging the older participants due to dementia, poor sight, hearing and communication skills. Others stated that it was sometimes difficult to facilitate sessions when everyone wanted to contribute their experiences and opinions at once. Also participants’ lack of experience/confidence with an art form meant that some projects had a longer lead in time than anticipated and a small number of artists reported that they had very limited contact with participants (i.e. one session). However, the majority of artists did not come across any problems.
“Older people generally are harder to involve due to lack of confidence and need assurance and motivated like us all, but once engaged are a force to be reckoned with.” [Big Telly, Spring Chickens]
Difficulties with the available work space were commented upon by a small number of artists. This mainly related to noise and distraction within open/public areas or a lack of suitable venues within the geographical area.
Although 40 artists (54%) stated that they’d received support from the AOPP Community Development Officer, many had felt that support was not required.46 The majority of artists reported that a good working relationship between the project partners had formed.
“The support provided on this project was excellent, the staff were enthusiastic and helpful...The workshops were adapted throughout as the group offered ideas or wanted to explore movements more.” [NI Hospice, Dance]
For example, Carew Project partners/participants held an introduction and planning meeting before conducting the creative sessions. This provided the opportunity to
46 One artist on the Loughshore Care project felt that lack of support had been a problem.
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demonstrate previous work and techniques and enabled decision making regarding the art forms adopted.
“The Carew Project were unfamiliar with running/delivering an ACNI project, so in preliminary meetings I gave some ideas and planning advice and suggested showcasing the work created during the project in an exhibition or public display...From feedback I received the ACNI were very helpful and supportive to the Carew Project.” [Carew]
Other artists also reflected on the need to allow time for confidence building and that additional time was taken to talk things through and to provide motivation and encouragement.
“One aspect of this project was learning about the participants before we planned the scenes...this process involved building trust and confidence with the participants so they knew we would honour their stories.” [Prime Cut]
However, just over half of the artists stated that older people had not contributed to the planning of the sessions. Some artists reported that they would mutually develop and plan the next session’s activities in advance, although depending upon the project this could be difficult.
“The biggest difficulty was establishing a stable relationship with the older people in such a short period of time. We were however on occasion able to arrange future dates to see them again allowing us to plan specific sessions with them in mind and allow them to contribute.” [Big Telly, TOM]
“The event that I was involved with was exceptional and the older people I worked with certainly contributed to the overall delivery and the feel of the event. It was a worthy enterprise but much has come out of the project for me with the potential for an artistic relationship to develop with one of the participants.” [Oh Yeah Music]
13.3.2 Artist Development
Table 13.2 illustrates that the majority of artists (n40; 95%) felt that their involvement had contributed at least a little to their artistic practice, knowledge and understanding. Some stated that they had tried out techniques and approaches that they hadn’t explored before, using the local area as inspiration. Others adapted intricate work to bolder designs, used lighter and more portable materials or simplified and shortened projects.
“Storytelling and oral history is something that I don’t have a lot of experience with and through this project I have seen how personal stories can be transformed into performance.” [Prime Cut]
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Table 13.2 Artist Development
Question A Lot A Little Not at All Did the project contribute to your artistic n40 n30 n4 development? (54%) (41%) Did the project increase your knowledge of n34 n31 n9 older people’s artistic needs? (46%) (42%) Did you learn about ways to link your art form n39 n27 n7 to participant ability? (53%) (36%) n1 N/A Did the project increase your knowledge of the n34 n30 n9 social issues affecting older people? (46%) (41%) n1 N/A
Although some artists indicated that they had extensive experience working with older people (e.g. 20+ years) and learning had been limited, many others felt that they had developed through creative interchanges with the participants and learned how to adjust their practice to suits needs and abilities. Increased understanding appeared to develop over time through getting to know participants (e.g. mobility, transport, loneliness, intergenerational stereotypes), rather than overtly discussing social justice issues. Additionally, there was increased recognition of the depth of life experience which older people have to impart.
“In a lot of ways we focused on the enjoyable aspects of what they are doing now – like line dancing, community work, sewing etc...However, social issues that are affecting the older women now is something that I didn’t learn “a lot” about.” [Prime Cut]
“Raised awareness of people living alone in rural areas suffering from loneliness and depression.” [Harmony Community Trust]
“I heard a lot about loneliness, the need to interact and feel part of something.” [Loughshore Care Partnership]
“As contact with each group was only 2 sessions I think that [learning about social issues] was limited in comparison to other factors. However certain issues were highlighted to me in relation to different health matters.” [NI Hospice, Dance]
“Talking to residents about their life in the residential home...how they move from a fully furnished house to one room, they have to choose what belongings to keep and what will be stored or given to family. How they spend the day in the home and how they appreciate an activity like the art session to break up the day.” [Waterside Theatre]
Many comments related to the fact that many participants challenged the fact that they were perceived as being “old”. A number of artists stated that it was important to regard participants as individuals, rather than under a generic heading.
“This group didn’t require any special needs and perhaps resented the fact that they were being treated as “older people” so in a sense I learned that you don’t always have to make concessions and shouldn’t assume they need to be made.” [Carew]
“...the group that I talked to had as their most popular group to listen to, Status Quo. I can promise you this came as a surprise to me...there is certainly some listening and some discussion required to assess what it is that older people are interested in.” [Oh Yeah Music]
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Indeed, varying levels of mental and physical health, self-esteem, social classes and enthusiasm could challenge artists’ ability to find creative solutions which didn’t compromise the quality/impact of the project.
Only four artists (i.e. involved in Prime Cut, Big Telly and Verbal Arts projects) reported that they had attended external training through the project. This had incorporated reminiscence training through RNNI, training on developing an archive, creating a podcast, video editing and digital media, street theatre, improvisation and training in facilitation and team working.
13.3.3 Perceived Impact on Participants
Many artists indicated that it had taken a while to build up people’s confidence, but once they became more involved in the work and enjoyed the sessions their concentration and listening skills clearly improved. It was also highlighted that trust building was firmly interlinked with increasing confidence and ability to fully engage. However, understandably artists who only had limited time with participants or were trying to facilitate large groups found it difficult to gauge changes in cognitive ability over time. Figure 13.1 illustrates that a high proportion felt that participants had enjoyed the activities, were engaged during the sessions and demonstrated a desire to learn.
Figure 13.1 Perceived Participant Benefits: Artists
The artist working with Praxis Care commented that some people were more enthusiastic and engaged than others. There were also memory difficulties which had to be facilitated within this group. Indeed, many artists reported that they had worked with mixed ability groups with varying ability to retain information.
“For some people it took several minutes before they understood/took on board what was being said and on a few occasions were not able to follow on with conversations.” [Oh Yeah Music]
However, many artists believed that individuals became more expressive and confident as they settled into their work and relationships and interaction improved within the groups. This was demonstrated through discussions regarding the artwork with other participants and with the artist in relation to developing and improving their skills, sharing stories and bringing in examples of their work. A lot of participants had initially believed that they
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weren’t creative and had unearthed hidden talents. However, others found sessions challenging.
“They seemed to really enjoy talking to each other about their projects...many did show improvement in self esteem, for others it was too hard.” [The Monday Club]
“They presented their work at exhibition and took full ownership over it, spoke about it here and at a seminar about where it came from and what it was about. Some did film interviews about their work...a huge leap in confidence instilled by project leader.” [WEA]
Artists reported that participants felt a sense of achievement upon completing art pieces and mastering new skills. Those involved in film-making and performance based projects appeared keen to find out how the processes worked, other art forms also generated interest, questions and requests for advice. Some artists also stated that individuals would come early to the sessions to spend longer on their work and would follow-up in their free time, many requested information on other available classes. End of project exhibitions and local press coverage provided recognition and a sense of achievement.
“There was a real buzz in the room and the learning, fun and friendship-building was so evident.” [Verbal Arts]
“Some members had not experienced group settings like this and totally enjoyed the sessions...engaging and telling their stories to others have really benefitted them.” [Engage with Age]
“Participants began to show-off their work and to talk about their other achievements in life.” [Harmony Community Trust]
One artist mentioned that enabling participants to take a completed piece away on the first session was central to keeping enthusiasm and concentration levels high. Artists also felt that involvement had helped to widen participants’ understanding and knowledge of the arts and its many aspects and a number of practitioners stated that they had personally encouraged people to attend other local events/sessions (e.g. Prime Cut, Age on Stage).
“Storytelling is very accessible and it is great that it’s recognised as an artform. This breaks down a lot of barriers and taboos about the arts.” [Loughshore Care Partnership]
“I think that this theatre project helped the participants see theatre in a new way. On this project participants used and incorporated personal stories to create an art piece and for all of them this was a new exciting approach. There was definitely a feeling throughout this project the participants had contributed to the arts scene in NI and so as a result felt more part of a community that can sometimes feel alienating.” [Prime Cut]
“I think they have overcome the opinion that dance and exercise are not for them due to age and health and are now more positive and confident to participate.” [NI Hospice, Dance]
13.4 Lead Applicant Perspective
Thirty-six Grantees submitted End of Project Reports for inclusion in the evaluation. There were few difficulties reported in terms of project delivery, as follows:
• Recruitment: In order to reach the most isolated, many projects chose to target older people outside established groups and subsequently negotiated recruitment
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difficulties. For example, WEA explored self identity within the older LGB&T community living in residential care using photographic/film mediums. Despite support from The Rainbow Project, attracting participants had been a slow process – both due to the sensitive nature of the work and the rural location of some individuals. RNNI found it more difficult to recruit men for their Life in a Box reminiscence project. Big Telly’s Targeting Older Men (TOM) project targeted livestock marts and required the cooperation of Auctioneers as well as the initially reluctant local farming community; • Motivation/perceptions: A number of applicants stated that they had come across gate keeping activity – with initial partners providing little recruitment support and enthusiasm, or focusing on the personal tastes/circumstances of individual volunteers, rather than participants. Aligned to this were identified difficulties in motivating groups to come on board and try something different (e.g. Big Telly’s spring Chickens, Down Community Arts, Open Arts). Harmony Community Trust also highlighted that some artists had not been adequately prepared for sessions and the need for flexibility according to participant preferences; • Coordination/scheduling requirements: Many projects stated that they had underestimated the amount of organisation that would be required. Upper Springfield stated that the project, being an artistic collaboration with 12 artists and 4 groups, demanded complex co-ordination and timetabling. Some projects, such as Carn Media had undertaken intergenerational work with schools and found that sessions had to work around their schedules. A number of grantees also found communication with local volunteers, as opposed to via established organisations difficult to achieve and there were difficulties in finding suitable venues in some locations; • Large and diverse groups: Many artists had been faced large group sizes. For example, The Monday Club stated that they had worked with a large and enthusiastic group and as such, it was difficult to meet everyone’s personal needs within the sessions. The group was subsequently split into two which helped to some extent and the organisation stated that they will now take this into account when conducting other work. Some grantees (e.g. Praxis Care) highlighted the need to ensure that creative sessions have a staff presence and involvement so that artists aren’t left without support • Participant withdrawal/attendance: Some grantees stated that some participants had to withdraw due to ill health, bereavement, moving into alternative accommodation. Adverse weather conditions also meant that some sessions were cancelled; • Additional costs: For example, Open Arts had to increase their Public Liability insurance in order to perform at the Europa Bus station, Dance United incurred additional costuming and celebration event expenses. One grantee also stated that an artist had asked for additional preparation costs and this had meant that the number of sessions were reduced slightly; and • Internal changes: Some grantees stated that governance issues/structural and staff changes had occurred during the time period and the project had been conducted during a period of immense uncertainty (e.g. Upper Springfield, RNNI, The Alzheimer’s Society, An Monia Tober). Northern Visions also lost their core funding and staff were on a week to week notice of closure. Despite ACNI granting an extension to their project it was felt that project impact and delivery had been adversely affected. The Mummers Foundation embarked upon a large scale capital build and had limited staff resources had meant that the project had to be scaled down.
However, arts and community based partners reported a positive experience overall. For example, Prime Cut spoke about partner organisations commitment to the project and how workers and participants went “over and above what was expected of them.”
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Indeed, the majority of organisations stated that they had developed new contacts and deepened existing relationships with partner organisations as a result of the work. Based upon the submitted End Reports, the average project consisted of around six partner organisations, to include an average of three artists.
Older People North West felt that the project illustrated the potential of their facilities as a work space. In addition, promotion through the local press was believed to have raised the profile of the organisation.
Some artist project leads reported that the AOPP had reinforced the importance of community engagement and outreach activity. Golden Thread Gallery felt that the initial consultation process had helped towards informing their corporate objective of increasing public access and participation in the arts. They also stated that they appreciated the Arts Council’s flexibility around the evaluation process (i.e. as it was a short consultation which they would report on there was no need for pre-/post- evaluations).
“One unexpected and very positive outcome of Give and Take was that it fed into another project the Gallery were working on...as both these experiences were quite different, the group now realise that the Gallery is a living space and changes according to the audiences that are in as well as when the exhibitions change.” [Golden Thread Gallery]
13.5 Project’s Perceived Contribution to Programme Aims
This section is based upon the output from the Artist and Lead Applicant Reports:
• Social interaction: Grantees highlighted that many of the older people benefiting from the AOPP projects had been suffering from loneliness and a lack of social contact. Personal situations became apparent over the course of the sessions as people began to open up more. However, working as a group meant that people had opportunities to get to know others – either as a result of conversations during the activities, helping other group members or through the creative process of writing, storytelling etc. Reports highlighted that the regularity of the sessions and increased social interaction as being a central and enjoyable component of the project. Many participants had not known each other prior to the programme and it was reported that friendships had developed outside the project with people subsequently joining other local groups (e.g. Border Arts, SWAP, Armagh Senior Citizens Forum, Ederney Community Development Trust) and developing their artistic skills through additional classes (e.g. Harmony Community Development Trust). Community sector grantees also reported that the funding had helped them to signpost participants to other classes/activities which they offered as a result of the AOPP sessions. Projects based within residential care and supported accommodation settings also illustrated that quality social interaction did not necessarily take place between those living there.
In a number of projects (e.g. Upper Springfield, The Monday Club, Prime Cut) individuals worked upon collective group art pieces and this was believed to have developed the bonding process. Similarly, the performance based projects reported that they were flexible in their approach and enabled individuals to engage at whatever level they felt confident and comfortable. Participatory approaches such as those utilised by Ardtrea & Desertcreat Senior Citizen’s Group, RNNI, Northern Visions drew people in and involved people from the outset, asking for ideas on content and personal contributions.
“[They’d] often just come and see how it was done at first, very much a social occasion for those with no experience which they grew as people realised that they
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could also get involved and that they had some of the skills needed, or could be mentored and supported.” [Northern Visions]
• Social inclusion/poverty: AOPP projects had specifically targeted people with little arts experience living in NRAs (e.g. Open Arts, Upper Springfield, Prime Cut, Golden Thread), marginalised groups (e.g. members of the Traveller community, people who have health problems, sexual orientation, people with disabilities, those living in residential care), isolated older people who live alone and/or live in rural areas (e.g. Border Arts, The Monday Club, Big Telly, Ederney Community Development Trust) and interface communities (e.g. Upper Springfield, Prime Cut, Forthspring Inter Community group).
The majority of applicants stated that activity costs and transport are the main barriers to engaging older people in general and that building these into their project funding had helped people living on low incomes to access the arts. Prime Cut also reported that there was subsidised ticketing available for participants to enable them to attend a professional theatre performance over the course of the project. Additionally, participants gifted many of the art pieces to friends and family and illustrated that creating bespoke artwork doesn’t need to be expensive. Indeed, one participant in the Carew social Art project sold her work at exhibition.
“The cost of making hand-made crafts as gifts is minimal, thus preserving the dignity of the ladies while still being able to contribute to their family and friends.” [Older People North West]
Some grantees such as Verbal Arts Centre and Engage with Age tackled digital exclusion via the arts as a means of increasing social interaction and engagement between the generations.
“The people taking part were able to tell their stories and save them onto the internet. They could invite those friends and family members who live abroad to view and share in the stories.” [Engage with Age]
Through participant discussions it was reported that people felt stereotyped by their age and this slowly chips away at people’s confidence and can create a personal obstacle to inclusion.
“This project has helped me express myself. I had a whole lot of feelings and memories that were hidden. You think that people don’t want to listen anymore or are not interested. But here, in the group, it was different.” [RNNI participant quote]
“The elderly population are tending to feel more and more left out of society and quite often lose interest in what activities are happening around them.” [Carn Media]
“One of the most poignant moments of the project was having an older lady describe how she loved the fact that she now had all these younger girls to talk to in her community...In sharing their stories and having them treated with such respect and reverence by the younger women, there was a real sense of pride from the older women.” [Prime Cut]
Indeed it was noted that older males had proven to be difficult to engage within a number of AOPP projects, although woodturning, photography, storytelling and digital media appeared to be relatively successful. Partners working in supported accommodation/residential care environments felt that it was important to additionally attract participants/audiences from the wider community as individuals
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often feel removed from the rest of society, particularly if they aren’t mobile. Grantees such as Loughshore Care Partnership’s Let Get Crafty programme helped participants to feel part of their community through partnering with a local primary school.
“We had purchased chocolates for the older people to enjoy during the workshop and noticed that the older people were playing granny to all the children by giving away the chocolates. Some of our older people do not have this opportunity to spoil children anymore.” [Loughshore Care Partnership]
The AOPP with its mix of social and cultural groupings highlights that older people are as diverse as the rest of the population in terms of their life experiences and likes and dislikes. However many grantees felt that the art based sessions enabled commonalities to be recognised as well as uniqueness. Trust-building within the groups as a result of partner expertise has enabled difficult discussions to take place, which have in some cases resulted in positive actions. For example WEA’s Me, Myself and I project has resulted in one participant establishing an older LGB&T support group in Strabane in order to increase social inclusion and cohesion within this rural location.
Health/dementia: Participants have been provided opportunities to develop a host of new skills, to include photography, glasswork, ceramics, dance, film-making, comedy, acting, drawing/painting, woodcraft, weaving, knitting, poetry, creative writing etc. As a result, project partners largely reported visible in people’s confidence levels and sense of achievement, linking these to increased wellbeing and improvement in mood.
“One participant who had previously never taken part in a drama activity, greatly enjoyed the classes and played a central role in the various sketches delivered in the final show.” [Older People North West]
“In hospice the physical decline is inevitable but we want to lift participants’ morale in the creation of artwork...We want our patients to live as full a life as possible by offering them creative processes and outlets in partnership with our holistic approach to care.” [NI Hospice]
“Some of the musicians reported an increase in confidence and improved mental and social wellbeing in some of the venues...using the same musicians throughout the whole project...they have noticed small changes.” [Live Music Now]
“Feedback from group leaders suggest changes in group behaviour, from not really understanding exactly what a flash mob meant, to learning and rehearsing the steps and songs during the week and looking forward to the regular song and dance sessions.” [Open Arts]
It was noted that social skills (e.g. speaking in public, forming friendships) have also improved alongside the development/refinement of creative skills. The strength of the arts to deliver outcomes such as these has been surprising for some community sector grantees, but has illustrated how the arts can help stimulate interaction between one another as well as providing conversation points with family and friends and providing interest and value to people’s routines. In addition to mental health benefits, cognitive and physical health improvements were also noted through memorising dance routines, song lyrics and storytelling. For example, Older People North West commented that the physical movement of painting had reduced pain in some participants’ hands and that the glass painting and craftwork classes had
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proven to be relaxing. Increased dexterity was also noted by Down Community Arts, Derg Valley Care and Upper Springfield Community Development Trust.
“It was observed that at the start of some of the sessions people complained of joint pain in their hands, but even after a couple of hours of metal embossing/willow weaving or intricate painting they continued to complete their project. Many people have commented that they are the best sessions they have ever done.” [Down Community Arts]
“The challenge of [learning lines and performing scenes] was mentally beneficial and in achieving this, the participants were clearly thrilled at achieving things that they had initially felt above them.” [Prime Cut]
“The dance workshops saw participants become more able and confident in movement, building up week by week and facilitators reported turnarounds in the mental attitudes of so many of the participants from “I can’t” to “I’m proud of that.” [Ederney Community Development Trust]
• Strengthening the voice: Overall, partners felt that the AOPP had provided a platform to bring people together and challenge societal views of older people and their capacity and capability to contribute to the wider community, in addition to the public via media coverage, public exhibition and/or performance.
For example, The Monday Club held an exhibition work at Burnavon Arts & Cultural society attended by local Councillors, An Monia Tober displayed artwork at the launch of the BHSCT Traveller Health Strategy attended by service managers, health workers and the Chief and Assistant Chief Medical Officer, the MP for West Belfast launched Upper Springfield Community Development Trust’s Public Art showcase and hosted an event at Stormont. Additionally Northern Visions project with people with dementia was shortlisted for two awards – the UK Housing Awards and RROSH Innovation and Good Practice Awards.
Other project leads revelled in showcasing older people’s talents to unsuspecting audiences. For example, Big Telly’s Spring Chickens coordinated 10 flash mobs in shopping centres throughout NI on International Older People’s day and worked on an intergenerational level. Open Arts also facilitated a dance flash mob in Victoria Shopping Centre and a singing flash mob in the Europa Bus Centre.
“This was the first time Spring Chickens had performed their own pieces for pupils in post-primary schools as evident by the reactions of the amazed pupils on the DVD, this was highly successful...something Spring Chickens shall consider again.” [Big Telly]
“We have increased awareness of older people’s creative abilities and ability to perform through a very public display of older people performing. We have surprised and delighted the general public, causing them to look twice at a group of people who are frequently invisible.” [Open Arts]
Importantly, voices have also been strengthened at an individual and localised level by raising the profile of older people’s groups and illustrating the personal benefits gained. For example, Prime Cut believed that there was a clear improvement in participants’ confidence and ability to absorb information as a result. They indicated that the participants began to take a more active role in their communities as a result and were more vocal in their beliefs.
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“The entire end performance was about them, their views and their life experiences so they had their say in a creative way on a great platform and loved the opportunity.” [Waterside Theatre]
13.6 Discussion
The reports submitted by artists and Lead Partners illustrate tangible benefits for the project partners (e.g. recruitment/planning support, capacity building, learning and networking) in addition to participants. However, there have been some gaps in relation to communication and obtaining a clear understanding of each other’s needs and artists described the value of developing strong community-based links.
Community partners, such as Older People North West and The Monday Club, reported that the sessions had attracted new people to their groups and had permeated into other areas of service delivery. They felt that the arts had proven to be a valuable tool for self and collective expression, as well as skills development.
Project partners felt that the AOPP had particularly addressed the strategic aims of isolation, loneliness and social inclusion. However, they did point to the positive impact which increased social interaction, achievement and mastery had upon participants’ self esteem and confidence. Some artists also felt that particular activities (i.e. drama, dance) had led to visible physical health differences over the course of the project (e.g. breathing, stamina). However, others felt that their contact with participants had not been of sufficient duration for them to make an informed judgement.
With a small number of exceptions, the artists completing returns have not generally availed of formal training opportunities. However, many conveyed that they have gained informal learning as a result of the process. Although each of the artists stated that they adapt their work according to each new project, less experienced artists reflected upon the importance of communicating clearly, providing encouragement and taking physical and mental health needs into account. The conversations during the sessions provided artists with a greater insight into older people’s lives. However, feedback suggests that this may have been incidental rather than targeted discussions.
The majority of project partners felt that the exhibitions and associated performances had enabled older people’s voices to be heard within a wider arena. Although some projects highlighted older people’s talents and actively tackled societal stereotypes and misperceptions through their artwork/performances (e.g. Prime Cut’s intergenerational work, Mindwise, Big Telly, Alzheimer’s Society). It must be noted however that feedback from the reports appeared to indicate that some partners had not grasped the essence of what the AOPP had hoped to achieve in relation to the strategic aims.
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14 Programme Governance
14.1 Introduction
This chapter describes the associated AOPP governance structures and application process. It details activity in relation to artist development, promotion and the Celebration of Age Week.
14.2 Governance Structures
A part-time AOPP CDO manages and co-ordinates the delivery of the programme and reports to the Head of Community and Participatory Arts.
A Steering Group has been established with representatives from the Arts Council, Age NI, WEA, Age Sector Platform, Engage with Age, Rural Community Network (RCN), Institute for Conflict Research (ICR), Sonrisa Solutions Ltd and Reminiscence Network NI. The Steering Group aims to ensure that the direction of the programme firmly focuses upon social justice issues, in addition to identifying opportunities for advocacy and PR. Members have met eight times since its inception. An Evaluation Sub-Committee has also been established to provide quality assurance and guidance to the external evaluators. This group has met six times since the programme commenced.
It was initially proposed that the programme would link into existing forums such as the Engage with Age Advisory Groups in order to assist with the development of the programme. However, although discussed this aspect has not been progressed to date.
14.3 Application and Assessment Process
The Arts Council originally intended to award 20 artist-led, older people directed projects over the lifetime of the programme. However, in the planning stages it was agreed to model the AOPP on its Re-Imaging Communities Programme and Small Grants Programme, enabling communities, voluntary groups and arts organisations to make applications to the programme. The third and final application phase commenced on 13th February – closing on 15th March 2012. Guidance Notes were developed to assist with application development and the CDO was available to support potential applicants. Two information sessions (one in Cookstown and one in Belfast) were held to further support the application process and Art’s Council Development Officers assess the applications via moderation meetings. An overview of the applications and awards throughout the duration of the programme is presented in Chapter Five.
Based upon comparatively low levels of applications from Armagh, Tyrone and Fermanagh in Round One, Age NI agreed to work with the CDO to promote the programme across its sub-regional networks and in the organisation’s quarterly magazine. The CDO also worked with RCN and the Rural Enablers Programme in these areas in order to increase programme awareness. The procedure was largely the same across the three funding rounds, although after a review of the application process and criteria for assessment, an additional five marks were awarded to projects targeted at NRAs in the latter rounds.
As previously noted the standard of awards in improved as the programme progressed and some promising projects could not be supported because the ceiling budget allocation had been reached. Indeed budget pressures meant that awards were significantly lower than the requested funding. Reductions were based upon scaling
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down time-scales, ineligible costs, or declining costs which were not considered central to programme delivery. However, 50 rather than the projected 20 projects received funding.
Two Briefing Events have been held to ensure that all grantees are aware of their obligations to contribute to the programme’s evaluation and information packs were distributed. The session also provided guidance on the Letter of Offer and payment arrangements. An AOPP Media Pack has been developed by the Arts Council Communications Department. This provides advice regarding acknowledgement of funding, guidance for writing news releases and selected quotes alongside contact details for key NI press.
14.4 Artist Development Activity
A number of grantees received advice on commissioning artists post-award (e.g. Alzheimers Society, Derg Valley Care, Loughinisland GAC, Carew and Ederney Community Development Trust) and there is considerable support provided with regards to financial monitoring and fulfilling the terms and conditions of grant. Unsuccessful applicants have been provided with feedback and a number have availed with developmental support for subsequent applications. Others have been signposted to Big Lottery, Baring Foundation and the Turkington Fund as alternative funding streams.
The CDO and Head of Community and Participatory Arts met with the Bealtaine Festival Director to explore opportunities to connect with the festival. This networking has proven fruitful and the Arts Council’s Arts Development Fund supported four dance artists to participate in the Dance Exchange residency (Washington DC) in 2011. The residency was the first phase of a collaboration leading to a Bealtaine Festival performance. The following artists were selected:
• Elisabeth Zeindlinger, Dancer in residence with Arts Care and currently working on AOPP funded programme with NI Hospice in Belfast; • Breda McNulty, Community Dance artist with Dylan Quinn Dance Theatre in Fermanagh and currently working on the AOPP Golden Years project, an AOPP funded programme through Ederney Community Association; • Mags Bryne, Artistic Director of Dance United NI undertook Alternative Energies, an Inter-generational dance project (also funded through AOPP) in Ballymena, Ballymoney and Belfast; and • Anthea McWilliams, Artistic Director of Age on Stage also received an AOPP award. Anthea also worked on AOPP funded programmes in Loughinisland, Newtownards and NI-wide with Praxis Care.
Discussions illustrated the value of such opportunities to deepen knowledge, skills and experience and to meet others from whom they could learn and exchange practice. Such initiatives were thought to visibly illustrate investment in local artists and the arts sector as well as ensuring that NI has access to quality learning opportunities and expertise. Such networking opportunities have proven to be inspirational and can help to develop specialisms, connections and interest in working with older people. Twenty-two grantees attended the AOPP Dementia Awareness training, facilitated by Reminiscence Network NI in 2011. This was targeted at artists in order to inform good practice in this specialist area. The training covered ageing and dementia, session planning, Life Story Book work and dealing with difficult memories.
Nineteen feedback forms were received from attendees. Ten respondents detailed previous reminiscence experience with people with dementia prior to the course, although this was limited. The content of the training was rated highly and attendees stated that
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learning about the different types of dementia, the practical tips on working with people with dementia and ideas for sessions were the most useful aspects.
“Information regarding using triggers and how to develop memory boxes and use life stories was very useful.”
However, a small number of people felt that there had been too much focus on the different types of dementia, or the Life Story work and memory boxes.
On recommendation at Interim stage, 20 artists attended a networking event facilitated by the Arts Council in early 2013. This explored experience of delivering arts programmes targeting older people through case study presentations and group discussion. Artists expressed the need to continue to exchange best practice and to develop specific artist training. Arts Council recognise that artists working with older people need to be supported and offered opportunities to increase their skills and to reflect on their practice and to share experience with other artists in the Republic of Ireland, UK and further afield.
14.5 Celebration of Age Week
Celebration of Age Week took place during the 5-8th March 2013 and was designed to showcase three years of AOPP funding and to raise awareness regarding the ability of the arts to have a positive impact upon the lives of older people. All grantees were contacted and invited to contribute to the programme. The programme of events was as follows:
• Press launch and commencement of exhibitions: A Flashmob performance was facilitated by Open Arts in the Grand Hall at Stormont before the plenary session. This was filmed and uploaded to YouTube that day. Late Night Art exhibitions took place in Belfast at the Golden Thread Gallery, The Black Box (WEA project), Waterfront Hall (NI Hospice and Forthspring Intercommunity Group) and Play Resource Centre, in Portadown at Millennium Court Arts Centre (Loughshore care Partnership) and in Cookstown at the Burnavon Arts and Cultural Centre (Ardtrea & Desertcreat Senior Citizens Association); • Workshops: Six workshops were held as follows, Storytelling in Portadown, Poetry in Cookstown, Arts and Crafts in Belfast, Drama in Portstewart, Funding in Londonderry and an Artist Exchange in Lisburn. Play Resource Warehouse hosted the Arts and Crafts workshop and combined this with the launch of their project exhibition. Dominic Campbell, Artistic Director of the Bealtaine Festival invited artists working with older people to share their experiences at the Artist Exchange event; • Conference: A varied conference programme was held in the Crescent Arts Centre in Belfast. Guest speakers included the Arts Council, Age NI and Dame Joan Bakewell OBE. The Alzheimer’s Society Choir, Big Telly’s TOM and Spring Chickens participants showcased the outputs of their AOPP funding. Interactive workshop sessions were facilitated by ArtsCare, Engage with Age, Alzheimer’s Society and RNNI and a Panel session was held with political party representatives; and • Performances: A free cabaret event was scheduled in Belfast and attended by around 140 people. This incorporated nine short performances by AOPP grantees and professional performers aligned to the project themes. Age on Stage also performed in a separate listing. A film programme ran in parallel with Late Night Art Exhibitions and the show reel intended to showcase the work of those who could not provide a live performance.
Overall, 23 organisations participated in Celebration of Age Week events. This represented 58% of 2012/13 grantees and 45% across the three year life of the
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programme. Overall, it is estimated that almost 16,000 people attended events and/or viewed exhibited work (see Table 14.1).
Table 14.1 Celebration of Age Attendance
Event Attendance (approximation) Press Launch 100 6 Workshops 140 Conference 90 Film & Performances 150 7 Exhibitions 15,370 Total 15,850
Feedback from the Celebration of Age Conference was extremely positive, with 95% of those completing evaluation surveys (n44) rating the event as Very Good/Good.
Figure 14.1 Celebration of Age Conference Evaluation
Despite a highly successful programme of events, a few issues were highlighted in relation to the short lead-in time for preparation. For example, those still in receipt of funding were better positioned to showcase their work in comparison to projects funded in the first or second year of the AOPP. There was a lot of bureaucracy around obtaining permission for the flashmob at Stormont, the performance was short and observer numbers were low. It was also felt that with greater planning, a more polished performance and filming could have had greater marketing impact. Additionally some of the show reel events were not well attended and the Panel discussion at the end of the conference had little audience participation. A separate evaluation report has been submitted and will be utilised to inform future events.
Unfortunately, two project beneficiaries suffered an avoidable accident whilst preparing to perform at the Celebration of Age Conference. This demonstrated the need for
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adherence to stringent health and safety and risk assessment procedures at every event, and in particular those involving vulnerable older adults. The Arts Council and all the relevant parties have learned from this experience.
14.6 Promotion and Media Monitoring
Olivia Nash MBE, Gerry Anderson, Baroness May Blood MBE and Myra Vennard were appointed as Ambassadors in 2011. This role gives the AOPP a human identity and each individual is a high profile figure with strong media links. To date Olivia Nash and Gerry Anderson have attended a number of AOPP showcase events (e.g. Upper Springfield’s Engage in Art Age and Big Telly’s Spring Chicken’s performances as part of International Older People’s Day in October 2010, the launch of Carn Media’s Draperstown based project). Although a positive development in terms of publicity generation, obtaining Ambassor time has proven difficult due to their heavy schedules.
Arts Council recognise the need to increase awareness of the AOPP and have developed and circulated two Newsletters – these have focused upon profiling the Ambassadors and project case studies (i.e. Ardtrea and Desertcreat Senior Citizens Group, Engage with Age, Forthspring Inter Community Group, Alzheimer’s Society) in order to highlight the objectives of the programme. The Newsletter also provides the opportunity for isolated older people to find out about arts activities which are happening in their locality. They were also distributed to 108 MLAs at the Stormont Executive and other relevant stakeholders.
The Arts Council Communications Officer provided a media report for the programme which covers the period June 2010 – 01 April 2013. Ten news releases have been issued by the Arts Council communications department since the AOPP launch as follows:
• July 2010: News release issued to all NI regional papers and key broadcast contacts. News release also circulated to steering group partners and stakeholder groups for inclusion in e-newsletters, printed mail outs etc. A PR photo was set up with the Elderflowers, a performance group which meets in the Crescent Arts Centre, Ken Logue from Atlantic Philanthropies and Arts Council board member Brian Sore; • February 2010: News release issued announcing first 16 awards through the programme. The news release (including seven regional variations) was sent to all regional papers and broadcast contacts, including information on projects awarded funding within their geographic area. A news release was also circulated to steering group partners and stakeholder groups for inclusion e-newsletters, mail outs etc.; • October 2011: Media invitation and news release issued in reference to Upper Springfield Development Trust’s final showcase event. Arts and Older People’s Ambassador Olivia Nash attended and spoke at the event. Pictures from the event and the news release were sent to Belfast print and broadcast media list, including arts correspondents; • October 2011: Media invitation and news release issued to publicise Spring Chicken’s flashmob events to highlight their forthcoming shows and to raise awareness of International Older People’s Day. Arts and Older People’s Ambassador Olivia Nash attended and spoke at the event. Pictures from the event and the news release was sent to Belfast print and broadcast media list, including arts correspondents; • October 2011: News release issued to broadcast and print media contacts in Derry highlighting the beginning of Carn media’s project in Draperstown. Gerry Anderson, Arts and Older People’s Ambassador, met with some of those involved and took part in a PR photo; • February 2012: News release regarding East Belfast based Carew II Family Centre’s “Older People’s Exhibition” of photographs, mosaics and collages in the Connswater Shopping Centre;
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• February 2012: News release launching the final round of AOPP funding. The USDT, The Monday Club, Carew II and Age on Stage were highlighted as beneficiaries; • September 2012: News release issued to highlight the final round of funding during which 18 community groups and arts organisations received funding totalling more than £250,000 from the Arts Council to deliver projects designed to engage older people in the arts. Oh Yeah Music Centre, The Mummers Foundation, Big Telly Theatre Company and Ardtrea and Desertcreat Senior Citizens Group in County Tyrone were mentioned; • November 2012: News release to celebrate the launch of the Alzheimer’s Society choir’s CD in The Long Gallery, Parliament Buildings in Stormont. It mentioned the fact that people living with dementia can benefit from activities such as singing and that participation seemed to stimulate memories and allowed carers and people with dementia to participate together; and • February 2013: News release on the launch of Celebration of Age Week encouraging people to get involved in the free events, workshops and activities across NI. The conference featuring keynote speaker, broadcaster, writer and Labour peer, Dame Joan Bakewell was also promoted.
A total of 144 articles referring to the AOPP have appeared in print media. There have been thirteen interview opportunities to talk about the AOPP during the period under review. The total airtime was 67 minutes, all of which were radio opportunities (see Table 14.1).
Table 14.1 AOPP Airtime Breakdown
Date Interview opportunity Interviewee Duration (mins) 8/07/2010 Radio Ulster Arts Extra Fionnuala Walsh, ACNI 7 15/07/2010 U105 Carolyn Stewart show Fionnuala Walsh, ACNI 8 14/08/2010 Peninsula Radio Fionnuala Walsh, ACNI 3 9/03/2011 Eileen Walsh Show Fionnuala Walsh, ACNI 10 1/10/2011 Radio Ulster Saturday Magazine Olivia Nash, AOPP 5 Ambassador 11/10/2011 Radio Ulster Evening Extra Olivia Nash, AOPP 3 Ambassador 26/10/2011 Radio Foyle, Gerry Anderson Gerry Anderson, AOPP 3 show Ambassador 13/06/2012 Radio Foyle Mark Patterson - 0.5 Show 3/07/2012 U105 Frank Mitchell Show Engage with Age 1 Spokesperson 26/11/2012 U105 Frank Mitchell Show - 9 26/11/2012 BBC Radio Ulster Evening Extra - 5 1/03/2013 BBC Radio Ulster Arts Extra Dame Bakewell DBE 7 7/03/2013 U105 Frank Mitchell Show ACNI Noirin McKinney and 5 Oh Yeah Centre’s Paul Kane
Online references were captured on 23 arts and media websites (based on Google Alert tracking only). Websites included Arts Professional, AGE UK, Creativity Boom and Visual Arts Ireland.
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Promotional activity heightened around Celebration of Age week with the production of an A4 programme produced and distributed to key audiences in February 2013, an exhibition area was provided at Stormont in March 2013 to include events programmes and newsletters for the public to take, read and keep. One press release was drafted and regionalised (5 further versions) to highlight events taking place in various towns/cities across NI. Three photo releases with extended captions were issued to the media and there were 13 press articles for Celebration of Age Week (4,284 cm2). Two articles ran on the Arts Council website, receiving 283 hits during the period. The events programme was downloaded 702 times and social media was active with 8 Facebook posts from 18th February to 6th March 2013 – including promotion of programme, creation of events for each of the days, and photograph album from event at Play Resource Centre (57 total engagements) and 7 Tweets posted from @artscouncilni between 19th February and 5th March 2013 (16 total engagements). To date there have been 147 views of the video produced at Stormont on the Arts Council’s Vimeo Channel.
14.7 Discussion
Promotional work plays a valuable role in raising the profile of the programme and increasing awareness of its potential benefits for the older population. Steering Group representatives utilise their links to promote the programme and the Communications Subgroup advises and supports the Arts Council’s Communication Department in promoting the programme within the age sector and wider media. All grantees are encouraged to keep Arts Council informed of any launches/exhibitions that are taking place as in order to maximise the press coverage and impact of the programme.
Despite positive local press coverage, it is believed that there is certainly further scope to raise the profile of the AOPP in the West, particularly in Fermanagh and Tyrone. Unfortunately, the part-time nature of the CDO post alongside administrative pressures has meant that the desired outreach road shows and information sessions did not taken place (although one-to-one meetings have been facilitated). Indeed, there continues to be relatively limited awareness of the AOPP outside the higher capacity older people’s groups and arts organisations despite the publicity surrounding the launch, funding rounds and project awards. It is anticipated that an Artist Database will be developed as a result of the programme alongside a more substantial AOPP presence on the ACNI website.
It was believed that some groups were more experienced and progressive than others in using participatory arts to get specific messages across via their projects and this has been substantiated through the evaluation evidence. As such, there needs to be increased opportunities for both artist and community training and development in this area. The Arts Council has been flexible in its approach in order to make the application and funding process more accessible for low capacity community groups (i.e. allowing handwritten applications, timely payment of funds, flexible project timeframes, advising on artists etc) and these groups have succeeded in generating increased social interaction and providing free access to high quality arts activity.
The Bealtaine dance exchange partnership and dementia training provides an initial step towards establishing a network for artists working with older people. It was believed that the relationship with Bealtaine has been fruitful – helping to develop the Celebration of Age Week and opening the doors to potential funders. The Arts Council recognise the need to share experience and learning with older people’s initiatives in the UK and further afield. Therefore it will continue develop links with the Bealtaine festival and work towards building new partnerships with Luminate in Scotland. In addition, the Arts Council aims to strengthen its international links over the coming five years and this will include partnerships with older people’s initiatives in Europe and beyond.
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The Steering Group have continued to be actively involved in the AOPP throughout the three year period. It was reported that the Arts Council have worked well with grantees and have taken on board any suggestions made. The programme was believed to have been well-run and good quality projects had been selected. However, it was reiterated that the part-time nature of the CDO post has meant that staff resources were often pressurised and this had left less time for developmental work.
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15 Policy Impact
15.1 Introduction
This chapter focuses upon determining the profile of older people’s issues and the AOPP in relation to the wider policy agenda. It presents the findings from Policy Maker Ratings with the Steering Group, interviews with selected policymakers and stakeholders and a survey of MLAs regarding the perceived value of the arts in addressing social justice issues.
15.2 Contextual Analysis
Brendan Murtagh’s 2012 analysis paper on the political impact of the AP Age Programme highlights continued progression of the age agenda in terms of Assembly Questions (AQs) and media coverage. Based upon Stratagem’s Political Update series, he illustrates that 165 relevant AQs were asked in 2009 and that this rose to 281 in 2010. However, 247 relevant AQs were asked in 2011 and 84 in 2012 – a significant decrease. Murtagh however caveats the need to assess the quality as well as the quantity of questions.
Time series analysis for age related AQs indicate a dramatic increase during the two election periods. However, there has been evidence of sustained and targeted advocacy around key areas such as pensions, public spending and fuel poverty. Indeed AQs are largely dominated by fuel poverty and welfare restructuring (specifically benefits and pensions), in addition to health and social care issues.
Murtagh demonstrates that poverty (19%) dominates media activity along with concerns about pensions (13%) and health and social care (16% combined). Dementia has established a high profile (12%) in the media, although not through party political output (2%). Although much of the coverage is deemed sensationalist, a reasonably high volume of positive press about the contribution to older people to their community and place (10%) has been delivered.
With regards to party political outputs (i.e. press releases, policy statements or public comment), fuel poverty represents one-third (33%). Health (14%) and pensions (11%) are also well represented. Whilst the volume of activity across sectors has slowed down it has been replaced by a more focused approach that concentrates on the more significant issues around poverty and exclusion. Content analysis of the five main political parties’ 2011 Manifestos indicates that the DUP contributed almost half of the total content on ageing (49.42%). Sinn Fein (18.43%), Alliance (16.31%) and the SDLP (12.21%) followed, with the Ulster Unionist Party providing relatively little focus upon ageing (3.63%).
Murtagh concludes that over the last three years there was an initially a strong volume of political activity, progressing towards consolidation of more vital issues. He stresses the need for increased emphasis upon accountability and ensuring that commitments are working to deliver meaningful change.
15.3 Policy Maker Ratings
Policy Maker Ratings and related discussions regarding the profile of older people’s issues at policy level were conducted with Steering Group members at Baseline (29 September 2010 Steering Group meeting), Interim (29 November 2011 Steering Group meeting) and Final reporting stage (14 May 2013 Steering Group meeting).
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The Arts Council’s Director of Strategic Development (attendance at two meetings) and a range of leading age sector organisations were represented at these meetings. Each has a strong advocacy and campaigning role, working both individually and jointly for positive strategic and operational change. For example:
• Age Sector Platform’s works to be a strong unified voice for older people in Northern Ireland. It aims to engage with older people, allowing them to make their voice heard, to enable older people to advocate on their own behalf and to empower older people so they can change their lives for the better. Active lobbyists, recent successes include organisation and management of the Pensioner’s Parliament and the Fight the Fuel Cut campaign; • Age Concern NI and Help the Aged in NI joined together in April 2009 to become Age NI and create a powerful new voice for older people. In addition to service delivery and developing and strengthening local groups, Age NI educates and lobbies the NI Executive, Assembly and Authorities to ensure that older people’s issues are represented; • Engage with Age are a partnership of older people's organisations, statutory and voluntary organisations working together to support individual older people, groups and representative forums in East Belfast, South Belfast and Castlereagh. There is emphasis upon influencing decision-makers, lobbying and campaigning, developing leaders and achieving representation on public bodies; and • Workers’ Educational Association (WEA) is the UK’s largest voluntary-sector provider of adult education. It aims to influence and campaign on behalf of adult learners, remove barriers to learning, creating equality and opportunity and challenge bdiscrimination and enriching lives and communities through learning. WEA’s mission is to tackle all forms of social disadvantage through adult education.
Joint campaigns amongst age sector partners represented on the AOPP Steering Group include securing 80,000 additional fuel payments (worth £12.5 million) for older people, and lobbying for the Older People’s Commissioner. Age NI and Age Sector Platform also ran a joint campaign during the six weeks running up to the May 2011 elections for the Northern Ireland Assembly and local councils. The "High 5" priorities for ageing well formed the focus of the campaign (i.e. tackle fuel poverty, maximise pensioner income, fundamentally review social care, end age discrimination and tackle fear of crime). A number advise on OFMdFM’s new Active Ageing Strategy.
15.3.1 Perceived Headline Issues
In September 2010, members felt that there was uncertainty around imminent Ministerial changes and much of the discussions around the policy landscape in Northern Ireland emphasised the looming budgetary constraints. In 2011 issues remained centred around the economy. However, the following were also highlighted as being particularly visible in terms of media coverage:
• Employment and the economy, linking to skills, education and employability; • Review of the Health service and the transfer of services from the acute to the community sector; • The publication of the Dementia Strategy and lack of resources; • Reduction in post-primary school budgets and associated redundancies; • Fuel poverty; and • Review of Public Administration and associated efficiencies.
During the most recent discussion, members identified the roll-out of Welfare Reform and the implications on social security benefits and pensions as being a dominant policy issue. It was believed that there was general fear around the proposed changes with regards to
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how it will affect people economically. Similarly, business closures, unemployment, fuel poverty and increases in the cost of living remain critical issues.
The Transforming Your Care agenda was particularly high profile, especially the closure of statutory residential care facilities. There was believed to be general concern surrounding the authenticity of public consultation procedures by statutory agencies and the need to ensure that those consulted fully understand the implications of what they are being asked.
Proposed changes to the current Council boundaries as a result of RPA and what this means for civic engagement, representation and indeed cultural identity/territorialism issues were also beginning to surface, in light of the flags protests throughout NI.
More specifically, in 2010 the following were identified as being pertinent to age sector lobbying:
• Poverty - cost of living and rising energy costs and the implications upon health and quality of life; • Loneliness and isolation, to include transport; • Community safety issues, to include internet safety; and • Health and social care – keeping active and mental health, quality of care and adequacy of service provision and staff training.
At Interim and Final reporting stage, these issues remained high on organisations’ agendas. Reablement, age friendly environments, dementia, community-based care and securing suitable housing were deemed to have grown in importance. Other concerns included digital inclusion and removing barriers to learning and use.
The appointment of the Older People’s Commissioner was believed to have been a positive step for the sector and the focus upon Welfare cuts continues to make it easier for campaigners to obtain support. Indeed, at Interim and Final stage members reported that older people’s issues have been moving up the political agenda (although not necessarily acted upon in a timely manner). The Age Friendly Cities initiative was thought to have helped engage private, community/voluntary and policymaker interest – although there were queries regarding the likelihood of resource commitments. It was agreed that the sector was largely media dependent and that issues such as fuel poverty tended to be cyclic.
15.3.2 Policy Maker Ratings
Three prominent positions were chosen for analysis by the Steering Group – the Minister for Social Development, the First Minister and the Health Minister. These specific Departments were chosen as their policy developments were believed to have the greatest impact upon older people’s lives. The chosen post holders changed after the Assembly elections in 2011 and Steering Group members rating considers both individual and party support for older people’s issues in terms of tangible outcomes and messaging.
Advocates rated each policymaker as a group (arriving at a consensus group rating) on a series of three scales that assess:
• Policymaker level of support—Individual policymaker support for an issue based on his or her public behaviours or actions on behalf of the issue (1=not supportive, 2=somewhat supportive, 3=supportive, 4=extremely supportive); • Policymaker level of influence—Policymaker influence on the policy issue of interest. Ratings are based on criteria that research shows relate to policymaker
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influence (1=not very influential, 2=somewhat influential, 3=influential, 4=very influential); and • Rater level of confidence—Confidence in the accuracy of ratings on the first two scales (1=not very confident, 2=somewhat confident, 3=extremely confident).
Table 15.1 compares ratings across the period.
Table 15.1 Policy Maker Ratings: 2010, 2011 and 2013
Support Influence Confidence DSD Minister 2010 Alex Attwood [SDLP] 2 3 2 2011 Nelson McCausland [DUP] 3 3 2 2013 Nelson McCausland [DUP] 3 4 2 OFMDFM First Minister 2010 Peter Robinson [DUP] 3 4 3 2011 Peter Robinson [DUP] 3 4 3 2013 Peter Robinson [DUP] 2 4 2 DHSSPS Minister 2010 Michael McGimpsey [UUP] 3 3 2 2011 Edwin Poots [DUP] 4 3 3 2013 Edwin Poots [DUP] 3 4 2
Although the Steering Group members present found it difficult to distance the “person from their politics”, at Interim stage it was generally felt that the DUP Ministers were in touch with bread and butter issues within their constituencies. The SDLP and the UUP were thought to struggle to get their voices heard at Executive level. However, political representatives recognise the strength in obtaining older people’s vote and this could lead to positive opportunities for the age sector.
The current DSD Minister was believed to have made favourable policy decisions early in his tenure (e.g. fuel poverty strategy and disregard for Westminster winter allowance cuts, commitment for double glazing in social housing). Members felt that the fact that he had returned to the Executive on the first count indicated his popularity and credibility with the public. At Final stage, there was evidence that he continued to show an interest in older people’s issues through direct engagement with the Greater Belfast Seniors Forum, particularly focusing upon housing issues and ensuring that older people’s needs are reflected via NR Action Plan activities. Although, supportive (and increasingly influential) the DSD Minister was not believed to champion older people’s issues.
First Minister Peter Robinson’s position was confirmed as being extremely powerful. Ageing, poverty, social inclusion and isolation were believed to be high on the agenda and OFMdFM has statutory responsibility for these areas. However, members were frustrated at the lack of progress on the Active Ageing Strategy, with original drafts lacking targets and ambition. On the other hand members felt that officials had been open to the recommendations made by the reference group and the importance of a long-term approach had been emphasised. Generally, it was believed that Peter Robinson’s support for older people’s issues had declined, due to the dominance of cross- sectoral initiatives such as Delivering Social Change.
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At Interim stage Edwin Poots was thought to have more interest in older people’s issues than his predecessor and is open to the connections between health and other policy areas – taking a more long-term stance. It was suggested that the policy focus upon prevention and the promotion of healthy lifestyles is beneficial, given the arts positive role in the Healthy Cities initiatives. It was believed that the age sector should focus on aligning with Public Health Agency objectives in addition to other commissioning bodies such as Belfast Healthy Ageing Strategic Partnership (which is currently focusing upon combating social isolation within its objectives). At Final stage the Minister’s support was felt to have decreased (although his influence was deemed to have increased), although he was responsive to age sector events and social media output.
Those consulted felt that the role of local Councils and Councillors will become increasingly important as RPA comes to fruition. However, there appears to be varying degrees of support across NI, with Belfast, Newry and Down Councils mentioned as being particularly open to age related issues.
Members felt that there was growing recognition of how the arts can be used as a means of achieving a range of objectives. For example, obtaining community relations and physical regeneration outcomes through the Re-Imaging Communities Programme and achieving economic growth through the creative industries. The PfG and Economic Development Strategy place emphasis upon cultural tourism, the PHA was believed to be a champion of the arts and health agenda and BHSCT has developed an Arts and Health Strategy. The Arts Council’s Ambition for the Arts specifically commits to increasing access to the arts for older people and promoting excellence. Indeed it was believed that there was increased funding available for localised arts related activities in recognition that arts can be used as an engagement tool for marginalised groups and communities.
Steering Group members described the power of the arts to raise awareness of older people’s issues amongst the public and policymakers in an innovative manner, utilising the experiences and voices of older people themselves. However, in terms of personal impact members felt that the lack of empirical evidence aligned to critical policy areas potentially weakened the case for investment.
“It is still difficult to show the value of the arts in practical terms. We know the benefits...new skills and achievements...maybe we should be utilising evidence from other sectors too.”
It was also deemed important to highlight the potential financial savings for Government in terms of preserving independence, wellbeing and potentially reducing the need to access health and social care services.
15.4 Bellwether Interviews
Structured interviews were undertaken with “bellwethers” or influential people in the public and private sectors whose positions require that they are politically informed and that they track a broad range of policy issues. These interviews aimed to determine:
• Where the policy issue is positioned on the policy agenda; • How decision makers and other people of influence view it; and • How likely policy makers are to act upon it.
Table 15.2 indicates the interviews undertaken at Baseline and Interim stages.
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Table 15.2 Baseline and Interim Bellwether Interviews
Baseline Interim Final Public Policy Division, NICVA Professor of Public Policy, UU Policy Division, ECNI Office of Older People’s Public Affairs Consultant, Operations Directorate, Advocate Stratagem Commissioner for Older People Culture Division, DCAL Culture Division, DCAL Culture Division, DCAL Elderly & Community Care Elderly & Community Care Public Health Agency Unit, DHSSPS Unit, DHSSPS Equality, Rights & Social Equality, Rights & Social Equality, Rights & Social Needs Division, OFMDFM Needs Division, OFMDFM Needs Division, OFMDFM Policy Division, DSD Policy Division, DSD SF Councillor DUP Councillor The Baring Foundation The Atlantic Philanthropies
As with the Steering Group Policy Maker Rating interviews, Baseline, Interim and Final stage Bellwether discussions identified issues concerning economic policy, welfare reform, unemployment and poverty as dominating the media and policy arena. However, older people’s issues were firmly inter-linked to these. At Interim these included the proposed appointment of the Commissioner for Older People and the spotlight on fuel poverty. At Final stage the closure of statutory residential care homes, reablement, introduction of the flat rate state pension, changes to housing benefits and issues concerning the cost of living were pertinent. Community safety and fear of crime amongst older people also had a high profile within the discussions.
Age sector organisations continue to be perceived as effective in lobbying MLAs and the establishment of the Commissioner for Older People and Pensioner’s Parliament was an important step in raising awareness at political level, as well as being invaluable to policymakers. The Commissioner for Older People, Age NI, Age Sector Platform and Engage with Age were named as prominent advocates. However, despite increasing awareness of the implications of an ageing society, loneliness and social inclusion were not thought to be at the top of the policy agenda.
OFMdFM stressed that the draft Active Ageing Strategy has a cross-departmental focus with input and commitments from DHSSPS, DSD and DOJ. Indeed OFMdFM and DOJ are currently developing a signature project to address community safety and perceptions of crime on an intergenerational level. Although there is emphasis upon social cohesion, healthy lifestyles and wellbeing within the draft strategy, the connection between arts and health had not been made. It was thought that although there is an appetite for the arts at grassroots it is not visible enough at policymaker level.
Most of those consulted believed that the arts had the potential to highlight social injustices and the Re-Imaging Programme was thought to have broken new ground with regards to cementing the value of the arts in delivering community regeneration. This programme had succeeded in breaking through Ministerial consciousness and continues to be referenced at that level. However, this success was not thought to have transferred to socio-economic issues to any great extent, perhaps limited by the general
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tendency to restrict political debate to behind closed doors. In general terms the arts were perceived as a luxury and therefore lower on the priority list. However, there was agreement that the arts are a powerful tool for advocacy – highlighting injustices and expressing people’s concerns and this aspect should be fully exploited.
“It really is who shouts the loudest. Who makes the politicians most uncomfortable.”
“There could be more done to get the contribution of the arts across...it can depict older people in a positive light, showcase their talents. You don’t see much promotion of older people. You could lose support if people don’t see its more than older people coming together for a chat.”
The DCAL representative felt that there was heightened political awareness regarding the arts contribution to health, social inclusion and social integration - particularly through the CAL committee. DCAL remains focused on increasing audiences and access to the arts and reported that there was awareness of the AOPP within the Department and amongst the CAL committee. Notably, it was highlighted that community arts projects have successfully addressed community safety and intergenerational understanding in the Lower Falls, whereas the Community Festival Funds have transformed spaces, improved social cohesion, civic engagement and social inclusion. Overall it was believed that policymakers are beginning to realise the positive impact that the arts can have on resolving socio-economic issues. However, access and affordability in both urban and rural areas were highlighted as obstacles which still need addressed
At Interim reporting, the Head of the Elderly & Community Care Unit had a history of working with the arts through previous roles (e.g. Arts Care) and was personally knowledgeable about the benefits. However it was believed that awareness of the use of the arts relating to health issues was not high within the Department at that time. One year later, the HSCTs and PHA are becoming increasingly visible in relation to the arts and health agenda, with the development of the BHSCT Arts and Health Strategy and the PHA’s partnership working with Arts Care during the Arts and Health Festival. The PHA representative reported that the success of the Festival had highlighted the need for ongoing work to address issues such as isolation, social inclusion, mental health and disability in an innovative way. He stressed that there has to be a more localised approach to the programmes in order to reach unconnected older adults, particularly those who are over 85 years and linking into the Council’s through the proposed Power of Wellbeing. It was suggested that the Community Navigator social networking and coordination approach adopted in the SEHSCT and delivered via Age NI could be a potential delivery model for a new AOPP programme.
Many of those consulted stated that the arts sector needs to overcome public perception towards arts funding/support as it is basically seen as an enjoyable luxury. It was felt that this was due to the lack of empirical evidence linked to policy objectives. However,
“What would make a case for the arts is some hard facts for the benefits going beyond artistic merit and “it’s nice”.
A number of Bellwethers felt that links to health promotion, disease prevention and dementia would be most fruitful given the increasing emphasis upon low level non- medical interventions linked to reablement.
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15.5 MLA Panel Survey
In late 2011 and Spring 2013, Stratagem in conjunction with ComRes, a London-based polling and research company, surveyed over 60 MLAs on the MLA Research Panel using self-completion postal/online questionnaires.
Membership of the MLA Research Panel includes:
• All community designations (nationalist, unionist and other); • All main political parties represented in the Assembly; • All 18 constituencies; • Party Leaders; • MPs; • Men and women ranging in age from mid-20s to mid-70s; and • New and returning MLAs since 2011 Assembly elections.
In total, 40 MLAs completed the questionnaire anonymously in 2011 and 42 completed the survey in 2013. Data was weighted to reflect the exact composition of the Assembly in terms of party representation and constituency distribution.
AOPP submitted a question for inclusion in the MLA Research Panel Survey in 2011 as follows:
Thinking about social justice issues for older people, in your opinion, how effective or otherwise are arts and crafts activities at addressing each of the following? (5=very effective and 1=not at all effective) • Loneliness and isolation; • Health and wellbeing; • Poverty; • Social inclusion; and • Giving older people a voice.
MLAs were also asked to outline the reasons for their answers. In 2013 the wording was changed slightly to “Thinking about social justice issues for older people, in your opinion, how effective or otherwise are the arts at addressing each of the following?” Due to the change in wording direct comparisons cannot be made over the survey periods, instead trends in opinion are inferred.
Figure 15.1 illustrates that MLAs consistently felt the arts to be most effective at addressing issues regarding loneliness and isolation, social inclusion and health and well being. MLAs rated the arts to be less effective at giving older people a voice and addressing issues concerning poverty.
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Figure 15.1 MLA Rating of the Effectiveness of the Arts in Addressing Social Justice Issues
Table 15.3 illustrates effectiveness rating by party membership as per 2011. The DUP and Sinn Fein both rated arts and crafts activities as being most effective in addressing social inclusion, whereas the UUP and SDLP felt it was most effective at addressing issues concerning loneliness and isolation. Alliance party members felt that arts and crafts activities were most effective at addressing health and wellbeing.
Table 15.3 Effectiveness Rating (and Ranking) by Party: 2011
Strategic Theme DUP SF UUP SDLP Alliance Loneliness & Isolation 3.77 (2) 4.05 (3) 4.80 (1) 4.25 (1) 3.87 (2) Health & Wellbeing 3.65 (3) 4.35 (2) 4.53 (2) 3.78 (4) 3.94 (1) Poverty 2.22 (5) 3.16 (5) 3.06 (5) 3.17 (5) 2.29 (4) Social Inclusion 3.82 (1) 4.60 (1) 4.26 (3) 4.18 (2) 3.42 (3) Giving Older People a Voice 2.65 (4) 3.56 (4) 3.51 (4) 3.97 (3) 2.00 (5)
The 2011 results indicate that the majority of the parties (with the exception of the SDLP) felt that arts and crafts activities were least effective in addressing issues of poverty and giving older people a voice, in comparison to the other issues. Table 15.4 presents ranking for the 2013 survey.
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Table 15.4 Effectiveness Rating (and Ranking) by Party: 2013
Strategic Theme DUP SF UUP SDLP Alliance Loneliness & Isolation 3.18 (1) 3.65 (1=) 3.78 (1) 3.58 (3) 3.25 (2) Health & Wellbeing 3.17 (2) 3.65 (1=) 3.49 (3) 3.46 (4) 3.43 (1) Poverty 1.73 (5) 2.00 (5) 2.51 (5) 2.98 (5) 3.07 (4) Social Inclusion 3.05 (3) 3.32 (3) 3.63 (2) 3.64 (2) 3.18 (3) Giving Older People a Voice 2.29 (4) 2.77 (4) 3.05 (4) 3.70 (1) 3.00 (5)
Again, the SDLP are most likely to agree that the arts are effective in giving older people a voice, in comparison to the other parties. However, they are less likely to concur that the arts is effective with regards to improving health and wellbeing. Members from three political parties provided comments (i.e. DUP, Sinn Fein and the UUP) in 2011. The feedback typically illustrated the perceived value of arts and crafts activities in combating loneliness via social interaction. However, the comments made by Sinn Fein MLAs recognised opportunities for developing and sharing skills. Selected comments from the 2013 survey are presented in Table 15.5. Please note that Sinn Fein MLAs did not provide any comments. Table 15.5 MLA Research Panel Comments DUP “The arts provide a social network for the elderly population, This helps build their confidence and speak out for their needs and rights.” “I'm not aware of how the arts effectively targets poverty, social inclusion and giving older people a voice.” “I see very little being done through the arts so see little benefit unless it could be more visible.” “The arts provide an opportunity for interaction where this can be accessed and there are health, well-being and social inclusion benefits from this. I don't view the arts deals with poverty nor does it give a voice.” “I have seen little evidence that arts work at all in the elderly sector.” “A bit confused by the word 'arts'. I could think of many more important issues facing the elderly than the arts.” “Arts can be quite expensive so can raise awareness of poverty, but may not help practically address this issue. The arts are very effective at including older people and giving them a voice.” “Not enough arts opportunities out there for older people and as people live longer the number of older people increases and therefore the arts must respond to this.” SDLP “You can't paint a loaf.” “The arts has a narrow base of people who lack awareness of the issues which affect older people particularly in relation to loneliness.” “Have seen little evidence of these issues being addressed through the arts.” UUP “I don’t think I have come across anything in the arts that relates to matters which effect older people.” “Arts bring people together, reducing isolation. This can improve mental health and well-being. This may not affect financial poverty.” “You ask about effectiveness of the arts. I am not aware of anything they have
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undertaken to support Age NI.” “Fantastic way for people to interact. Certainly combats isolation and gives a voice to older people.” Alliance “While important, the arts would not necessarily be at the top of older people's agenda.” “I believe Age NI was most effective in highlighting poverty for older people. The Slogan "To eat or to heat" was often quoted by politicians when referring to the quality of life for pensioners.” “Take away a person's voice and you have an isolated and angry person. The Arts give people a voice.”
15.6 Discussion
The economic, social and political consequences of an ageing population are a challenge for policy makers and there is evidence of an increased focus on older people at policy level. As illustrated above, there continues to be progress with regards to awareness raising, lobbying and policy development. There is also a growing recognition of the need to prepare and provide for our increasingly ageing population. However, there is frustration that the successor to Ageing in an Inclusive Society has not yet been published.
Discussions with the Steering Group and the Bellwether sample illustrate that issues concerning the economy and health and social care continue to be the most visible on the policy landscape. However, it is evident that related older people’s issues (particularly those connected to regarding poverty, social isolation, independent living and quality of care) are high on the political agenda. The age sector is believed to be strong advocates and have secured commitments within the PfG as a result of ongoing campaigns and the relationships developed as a result of the Pensioner’s Parliament.
However, the potential partnership between the arts and age sector on selected social issues has not greatly infiltrated political consciousness. There is now a general understanding of how arts participation can help alleviate isolation and improve wellbeing via social contact. However, artistic expression is still perceived as a luxury activity, associated with the more affluent rather than a vehicle to highlight and address relevant social problems. This connection is even more pertinent when energy prices, food prices, pensions and benefits and care home closures are high on the agenda. Critically, the contribution of the arts has not yet been reflected in the new Active Ageing Strategy. Despite this the AOPP could benefit from the success of the Reimaging Communities programme which has achieved recognition in local political circles.
The discussions and survey results indicate that there are some potential ambassadors for the increased use of the arts to meet policy objectives (e.g. CAL Committee, DUP, PHA). However further work needs to take place to build the profile of the AOPP on the ground through increased collaboration between the age, health and arts sectors. Throughout the programme senior representatives of the Arts Council have focused upon building relationships with the CAL Committee members and have developed an Advocacy Strategy which they hope to take forward if further funding is secured. This will target OFMdFM, Health, CAL and DSD Ministers, political parties, MLAs, key age sector representatives/Forums and local Councils. However, it is considered that the AOPP still needs to build its profile at Departmental level and amongst local Councillors who may remain unconvinced.
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16 Programme Appraisal
16.1 Introduction
The AOPP has specific strategic themes which the Arts Council aim to deliver through the commissioned projects. Overall, the AOPP aims to utilise the arts to positively influence attitudes towards older people, service delivery and policy development. Active ageing, civic engagement, participation and advocacy are at the core of the programme and there is clear alignment with Government strategy.
The Mental Capital and Wellbeing47 Foresight report identifies mental ill health and the wellbeing of older adults and the under-utilisation of their mental capital (i.e. ability to learn, think and use of emotional resources) as two important future challenges for Government. These two factors are believed to be related and strongly linked to the negative stereotyping of old people – both within their own age group and in wider society. The report concludes that the best people to demonstrate the potential of older adults are older adults themselves – via raising the profile of older adults who continue to demonstrate high levels of achievement, showcasing the potential of older adults to help and connect across generations and tackling negative attitudes in Government. There is a call for a greater focus on the positive potential of older people, to address the stigma associated with “old age”.
This chapter discusses the impact of the programme according to the overarching objectives and outcomes presented within the AOPP evaluation framework and the objectives outlined in the Arts Council’s Creative Connections and Ambitions for the Arts strategies. The populated indicators are displayed and a number of areas for AOPP development suggested.
16.2 Impact: Isolation and Loneliness
Table 16.1 illustrates the AOPP objective and desired outcome in relation to combating isolation and loneliness.
Table 16.1 Outcomes: Isolation and Loneliness
Objective Outcome To provide opportunities • Increase social interaction through participatory arts for social interaction projects; through arts-led • Older people who have participated in the programme interventions and projects lifted out of isolation and loneliness.
The AOPP aims to increase opportunities for social interaction through engagement in arts based activities. The AOPP funded 50 projects targeting older people across NI, 49 of which specifically aimed to address isolation and loneliness. Based upon Lead Partner returns, over 4,000 people have participated in AOPP projects, although the actual number is projected to be around 6,000 people. Table 16.2 highlights the populated indicator framework.
47 Foresight (2008) Mental Capital and Wellbeing: Making the most of ourselves in the 21st century. Foresight Government Office for Science: London.
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Table 16.2 Indicators: Isolation and Loneliness
Quantitative/Qualitative Indicators Decrease in participants’ loneliness scores (Hughes et al) pre- Lack companionship - and post- activity 4% Feel left out -4% Feel isolated -4.5% % of artists who feel participants enjoyed the activities 93% % of artists who feel that participants are now more positive 78% about the arts Participants, artists & stakeholders feel that the project has Achieved decreased isolation and improved access & participation in the arts
Overall, 41% of respondents stated that they live alone and this was found to be connected with feeling lonely. Indeed, analysis of the 3-point Loneliness Scale illustrated that 53% of the sample lacked companionship at least sometimes, with just under half feeling left out and/or isolated at times. As with previous research studies, this demonstrates that loneliness is an issue for many older people. However, for the purpose of the AOPP evaluation it suggests that the programme has been successful in reaching individuals who may be susceptible to loneliness. Participant feedback suggests that many older people feel nervous about leaving their houses as it gets dark and that fear of crime can lead to people feeling cut off and isolated.
Poor health and rural living was found to correspond with lack of companionship and a large number of projects targeted individuals who are particularly vulnerable to social isolation as a result of their personal circumstances. The arts based projects were believed to have provided a distraction from illness, have helped to bring people together, to inject enthusiasm into those working with older people and to have ignited creativity within isolated rural communities. On the whole, the evaluation evidence demonstrates that participants received a great deal of enjoyment from the activities on offer. Additionally, artists felt participants had enjoyed the activities and were engaged during the sessions.
Male respondents were slightly more likely to report feeling left out and/or isolated in comparison to females. However, males were only one quarter of the overall sample. Upon recommendation, the Arts Council funded a number of projects which specifically targeted men in the latter funding round. It was evidenced that males benefited from attending sessions outside their normal routine and being in the company of other men. Artists also found that after building a rapport with participants they gradually learned about the social isolation and pressures particular to men. There remains a need to develop projects which are specifically directed at men. However, can be a difficult group to reach. It is suggested that Arts Council continue to work towards bridging this gap with any subsequent programme.
The AOPP pre-/post- comparison group scores illustrate decreases in loneliness. However, if people are to be lifted out of isolation, there is a need for sustained activities which enable connections to be made and which provide opportunities for relationships to develop.
The AOPP has enabled older people to engage with others who are of a similar age and who are experiencing common life experiences/struggles. Some projects utilised reminiscence, music and storytelling as a vehicle for group bonding and this seems to
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have provided social benefits in terms of learning about others and establishing common ground. Despite the recruitment of artists with considerable experience in working with older people, feedback suggests that the work has provided them with a greater insight and appreciation of loneliness and how it can affect older people. Artists working within residential care/supported accommodation settings stressed the importance of staff participation and entering into the spirit of the sessions. Indeed there was evidence that artists were confident enough to vocalise this to project partners, in order to ensure that the caring relationship could develop.
At the outset the majority of people embarking on AOPP activities expressed a desire to improve their social lives and get to know other people. The feedback illustrates the participative and interactive nature of the arts activities on offer and the emphasis placed upon developing friendly, welcoming and open environments. Older people placed high value upon feeling part of a group and exploring new activities together. As such the AOPP is considered to have increased social interaction and addressed isolation during the project duration. However, the long-term aim that AOPP participants are “lifted out of isolation and loneliness” is more difficult to gauge and it is suggested that additional efforts should be directed at signposting and sustaining relationships.
Despite illustrating the positive social impact of the AOPP for those who are at risk of loneliness, in line with Interim findings, it is considered that few projects have overtly demonstrated the value of the arts in raising public awareness of loneliness and debate on the issue. It is considered that tackling loneliness has been a by-product of AOPP projects, rather than highlighting the issue head-on. This is potentially a development area for artists and needs to be addressed if the AOPP is to reach beyond the social aspect of the activities. There needs to be greater emphasis upon promoting active ageing, healthy participative lifestyles and increasing societal understanding of the need to nurture older people’s social networks.
16.3 Impact: Social Inclusion
Table 16.3 illustrates the AOPP outcomes in relation to addressing social inclusion.
Table 16.3 Outcomes: Social Inclusion
Objective Outcome • Combating social • Improved access to services and participation in arts exclusion of older programmes; people through arts • Positive relationships developed between people from interventions that different backgrounds and experiences, especially of The promote inclusion, free Troubles; movement and sharing • Increased opportunity for new relationships with people of a similar age and on an intergenerational basis focusing on learning a new creative skill; • Decreased feelings of exclusion amongst older people in society and increasing awareness of age discrimination amongst those who have participated in the programme.
The desired outcomes stress improved access to services, increased relationship building between older people on an intergenerational and cross-community basis and decreased feelings of exclusion. The relevant indicators are presented in Table 16.4.
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Table 16.4 Indicators: Social Inclusion
Quantitative/Qualitative Indicators % of participants strongly agree/agree that they have 77% made good friendships out of this project * cross-community, cross-cultural, intergenerational Cross-community 62% projects Cross-cultural 81% Intergenerational 76% Increase in the promotion of good relations (e.g. sharing Achieved facilities, relationship development, networking & links)
Many AOPP projects involved marginalised groups – particularly those living in residential settings, with mental health problems, dementia or life limiting illness. The WEA’s “Me, Myself and I” project was a direct response to the isolation and exclusion which older people from the LGB&T experienced. It offered people the opportunity to explore self and identity through visual arts and photography mediums. A number of sustainable benefits have arisen as a result of this funding to include a review of service provision and the establishment of a local LGB&T group.
Four of the 50 projects partnered/targeted minority ethnic groups and spanned artistic partnerships with the Chinese, Indian, Polish and Traveller communities as well as the South Belfast Roundtable on Racism. These provided creative opportunities to express culture and engage in a range of art forms. The evaluation demonstrates that friendships have derived from these inter-cultural projects.
Many AOPP projects had an intergenerational aspect and aimed to promote increased contact and understanding between people of different ages. Some projects involved working towards a common goal, such as a performance, a mosaic or a film, whereas others were solely based upon sharing knowledge, breaking down social barriers and getting to know one another. For example, through intergenerational workshops and post-show discussions, the exploration of women’s roles through drama, reminiscence, photography and skill swapping.
Feedback from intergenerational sessions illustrate that the introduction of young people to the creative activities brought a positive dimension, especially when conducted in residential settings. These projects have led to increased community mobility. It is considered important that supported housing, residential and day care settings are perceived to be part of, rather than separate to the community, with groups invited into each other’s domain. Also important is the need to encourage intergenerational relationships to develop at a local level, to ensure sustainability when funding ends.
Although a small number of projects involved residents living at urban interfaces, the majority of grantees outlined that their sessions have been cross-community in nature. Artistic activities in areas of tension highlighted commonalities of experience and issues of contested space. However, although a manifestation of the arts ability to connect, in the majority of cases contact and relationship development between people from different religious backgrounds has been a by-product rather than the focus of the activities. Cross-community projects were less likely to report increased friendships than inter- cultural and intergenerational projects.
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Indications that some older people do feel discriminated against because of their age came across in the participant evaluation material with individuals stating that they want to show that they still have much to offer and indeed prove. Some grantees felt that participants did not like the fact that the AOPP was focused in on “age” and “being older.” It was clearly highlighted that older people aren’t and shouldn’t be considered as being homogenous groups - some people feel their age and may be constricted by norms about what they should and shouldn’t do. However, many more are willing to give anything a go if given the chance and a supportive environment.
Although the AOPP has demonstrated the continued ability of older people to be creative, societal stereotyping and discrimination against older people needs to given a higher profile in order to meet the programmes longer-term objectives of widespread attitudinal change. The impromptu flash mob performances, exhibitions and publicity have served to raise awareness – however it is suggested that the challenge function needs to be raised.
16.4 Impact: Poverty
Table 16.5 illustrates the AOPP objective and desired outcome in relation to poverty.
Table 16.5 Outcomes: Poverty
Objective Outcome Providing opportunities for older people living Increase opportunity for participation in disadvantaged/marginalised rural and urban in arts activities at no cost to the older areas to access and participate in arts person activities
The Arts Council was tasked with providing opportunities to access and participate in arts activities in disadvantaged rural and urban areas and 64% of grantees reported that they would address this strategic aim. The Arts Council actively encouraged organisations to recruit individuals from disadvantaged areas and this was proactively promoted in Round Two and Three through revising the evaluation criteria. Overall, 27% of survey respondents (and 16% of event attendees) lived in NRAs and 38% lived in rural areas.
Table 16.6 outlines the relevant indicators related to addressing and highlighting poverty.
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Table 16.6 Indicators: Poverty
Quantitative/Qualitative Indicators Increase in % participants who have been to see an arts event in +10% the last 12 months (*urban/rural & Neighbourhood Renewal areas) Urban +6% Rural +15% NRA = Increase in the % of participants who have taken part in an arts +18% activity in the last 12 months Urban +2% (*urban/rural & Neighbourhood Renewal areas) Rural +21% NRA +26% Decrease in perceived barriers to the arts Post-activity responses decreased by 21% (*urban/rural & Neighbourhood Renewal areas) Urban -38% Rural -3% NRA -51% % of participants strongly agree/agree that they have made good 77% friendships out of this project (*urban/rural & Neighbourhood Renewal areas) 78% Urban 81% Rural 80% NRA % of participants strongly agree/agree that they have taken part 47% in other groups & activities due to this project 43% Urban (*urban/rural & Neighbourhood Renewal areas) 37% Rural 50% NRA % of participants strongly agree/agree that these sessions have 67% made them want to go to arts events (*urban/rural & Neighbourhood Renewal areas) 69% Urban 67% Rural 69% NRA
Through the provision of targeted grant aid, the AOPP projects have undoubtedly led to increased opportunities and access to arts events and activities for older people – particularly those living in NRAs and rural locations. However, participant analysis indicates that some localities such as County Fermanagh were under-represented with fewer groups applying to the programme. Although briefing sessions were held subsequent to the funding rounds, the Arts Council recognise that increased promotion and outreach may help reach more isolated areas.
Upon entry to the AOPP, over half the respondents reported that they had attended and/or participated in the arts within the last year and whilst it is important to build upon people’s interests, there is a recognised need to attract newcomers and to reach the most isolated and excluded within communities.
Routine Arts Council surveys indicate that the perceived affordability of arts activities is a barrier to engaging older people, particularly those who have a low income and poor access to transport. The Celebration of Age Week activities, final project showcases, performances and exhibitions have been free of charge to the beneficiaries and some venues have provided subsidised tickets to performances and/or alerted participants to other projects, events and services.
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Over the course of the programme, concerns regarding the cost of the arts activities decreased within the pre-/post comparison group. However, this is an issue which needs further exploration. It was evident that individuals appreciated the fact that they had accessed good quality creative tuition and support and some quoted the high cost of such tuition through non-subsidised means. Some groups continued to employ artists after project end, indicating that they valued and desired the activities. Others pledged to start up informal crafts sessions, pooling resources between themselves and utilising skills within the group. Many small groups illustrated their resourcefulness in making relatively small amounts of funding stretch. This is an extremely important learning point when we consider the significance of cost as a barrier to arts engagement.
The need for accessible information, transport, buildings and activities has been highlighted through participant, grantee and artist feedback. Some groups had already built transport costs into the project, whilst some participants organised lifts and car pools between themselves as relationships formed. Significantly more lobbying needs to be done on this issue – the potential for older rural dwellers to be cut off from community life was clearly apparent.
Over three quarters of survey respondents stated that they had established good friendships as a result of project participation – roughly the same for those living alone, living in NRAs and in rural areas. A number of facilitators reported increased numbers at non-AOPP sessions to which they were affiliated, illustrating that participants were trying new activities and attending groups that they might not previously joined. However, despite these successes under half of the respondents reported that they had taken part in other groups and activities as a result of the AOPP project. In light of this, the Arts Council must place greater emphasis upon the need to ensure that participants are made aware of other groups, events and activities within their local area. This is important given that the primary barrier to arts participation is a lack of information about what is available. Lack of confidence regarding attending activities alone or joining established groups was apparent. Hence, there is potential to develop local companionship networks, based upon the Bealtaine model (see Chapter Four).
Analysis indicated that previous arts event attendance and participation was already relatively high amongst those living in NRAs. Therefore it is important to recognise that although a necessary part of the overall criteria, the funding needs to reflect that people outside these areas may also suffer poverty of experience and exclusion. It is considered that AOPP projects could have placed more emphasis upon highlighting the occurrence and implications of poverty for older people, or their concerns around increased cost of living, pension provision etc, in addition to improving access to the arts within disadvantaged areas.
16.5 Impact: Health Issues/Dementia
Table 16.7 illustrates the AOPP objective and desired outcome in relation to health.
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Table 16.7 Outcomes: Health
Objective Outcome Provide opportunities for older • Increased opportunities for participation in arts led people to participate in arts led activities that help stimulate older people at a activities which may help physical, mental and social level; improve the physical, mental • Awareness of the health benefits of increased and social wellbeing of the participation in creative and artistic activity; participants • Health and well-being and quality of life for older people participating in the programme improved
A variety of AOPP projects were led by organisations specialising in health and/or arts and health. However, 41 out of the 50 projects reported that they aimed to address health/dementia related issues. The related indicators are shown in Table 16.8.
Table 16.8 Indicators: Health
Quantitative/Qualitative Indicators • Increased % of participants stating that their physical Physical health +2% health, mental health & enjoyment of life is “Good/Fairly Mental health +4% Good” Enjoyment of life +3.5% • Increase in participants’ wellbeing score (WEMWBS) +1.3pts 74% increased or stable 28-35pts +9% • % strongly agree/agree that they have been able to 75% express themselves at sessions • % of artists stating that participants’ self esteem 75% improved • % of artists stating that participants’ concentration 69% improved • % of artists stating that participants’ ability to listen 78% improved • % of artists stating that participants appeared engaged 94% during the sessions • % of artists stating that participants’ became more Talking to Artist 77% confident in talking to them/others about their work Talking to Others 69% • Participants, artists & stakeholders feel that the project Achieved has increased wellbeing
The evidence for achievement of the health and wellbeing objectives is considered to be strong. Just under half of survey respondents reported that they had a long-term illness health problem or disability. Although, the majority rated their physical health as good/fairly good, it was rated less highly in comparison to mental health and enjoyment of life. Increased age and living in a NRA was related to poor physical and mental health and enjoyment of life. However AOPP respondents perceived health problems as being slightly less of a barrier to arts participation, than comparable age groups within the general public. Indeed, the proportion citing poor health to be a barrier decreased slightly upon project completion.
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Although there were a small number of cases wherein the chosen activities were not suitable for all participants, on the whole artists were proactive in adapting their practice to participant needs and ability and realised the importance of providing a positive creative experience. The Arts Council’s Dementia Awareness training also helped increase understanding of the need to ensure flexibility during sessions and to see the person behind the illness.
Small improvements in physical health were reported anecdotally, particularly with regards to fine motor movements and reduced pain through crafts activities, improved mobility through dance and breathing and voice control through drama related exercises. Some individuals felt that the classes and activities were relaxing. A number of artists reported improved ability to follow instructions, hand-eye coordination, improved concentration and memory as a result of participants’ learning movement sequences, lyrics or text, others noted improvement in mood. However, many artists found it difficult to tell whether any difference had occurred, either due to a lack of familiarity with the individuals or the verbal/non-verbal cues.
Overall, eleven projects facilitated arts activities for people and dementia and/or address issues related to memory loss and ageing. However, wider artist and lead partner feedback indicates that many more conducted work with individuals who were potentially dealing with early stage dementia within their groups. Reported participant benefits include improved communication and speech, song recognition and participation, improved relationships within the groups and increased confidence and self-esteem as a result of associated performances.
The AOPP funded Skylarks project was a pilot involving a partnership between Arts Care, Hearts and Minds Scotland and Belfast Health and Social Care Trust saw the adaption of the successful children’s Clown Doctors programme for the benefit of older people with mild to moderate dementia. Comprehensive protocols and reporting/evaluation processes were developed in order to measure impact over time. Care staff noted positive changes in body language and sociability, mood and eye contact, focus, speech, gesture, anxiety levels and changes in ticks/ tremors. The Skylarks project demonstrates the need for in- depth preparation and training and the importance of ethical conduct and partnership working between artists and health care professionals. As a result of funding, Arts Care intends to establish these programmes across NI.
Although direct inferences with regards to the health benefits of AOPP participation can’t be empirically substantiated, the quantitative results do appear to conform to wider and more robust research evidence. The comparator sample demonstrates increases in self- rated physical health, mental health and enjoyment of life.
Post-project analysis of WEMWBS statements illustrated increases in wellbeing across all of the indicators – in particular there was a 14% increase in those always/often feeling useful. Utilising the WEMWBS as intended, there was a small increase in the overall wellbeing score, with just over half of the respondents indicating an increase and 22% of scores remaining stable. The proportion of respondents with the highest wellbeing scores also increased over the duration. However, it must be noted that one fifth of respondents had decreased scores and this was most prevalent in the over 80 age group.
The quantitative evidence is substantiated by participant, grantee and artist feedback which also suggest that participation in the AOPP has had a positive impact upon wellbeing. This appears to be linked to the social interaction and enjoyment gained through group participation and increased confidence generated through receiving encouragement and developing knowledge and skills.
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Only a small proportion of the survey sample reported caring responsibilities and only one project directly targeted carers (alongside those whom they care for). In this instance, involvement was thought to have enabled increased social interaction, relaxation and respite for carers and it may be a group that the programme could consider engaging in the future.
16.6 Impact: Strengthening the Voice of Older People
The majority of the AOPP outcomes relate to the need to “strengthen the voice of older people”, via artistic expression, capacity building and advocacy. Table 16.9 highlights the relevant AOPP outcomes.
Table 16.9 Outcomes: Strengthening the Voice of Older People
Objective Outcome Provide opportunities for older • Increased skills amongst older people – including people to develop skills which artistic, capacity building, community development will strengthen their voice on and advocacy skills; issues that affect them – • Awareness of older people’s issues raised and more artistic, professional and positive attitudes to ageing within wider society; personal development skills. • Older people able to artistically express their negative feelings of loneliness, social exclusion and positive feelings of empowerment and celebration; • Awareness of the programme and social justice issues amongst key stakeholders, policy makers, service providers and wider society; • Government policy on older people issues positively influenced.
Overall, 90% of projects funded under the AOPP aimed to strengthen the voice of older people. Table 16.10 summaries the corresponding indicators.
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Table 16.10 Indicators: Strengthening the Voice of Older People
Quantitative/Qualitative Indicators • Increase in awareness, understanding & support of Partially Achieved older people’s issues by policy makers • Increase in awareness, understanding & support of Achieved by those in contact older people’s issues by service providers with the AOPP projects • Increase in awareness, understanding & support of 87% artists increased older people’s issues by wider society knowledge of social issues 78% event attendees • Increase in the % of participants who have taken Contact media 8% pre- & action to solve a problem over the last year post-activity Contact organisation 12% pre- /11% post-activity Attend meeting 14% pre- & post- activity Sign petition 15% pre-/13% post-activity • % of participants who strongly agree/agree that 83% they have tried & learned new things • % of participants who strongly agree/agree that 72% they have surprised themselves & others by what they can do • % of participants who strongly agree/agree that the 76% activities have given them the confidence to try different things • % of participants who strongly agree/agree that 84% they feel good about what they have achieved • % of artists stating that participants’ showed a 81% desire to learn • % of artists stating that they would like to work 96% with older people again • Participants, artists & stakeholders feel skills have Achieved been developed via the project
It is clear that new skills have been developed and knowledge gained as a result of AOPP participation. Projects offered participants the opportunity to try artistic mediums not previously experienced, such as willow work, glasswork, ceramics, theatre and performance – opening up a new creative world and developing personal and group capacity. The use of professional artists has been important to the success of the AOPP projects - both in illustrating the value placed on the activities and in ensuring that the process and products have been of a high artistic quality. Participants are proud of what they had achieved and the AOPP has highlighted that age is not a barrier to creative expression.
Strengthening the Voice is central to the AOPP. To date it is considered that the AOPP has been most successful in demonstrating the contribution of the arts at participant and practitioner level – culminating in the growing interest and support of the PHA regarding the arts’ ability to address issues such as loneliness, social exclusion and wellbeing.
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Service providers stated that AOPP participation has reinforced the importance of providing structured activities which encourage individuals to express their thoughts and feelings, especially within day centres, supported accommodation and residential settings. In many cases, staff also joined in sessions in order to support participants and artists and to enable them to continue to undertake informal sessions post-funding. Relationships have also been forged between artists who had no previous experience of working together. Grantees also illustrated that the AOPP had helped strengthen and develop cross-sectoral relationships and raised awareness of the services which they offer.
The AOPP needs to continue to utilise the arts to challenge traditional stereotypes of ageing. Performance based activity such as the flash mobs have been direct in getting this message across, other mechanisms such as the exhibitions, reminiscence sessions etc have been more subtle but are potentially just as powerful. A range of people have attended AOPP showcases to include politicians, councillors, community nurses, social workers, family and friends. These have helped communicate that older people, including those with learning disabilities, are sight impaired or have mental health problems can master new technology, learn new skills and perform to a wide audience.
To this end the launches, showcases and indeed the Celebration of Age week are necessary components of the programme. Analysis of the event surveys indicates that there more effort needs to be made to ensure that attendees achieve increased awareness of older people’s issues. However, the use of the arts to highlight and address social justice issues is a relatively new concept and it is suggested that support needs to be provided to ensure that all activity clearly communicates the core social justice messages of the AOPP.
Although significant progress has been made over the course of the pilot, the AOPP needs to continue to build its evidence base and raise its profile amongst the public, commissioners and policy makers. It is believed that projects need to be more directly related to current policy drivers in order to gain the interest of decision-makers.
The MLA survey indicates that there are still perceptual barriers to overcome in relation to the value of arts investment. Although elected representatives recognised that the arts have the potential to address loneliness. Feedback illustrates that sustained activity is needed to communicate the benefits across the other domains – demonstrating the practical and meaningful impact that participation can bring. A more localised approach to delivery could help achieve this.
16.7 Growing Audiences and Increasing Participation
The AOPP is contextualised within a number of Arts Council strategies and policies. Theme Three of the Arts Council’s Creative Connections (Growing Audiences and Increasing Participation) emphasises the importance of exploring and developing opportunities for older people to engage with the arts. The Arts & Health policy reports the need to “develop a strategic approach towards addressing the inclusion of older people and other marginalised groups in the arts” and to this end the Arts and Older People Strategy and AOPP were established. The new Ambitions for the Arts strategy also commits to increasing arts access and participation amongst older people, in addition to other marginalised groups.
Table 16.11 illustrates the extent of the AOPP’s reach over its three year lifetime.
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Table 16.11 Indicators: Growing Audiences and Increasing Participation
Quantitative Indicators 50 arts projects specifically targeted at older people Est. 6,000 participants Est. 160 artists involved in partnerships Est. 5,650 hrs delivered Est. 23,000 showcase attendees Est. 16,000 Celebration of Age attendees
The Arts Council’s commitment to actively target and encourage older people to engage with the arts is needed. Routine surveys of the population indicate that arts attendance and participation decreases with age, as does the amount of time spent on learning or developing a new skill. Although levels of arts attendance and participation amongst AOPP participants was higher in comparison to the general population, engagement also tended to decrease with age, with those over 80 years being the most disengaged.
The majority of older people wish to increase creativity, self-confidence and concentration through arts participation. However, many others report lack of interest in the arts or lack of time. AOPP participants appeared to be most interested in meeting new people, developing friendships and improving their social networks. Indeed, the programme has highlighted that sustained arts activities can help combat loneliness and isolation.
Older participants have raised a number of barriers to arts participation and solutions are required if older arts audiences and participants are to increase. Poor transport links, mobility and access can be overcome with adequate planning, lack of information about what is on can be improved through outreach and better communication channels and lack of confidence or nervousness about going out alone can be addressed through a buddy system.
The AOPP illustrates that the arts can be applied in residential care, hospices and supported accommodation and it is important that people in poor health benefit from the expertise of highly skilled artists and facilitators. Other currently under-represented groups include older men, carers and minority ethnic communities.
The arts, has at times, been perceived as elitist. Participating arts venues have demonstrated that these are accessible, interesting and welcoming community venues. Indeed, one project’s use of a horsebox as a mobile theatre brought humour to rural farming communities and live stock auctions. Celebration of Age Week activity consolidated and promoted the achievements of the AOPP over the last three years, raising the profile of older people and acting as a visual representation of older people’s personalities, skills, creativity, zest for life and wealth of knowledge and experience.
The AOPP has moved the parameters and shows that there are no limits to artistic collaborations. An array of art forms have featured in the programme to include dance and movement, ceramics, textiles and felt work, willow sculptures, candle making, collage, printing, poetry, storytelling, visual arts, drama and performance, music, singing, glass painting, photography, film making, calligraphy, jewellery making, felt-work, metal- embossing, woodturning and digital media. As a result there is evidence that participants’ perceptions around the accessibility of “the arts” have been challenged. Arts Council research indicates that older people are most likely to attend arts and crafts activities and least likely to engage in drama, theatre, dance or creative writing. Hopefully, the AOPP opportunities will ignite new interests and these trends will change.
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The AOPP pilot has been exploratory, developing and growing over the funding period. However, it is clear that there is an appetite for it to continue – certainly within the Arts Council, amongst participants, community groups, arts organisations and artists. The programme has helped raise awareness and interest in working artistically with older people. Although the creation of specialisms can sometimes lead to categorisation, it is important that the initial cross-fertilisation of knowledge, skills and expertise is supported. The most recent Arts Councils RFO survey illustrated that only a small proportion target older people and the over 60s comprised a small proportion of beneficiaries.
If older participants and audiences are to increase, they must be actively involved in shaping and determining the outcomes of the projects in which they are engaged and artists need to understand the specific needs and capacity of the individuals within whom they will work. Some projects have succeeded in enabling the voice of the participants to shine through at all stages, others haven’t had the experience or know how to help maximise the impact. It is suggested that the Arts Council needs to encourage shared learning, training and support in this respect.
16.8 Recommendations
In January 2013, the Steering Group reflected on the impact of the programme to date and identified future development needs. In summary, the Steering Group agreed that the aims and objectives of the programme should continue to reflect the Arts Council’s Arts & Older People Strategy and centre upon social justice issues that affect older people on a daily basis. Steering Group and evaluation based recommendations are now made in line with the AOPP Logic Model. Please note that a number of suggestions are carried on from Interim reporting:
16.8.1 Application Stage
• The Arts Council and local partners need to invest in raising the profile of the AOPP outside Belfast in general and certainly in more rural areas. Although applications increased as the programme progressed, a lower percentage received awards and as such there is a need to develop capacity and experience. It was suggested that the application and monitoring process is off-putting for smaller groups and that there should be more emphasis upon supportive project planning and encouraging partnership working across sectors and between more experienced arts and community based organisations. Potentially application for amounts under £5,000 could entail a shorter application and monitoring process;
• Analysis of the participant surveys and feedback from grantees and artists suggests that men remain under-represented. The Arts Council did attempt to address this imbalance during the final funding round and hence there are a number of good practice models such as Big Telly’s TOM project and RNNI’s Life in a Box. There are also an array of recognised socially excluded groups such as those with caring responsibilities, seniors from minority ethnic backgrounds, the over 80s, LGB&T, those in poor health who could benefit from participation, in addition to those living in recognised areas of disadvantage;
• As well as supporting the work of existing groups, it is extremely important that vulnerable and isolated older people are encouraged to take part in activities and become involved in new social settings. It is suggested that consideration should be given to ensuring that applicants do not merely recruit from existing networks and are aware of the potential benefits of targeting via alternative means. Indeed the Arts Council may consider entering into a referral partnership with community and
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statutory partners such as the Councils, Health Trusts, GPs, community pharmacists etc and projects which enable a degree of one-to-one outreach; and
• The AOPP has stressed that older people’s needs and interests should be at the forefront of each project and that applications need to be based upon consultation with potential participants. Grantees have been proactive in this respect. However, feedback from artists highlights that a significant proportion reported that older people did not contribute to the planning of the sessions. It is recommended that all projects should commence with an introductory session enabling information sharing to take place between partners and participants, fine-tuning content and direction and practical issues such as transport, physical mobility and relevant health issues.
16.8.2 Professional Development
• The Arts Council has delivered briefing sessions to grantees and has provided one- to-one project support as required. This developmental aspect is crucial to the successful embedding of the AOPP and increasing the numbers of RFOs working with older people. Although many artists have completed arts sessions with older people, fewer have expertise in facilitating discussions around social issues. Therefore it is suggested that a mandatory Induction Programme should be developed. This would cover programme aims and objectives, evaluation and monitoring requirements, financial reporting and publicity;
• It is recommended that additional sessions are offered to those wishing to develop their practice. For example, facilitation skills and group work, ways to challenge and push creative boundaries, continuing the Dementia Awareness training, intergenerational practice, ethical issues when working with vulnerable groups. It is also recommended that emphasis is placed upon building age awareness to adapting art forms for those with physical, sensory and mental health problems. These latter sessions should not be restricted to artists and organisations currently in receipt of AOPP funding. The Arts Council could also explore the potential for developing/accessing accredited training based upon existing models within the health and social care field;
• Steering Group members such as Engage with Age, WEA, Age NI and Age Sector Platform have vast experience in lobbying on behalf of older people and have a raft of experience to impart. Similarly, the Pensioner’s Parliament research illustrates social issues at local County level. It is considered that additional support will be needed to enable some grantees to develop and strengthen the social justice themes running through their project. Similarly, the Arts Council should consider alignment with high profile age sector campaigns, potentially calling for projects to feed in. This would help heighten awareness of the capacity of the arts to publicise injustices – an element which has not been at the fore during the pilot;
• There is strong evidence that organisations and individual artists would benefit from informal networking and, indeed mentoring, opportunities. Indeed the Artist Networking event and Celebration of Age practitioner session were well received. The Arts Council now has a wealth of learning and good practice evidence as a result of the pilot programme and it is important that this knowledge is routinely shared amongst peers and artistic practice and relationships developed further. Currently there is great interest in the work conducted under the AOPP at practitioner level as demonstrated at the Celebration of Age conference;
• The AOPP Newsletter is a welcome communication tool and it is recommended that this is continued and more widely promoted through programme partners. A
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dedicated website promoting the programme, the benefits of arts engagement and containing localised information on how to get involved is now necessary. This should include a directory of local artists and groups alongside their interest in future projects/joint funding applications (aligned to the Artist Database concept); and
• The evaluation findings suggest that project partners should place more emphasis upon sustainability of activity post-funding. Certainly additional signposting to arts networks, venues, Council Arts Development Officers etc should be taking place in order to ensure that the project benefits are not lost. Although the expertise of artists should not be displaced, funded projects should understand the importance of developing resources for participants and transferring skills in order that volunteers, care staff, activity co-ordinators and group members can continue to deliver sessions. For example, DVDs of dance movements, quality paint brushes and tools will leave a tangible legacy. There needs to be a drive to increase information provision and to convey that arts involvement does not have to be expensive, as such a Toolkit could be developed to help stimulate ideas and activity.
16.8.3 Strategic Development
• The Arts Council’s partnership with the Bealtaine Festival and the successful Celebration of Age Week has helped to raise the profile of the AOPP. Arts Council hope to develop links with similar initiatives and the Steering Group stress that this aspect needs to be adequately resourced in order to promote and strengthen the voice of older people and showcase their creativity;
• The Arts Council have been actively involved in promoting the programme amongst the relevant Executive Committees, Councils and PHA. Although many practitioners and service providers are aware of its potential to improve quality of life, selected Departments and elected representatives appear to be less aware. Indeed, the omission of the arts from the current draft Active Ageing Strategy should be explored in a timely manner. It is suggested that the Arts Council widely [and creatively] disseminate the evaluation findings and continue with the AOPP Advocacy Plan in order to deliver targeted messaging to key individuals and alignment with age sector campaigns;
• In light of the suggested emphasis upon practice development, project support, advocacy and increased networking, information and communication channels, the Arts Council may wish to consider the potential staffing resources required to organise/deliver these activities;
• Upon recommendation of the Steering Group membership, it is considered that older people, PHA, local Government and experienced arts practitioners could add value to the existing Steering Group expertise in order to influence the strategic direction and delivery of the programme; and
• The AOPP needs to be widely and enthusiastically embraced by older people and led by older people. The evaluation evidence suggests that the programme needs to be more localised in order to improve awareness, information flow and uptake amongst the most socially excluded older people. A localised approach utilising established older people’s networks (for example through Age NI Forums), local champions and links to arts groups, venues, statutory partners and agencies could help build momentum across NI and lead to more grassroots involvement and ownership.
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16.8.4 Subsequent Evaluations
• Balancing the quantitative and qualitative measurement requirements of a large- scale grant programme across a range of participant groups was difficult. It was recognised at the outset that not everyone would be able/wish to complete standardised questionnaires and it was stressed that these were voluntary. Substitute discussion guides were developed for project leads, although few projects submitted qualitative feedback. It is recommended that short standardised questionnaires continue to be utilised in the future (alongside case studies and creative methodologies). However, there needs to be agreement and understanding regarding the volumes expected in order to avoid overloading participants and project promoters;
• It was also apparent that many in the arts sector were not used to and/or did not place value on quantitative research methods. It is recommended that artist attendance at the evaluation briefing sessions is made compulsory in order to increase understanding of the questions and the ultimate use of the information generated. It is also important that artists understand the centrality of social justice issues within the AOPP;
• Evaluation form completion/discussion should be separated from the first artistic session. Arts Council could consider stating this within the criteria to ensure that adequate time is given to getting to know each other and what the project and the AOPP is about;
• The evaluation utilised information from a wide variety of sources to include participants, project partners, audiences, age sector organisations, policy makers and elected representatives and this provided a rich source of information. However, the use of the Policy Maker Ratings with Steering Group members worked less well. It is suggested that policy related discussions are enough without the need for scoring; and
• The MLA panel survey was a useful gauge of elected representative opinion and should be continued. However, the question utilised needs to be reworded slightly in order to better explain the concepts explored.
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Appendix One Evaluation Contributors
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Grantee End Report Artist Reports Entrance Exit Age on Stage Y 1 43 35 Alzheimer's Society N - 0 0 An Munia Tober Y - 0 0 Ardtea & Desertcreat Senior Citizens Y - 8 5 Armagh Senior Citizens Forum Y - 64 0 Arts Care N - 0 0 Belfast Community Circus School N - 0 0 Big Telly 1 Y 5 75 65 Big Telly 2 Y 4 0 0 Border Arts 2000 Y - 39 39 Carew Y 2 24 12 Carn Media Ltd Y - 11 0 Castlereagh Lifestyle Forum Y 1 14 11 Creggan Enterprises Ltd N - 0 0 Dance United Y 1 23 16 Derg Valley Care Ltd Y - 47 21 Down Community Arts Ltd Y 5 144 150 Ederney CDT Y - 38 37 Engage with Age Y 1 16 7 Forthspring Inter Community Group N - 42 0 Golden Thread 1 Y 1 2 4 Golden Thread Gallery 2 N - 0 0 Harmony Community Trust Y 6 54 34 Live Music Now Y - 49 0 Loughinisland GAC N 1 11 6 Loughshore Care Partnership Y 3 90 65 Mindwise New Vision N - 19 18 New Belfast Community Arts Initiative N - 0 0 NI Hospice 1 Y 8 34 30 NI Hospice 2 Y 8 20 9 Northern Visions Y 4 37 46 Oh Yeah Music Centre N 3 20 17 Older People NW Y 2 38 60 Open Arts Y 2 27 24 Peninsula Healthy Living N - 0 0 Play Resource Warehouse 1 N - 46 42 Play Resource Warehouse 2 N - 46 31 Praxis Care Y 2 38 32 Prime Cut Y 4 9 13 Reminiscence Network NI Y 1 23 22 South West Age Partnership Y - 25 16 The Mac Y - 11 7 The Monday Club Y 1 15 18 The Mummers Foundation Y - 0 0 Ulster Orchestra N - 0 0 Upper Springfield Y - 44 30 Verbal Arts Centre Y 1 28 27 Waterside Theatre 2 Y 1 5 15 Waterside Theatre Company 1 Y 2 15 22 Workers Education Association Y 2 27 17
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