Hope Creamer

AT 305- Art with Diverse Groups

Final Paper

8 May 2019
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TABLE OF CONTENTS:

Description of the assignment and learning goals……………………………………..(p.2-3)

The What

Self-reflection on your expressive arts group…………….................................(p.4-5)

Art process and product discussion……………………………………………(p.6)

The So What

Related literature....……………………………………………………………(p.7-10)

The Now What

Applications of learning………………………................…………………….(p.11)

Summary of learning………..…………………………………………………(p.11)

References……………………………………………………………………………..(p.12)
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DESCRIPTION OF THE ASSIGNMENT AND LEARNING GOALS:

In the assignment, we engaged in a number of objectives in order to further develop a

sense of art facilitation that often is present in a group art therapy setting. While getting a feel for

our own capabilities in a staged art facilitating setting, we were able to become accustomed to

what goes into every aspect of the session. From learning who our audience will be, to planning

an art making activity that is appropriate for the group, and the actual art making process with

our participants. In this assignment, we were able to take on potential road blocks and the

unpredictability of group art making while beginning to come out of our shell and get an idea of

what our style of facilitating could be. When other groups would facilitate, the rest of the class

would engage in the activities they had planned and respectfully act out the limitations and

common atmosphere of the group involved. At the end of each session, the group leaders would

have a chance to bring the group together and talk about the art that was made and what

participants would like to or not like to share about it.

Engaging in this activity was beneficial for a number of reasons. Because we are students

and never had the opportunity to lead an expressive arts group, it can make some a bit anxious

and not know exactly what to expect. With this activity, we were able to create a mock

expressive arts group atmosphere and get an idea of what it would be like without actually

working with real participants but rather our peers in the class. This took some of the nerves off

and gave us all the chance to find our own way to comfortably facilitate the group. I was able to

become more comfortable with speaking to an entire group and assisting in any way I could in

the art making process.

In terms of writing an integrative paper about my group, I expected to learn a great deal

about myself as I reflect on the activity from earlier this semester. For example, by thinking
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about and examining each aspect of the activity, I am able to see areas of improvement and areas

that I thrived. During the actual activity, it is difficult to understand one aspect or another when it

is all happening in front of you. By being able to take a step back and reflect on each individual

part of the assignment, I am able to see everything from a new perspective.

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THE WHAT

SELF-REFLECTION ON YOUR EXPRESSIVE ARTS GROUP:

Planning for a specific population can have its challenges as certain populations may

have particular limitations that need to be kept in mind. The first step to our pre-planning process

was looking through dozens of activities and sorting out potential ideas. With our population

involving the elderly, we first thought of things that our population prioritizes. What came to

mind instantly for both of us was family. In our experiences with elderly folk, they typically

seem to be talking about their families quite frequently. The second thing we had to keep in mind

for our population was the limitations they may have. For example, fine motor skills or arthritis

in the hands are common, so we were sure to be constantly walking from table to table assisting

with anything they needed in the art making. For the activity, we decided on a project that

created flowers made of pipe cleaners and tissue paper that represented loved ones. It was a very

well received activity that produced a product that could be kept forever to remind them of those

they hold dearly in their hearts.

At first with the facilitation process, it was a little awkward and even comical to picture

our classmates as elderly people. Once I was in the groove of things and felt more confident, it

was much less uncomfortable. During the process, I felt myself really going into a very attentive

mode. What I mean by this is almost the feeling when I’m waitressing, walking around making

sure everyone is okay, seeing if anyone needs something, and how they’re doing in the process in

general. I thrive on this type of energy and found it to be very enjoyable, however it can be tiring

after an extended period of time. The only dislike about the facilitation I had was how we chose

to set up the room in separate tables/groups. Looking back on it, I wish we would have put the

table all in one group as it would have made more sense for this population to be all together in
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case of hearing impairments. Also, it made it a bit more difficult rushing from each group to see

how they were doing as opposed to them all being in one connected table. With my role in

facilitating, I feel I made a positive impact on the group as they seemed talk to me about what

their pieces meant and seemed overall interested in the project.

During the facilitation as my partner and I led the group, a number of things were brought

to our attention. First, the idea of bringing the tables together as one had not previously occurred

to us until the facilitation began. This made it more difficult and more “running around” per se

than if we were to have everyone all in one large group. Another aspect that was brought to our

attention was how manipulating pipe cleaners can be difficult for someone of that population.

We did however make sure to be constantly rotating around from group to group to help hold

one part of the project steady while the participant added a fixture. There was one moment in

particular when a participant’s flowers kept coming apart multiple times and it became

frustrating for them. We were able to help put the piece together, however, the manner that they

were attempting to create the flower was a bit difficult for these particular materials to be

arranged.

I would consider our group to be successful because of a couple of things. The first

reason being that every participant was completely engaged and overall enjoying the process and

the meaning behind each. This brought up conversation about what the pieces meant to them and

why they chose particular colors etc. Another reason I would consider it to be successful was

because of the conversation it brought up at the end of the session during the sharing portion. I

believe members benefitted from this process in the way that they were able to talk about

something that meant a great deal to them while creating something that had an immense amount

of meaning behind it.

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ART PROCESS AND PRODUCT DISCUSSION:

The art activity we chose was a process that involved creating flowers that represented

loved ones. How it encouraged the focus of loved ones and people they care about was that with

each flower created, it was encouraged to think about a memory or colors that they associated

with that person. I uniqueness about this particular activity was that each flower was completely

different in appearance, meaning, and choices behind each aspect. This gave a very personal

connection for the group members and allowed them to freely make decisions within a non-

intimidating context. This allowed the participants to tap into a sense of resilience by creating a

flower that could never die. That being said, the memory of this person could never die even if

the person is not around physically, or lives far away.

The art process itself was amazing to me that each individual product was completely

unique in itself as with the person who had created it. For example, one group member created a

whole base for the flower as it represented a specific memory at a lake with the loved one. It

created a whole scene for the memory as well as the individual being represented in the flower. It

was interesting to me too how each participant chose different aspects for different reasons. For

example, after the flowers had been created we came around with the option to add rhinestones

and other shiny objects to the flower to give it more personality and a sense of being finished.

Some participants preferred the adding of this material, others did not. I liked seeing how each

product came out and reflected the member who made it.
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THE SO-WHAT

RELATED LITERATURE:

Through the process of this class, I have gained much information about resiliency and

the many faces of what it can look like. I have also learned a great deal about the seemingly

endless things to keep in mind as an art facilitator or art therapist. One of the most important

things to keep in mind during an expressive arts facilitating process is the audience you are

working with and what common limitations to keep in mind for that particular group of people.

Each group is completely unique in what they need from us as facilitators and their capabilities.

Another thing I learned was how creativity may not come so easily to some group members and

even the idea of it can be frustrating or intimidating. That being said, a subcategory of this aspect

is the misconception that all art made has to be aesthetically pleasing and meet certain

expectations or standards. Having that new found knowledge led me to the point of

understanding the importance of an opening activity. During a group, I now realize that not every

member will be eager to participate and may even become disruptive to others. It is important to

understand how to appropriately deal with a situation like that. By eliminating disruptive

disturbances, the feeling of a safe space is more likely. This idea of a “safe space” is extremely

important in a group setting as the members are going to be dealing with emotions and memories

that may not be so positive. Finally, positive reinforcement is a great thing to bring to the table in

facilitating, however it is important to know the proper way of doing so.

For someone who has been around and loved art my entire life, it can be difficult for me

to understand why someone would not like art making. I now know that the answer is simple,

they may think they are not good at it or not know how to start especially as an adult. I learned

that creativity is often more easily brought about in children rather than adults because it seems
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that we associate it with being a child, “We don’t grow into creativity, we grow out of it, or

rather educate out of it,” (Roberts 2006). This can be a challenging aspect of working with adults

because of the stigma surrounding an “arts and crafts” atmosphere. However, with the right

combination of facilitating and creating a non-judging atmosphere, participants are likely to open

up and engage and truly benefit from the process, “Creativity is manifested not just in what are

regarded as the fine arts, but in all forms of life that are not tied down to what is established by

custom and convention. In recreating them in its own way, it brings refreshment, growth, and

satisfied joy to one who participates,” (Bernard, 1998, p.9). It is every facilitator’s hope that the

group takes something meaningful away from the experience, and hopefully a positive one as

well.

One reason that art making can be intimidating and frustrating to some is because of the

common misconception that art has to be aesthetically pleasing. From a therapeutic standpoint,

the value is not in the final product, but rather the process in the active art making, “Some initial

themes can help groups understand what art therapy is all about. This is especially true if people

in the group are not familiar with the approach and see the art group only in terms of former

school art lessons or external aesthetic standards,” (Liebmann 2004). It is important to stress the

idea of process over product and not to worry specifically on how the piece looks visually, but

rather what is gained from the experience.

Another reason that participants, especially in my group’s case with the elderly, that they

may not be excited about art making is that it reminds them of being a child. With this

population in mind, many of them that live in nursing homes are used to being treated as fragile

as a child and even talked down to as such. This is a lot of the time not done on purpose or out of

any sort of harm, however, it is very common and frustrating to those individuals. This way of
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thinking to associate art making with something a child does is common with adults of all ages,

“When we invite adults, and even teens, to draw, they sometimes complain that they feel like

they are back in kindergarten,” (Taylor and Murphy, 2014, p.166). I feel strongly that by being

aware of how you are speaking to the group, and explaining the very adult reasoning behind the

art making, it lessens the stigma a bit surrounding art making and being something for children.

While some participants will be eager and ready to create, there is the possibility of

disinterested members who have the potential to become disruptive to the other group members.

I understand now that it is not rude by any means to exclude anyone who does not wish to

participate and affects other’s processes, “If someone is known to be disruptive, I don’t include

them. I also exclude people if past experience shows they will not get anything out of the art

therapy groups,” (Liebmann, 2004, p.74). This is something I was curious about how to go about

dealing with in a group because I do not want others experiences to suffer due to one individual.

I understand now that it is okay to remove a disruptive participant so be sure that the rest of the

group gets something out of the process and create a positive, safe environment.

The importance of creating a “safe space” for facilitating an expressive arts group is

crucial to what the participants are to get out of the experience. This gives an atmosphere that

promotes complete comfort, “Several people echoed this, saying how much the group meant to

them and how it was their ‘safe space’ which was just theirs,” (Liebmann, 2004, p. 97-98).

Having this feeling during an art group allows for the members to open up fully and confidently

to create whatever they want without a fear in their minds. By creating a safe space for the group,

this creates an atmosphere that promotes healing and progress.

Part of what comes with creative a safe space is the absence of judging of any sort.

Something that was completely new to me that I learned during this course was how to properly
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and effectively give positive reinforcement, “Unfortunately, we may not have realized that

‘Good job!’ is just as much an evaluation as ‘Bad job!’. The most notable feature of a positive,

but that it’s a judgment. And people, including kids, don’t like being judged,” (Kohn, 2001). I

had to be sure to really control my “good jobs!” when facilitating because it is so natural to do so

and seems like an encouraging thing to say. I shifted my commenting to saying things more like

“That was an interesting color choice, can you tell me more about it?” and focusing on the

process of what they are doing rather than commenting on the product.
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THE NOW WHAT

LEARNING APPLICATIONS:

To discuss what I have learned for a future in practice as an art therapist would take a

hundred pages alone. To sum it up for the purpose of this assignment however, I learned a lot

about facilitating in general, the variety of issues one must keep in mind when going into a group

setting, and the knowledge ahead of time that things can and will go awry from planned and

that’s perfectly okay. The importance thing is understanding that it is always a possibility and to

have multiple back up plans ready to go. Having all the knowledge I have gained during this

course and the expressive arts facilitating assignment has put a new perspective in my mind that

has ultimately brought me one step closer to where I need to be to become an art therapist.

SUMMARY OF LEARNING:

I believe it is fair to state that I have learned quite a lot about myself as a facilitator and

the things I do well and need to work on. Writing this paper has ultimately shifted my

perspective to see all angles of the facilitation process. I have examined closely the things I

believe were done well as well as the things I could work on next year in my field work. The

process of the assignment as well as writing this paper has been beneficial in my understanding

of how to go about facilitating from the very first planning steps to the reflection process at the

end. I am eager to move forward from here in my experience.

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REFERENCES

Bernard, B. (1998). Tapping resiliency through the arts. Resiliency in Action, National
Endowment for the Arts & Center for Substance Abuse Prevention. (pp. 9-13).

Kohn, A. (2011, February 2). Five reasons to stop saying “Good Job”. Retrieved from
http://www.kabanmontessori.ca/blog/wp-content/uploads/2012/10/Kohn-Alfie_5reasons-
to-stop-
saying-Good-Job.pdf.

Liebmann, M. (2004). Art therapy for groups: A handbook of themes and exercises. (2nd ed.)
New York, NY: Routledge.

Roberts, Ken. (2006, June). Do Schools Kill Creativity? Retrieved from

https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity?referrer=playlist-
the_creative_spark#t-378164

Taylor, P. & Murphy, C. (2014). Catch the fire: An art-ful guide to unleashing the creative
power of youth, adults and communities. British Columbia, Canada: New Society
Publishers.