Creative Journeys Report 2019

Creative Journeys 47 4.6 Creative processes Arts participation in this context is the active engagement in the creative process, and it has been argued by Dissanayake (1992) that for humans there is a biological necessity for creative employment. Bourriaurd (2002) introduced the concept of ‘relational aesthetics’ where art is not just an artistic object or event but is a form of social encounter. Relational aesthetics or relational art has the potential to enhance participants’ connectivity through engaging in the creative process. Relational art is developed in a situation where communication and participation with others is facilitated (Rose and Lonsdale, 2016). In the following sections we explore relational art in the context of participatory group work where the participants are engaged in the creative process in relationship with others. We then examine the role of the arts facilitators, and the strategies and approaches they use to both encourage the creative process and promote interaction and engagement of the participants. Finally we look specifically at the power of the arts and their unique qualities that enable and enhance social interaction and connectedness. 4.6.1 Participatory groupwork A group by definition is two or more individuals who are connected to one another by social relationships (Forsyth, 2006). The strengths of these social relationships can vary over time and between individuals in the group. People within groups are usually linked in some way and have a shared identity, or are working together to achieve a common goal. For a group to function group members need to interact, this interaction can take place as a task whereby group members perform actions linked to a common purpose, or alternatively the actions of individuals may impact upon the social or interpersonal aspect of the group – a relationship interaction (Forsyth, 2006). As stated previously in the case of the participatory arts groups, members are working together in a creative process to produce an artefact or an event; they are therefore working together for a common purpose, however the nature of the activities also means that relationship interactions are commonplace. When arts organisations come into a care home setting the sessions they deliver bring people together, and by its very nature, the group work provides a mechanism that enables interactions. For example, in the case studies it was observed that arts activities brought residents together who don’t meet and mix on a day to day basis due to the care homes having different units or floors where different residents live depending on their needs. In the case of Sinfonia Viva with Orchestras Live, the live performance which was the end product of their programme brought residents from four local care homes together and residents had the opportunity to meet new people and old friends. Participatory arts activities have been described as providing residents with a reason, purpose and motivation to leave their rooms. Residents commented on how it “breaks the boredom” of everyday life and it was referenced how important it was that the group activity was participative as opposed to passive. The interviews in stage two also emphasised the importance of arts activities for ‘a purpose’; a joint purpose that the group could work collaboratively on to achieve. …every time I went in that’s all she was talking about. Saying how great it was and there was essentially something for her to do…it gave her something to focus on…The [other] activities there, like…having your nails painted, it is something that someone else does to you… they don’t really seem to be many activities that actually engage them… somebody needs to go in and engage more with them. (Stage one relative)