Arts Research Case Study: Interactive Exercise (Part 1) Presented by Katherine Lee, EdD, Director, The Center for Creative Expression at the Riddle Institute In collaboration with Joseph Deacon, PhD, Associate Director, Human Development Research and Training Institute, Western Carolina Center Assisted by Doris Levy, MFA, DTR, Dance Therapist Our purpose with this session is to increase our understanding of factors that affect the success of an arts for health experience that also provide the basis for a formal evaluation process. The objectives were: to identify factors relevant to the success of the art experience. to categorize these factors for specific evaluation purposes. to increase our understanding of factors that the arts may have in common in this context. Before any introduction to the session, participants were asked to complete the following survey. They would also be asked to answer the same questions at the end of the dance experience: From Jody Deacon who also collected the completed surveys. Workshop Survey Super Hero Name ______________________ Heart Rate _____________ 1. On a scale of 1 to 10, with 1 being “not stressful” to 10 being “extremely stressful”, please rate your current level of stress __________ Please circle the number below the words which best reflect how much you agree with each statement.   Strongly Disagree Disagree Neutral Agree Strongly Agree 2. I feel energetic 1 2 3 4 5 3. I am feeling alert 1 2 3 4 5 4. I feel 1 2 3 4 5 5. I feel emotionally used up 1 2 3 4 5 6. I feel lonely 1 2 3 4 5 7. I am feeling happy 1 2 3 4 5 8. I want to interact with others 1 2 3 4 5 NOTE: The use of a Super Hero name for identification purposes was to highlight the importance of confidentiality of all information collected. Names may be used with approval from the individual or perhaps numbers may be used. The survey was distributed before (pre-treatment) and after (post-treatment) Introduction: Participants were informed that they would experience the roles of client and evaluator in relation to a dance activity. The common experience of dancing would then be used as a basis for discussing key research issues. Dr. Jody Deacon would follow up our discussions in the next session using this survey as a starting point to discuss a range of research designs. I have found that examining one’s own experience is a fruitful method of introducing people to relevant issues to evaluate and research and the most appropriate strategies to use. Also, of course, what is more fascinating than thinking about ourselves? During this session we would undertake the beginnings of a case study, a study of this group. Our general question was: if we believe that arts activities contribute to an increased sense of wellbeing that also creates a climate for healing, do the findings from this group support that assumption? In addition, we might ask associated questions such as: do changes necessarily occur to the sense of physical and/or emotional wellbeing experienced by participants in an arts activity? What changes would be visible to an observer? Are there common factors to the success of an arts experience? How can we usefully categorize them for specific evaluation purposes? After this brief introduction, dance therapist, Doris Levy invited the group to join her in a dance experience: A 20 minute leader-facilitated improvisational movement experience was developed based on the Dance/Movement Therapy work of Marion Chace. Beginning in a large circle, participants moved rhythmically to music that encouraged both individual expression of feeling states and unison expression of emotions the group held in common. As themes arose spontaneously, participants were guided to move in solo, small groups, and in unison, moving away from and returning to the unifying shape of the circle. Participants were encouraged by the facilitator to make choices about taking leadership or following and to allow themselves to react authentically to the movement of individuals and the group as a whole. Participants were instructed that there was no right or wrong way to be in the group beyond maintaining safety for self and others. At this point, all the participants completed the same survey again which Jody collected. He would collate the data and compare the “before” and “after” surveys. He would compare information on a group basis and also individual basis (and present it at the next session). This was to allow the discussion of results in terms of general effects as well as show the use of research designs in assisting with evaluation of therapeutic effects for individual clients. Following this exercise, the following request was made to the group: “As a client/participant in the arts experience, write down, in two columns all the factors that contribute to your feeling better and those that militate against it.” They were given the following form to write their experiences (minimized here for convenience): This was to encourage each individual to examine closely their personal experience of the dancing. The outcome of this part of the exercise remained private to the individual. The next step in the process was to use this information and identify, through discussion with a neighbor, which factors might be visible to an observer and make a list for an observer. For example, if you are feeling “x,” how might an observer know/see this? What do you DO? In a small group it was then time to identify commonalties in 2 and 3. The results were written on a flip chart to be shared with the whole group. How can we categorize these factors? For example, we could use those identified by Dr. Shaun McNiff: The work with materials The process of creation The relationship with the artist/teacher/leader Context Outcome of #2 - Positive Factors for Individual | Outcome of #3 - Visible Factors identified as Common to the Group | Negative Factors identified by the Group | Back to Agenda | NC Arts For Health