I’ve heard that since I was a child, and a statement that was reinforced not only by my parents, but grandparents, teachers and mass media (although, in the early 60′s, mass media was nothing like it is today). Elders used to be those we looked to to run the family, supply support and leadership, hear the history of the family, and to pass along traditions, both familial and often religious ones.
Now, we need to fight for respect for any elder, more times than not.
Vitality, purpose, health (both physical and mental), self worth, connections with others. These are only a smattering of things that can be accomplished when our older citizens are not talked down to or dismissed.
In Part Two, I wrote about the other group that presented during the Open Opera Conference: Creative Resurgence. Today, I’d like to present the work that I was honored to be part of:
Zach Redler (composer/pianist) and I (creative drama/creative writing) were brought onto a grant funded project by Laura Day Giarolo, Director of Learning and Community Engagement for OPERA America. Working in conjunction with Project Find in NYC, Zach and I were brought together on creating an ensemble musical experience, stemming from the life stories of our participants.
We discussed our program: at a senior center in the upper west side of NYC, for sixteen (16) weeks, we were allotted an hour and a half, once a week, to meet with our group. In May, we had a culminating “work-in-progress” performance of songs and short personal story bites as performed by the elder group we had worked with.
What was lovely were the connections the group made with each other. In sharing their stories, both in small groups and large, they found commonalities: this was not a homogenous group in regards to nationalities, only in age group. New friendships grew out of the process. Many, if not all, were asking when we would be coming back, doing this again, continuing the work we started. That, to me, is the success. They were energetic, bright eyed and happy…and in the end, that should account for a lot.
The beginning sessions were split in half between music and storytelling/writing.
Zach introduced musical concepts and structure that served our performers well: he gave them not only rehearsal material, but strove to deepen the understanding of what was being created, how it all fit together, and how it can evolve. As the process continued, many of the participants continued to contribute, offering key or tempo changes that only strengthened the songs. Zach was gracious throughout, adding what worked and then building on it. During the rehearsals, Zach modified his conducting style for the comfort of the group, finding new ways to bring them all together when they were getting nervous as the performance date got closer.
Starting off with a story game the first week, we dove into writing personal stories the following week. From there, I introduced a Japanese poetry form, a Tanka, that I felt would help them self edit their stories to the story beats. A Tanka is where Haiku’s came from: a longer piece, it has five lines instead of three. In American English syllables, a Tanka form is 5-7-5-7-7. This was a challenge for some of the elders, but the majority worked well with it. By this point, we had them working in small groups; Zach would then take these works and, with the whole group, start creating the songs for our performance.
Zach’s musical safe environment to work was continued in what I did. Seeing that some judgements were being made of others in our first session, I introduced the Liz Lerman Critical Response Process, which I’ve used with just about every age group I’ve worked with. If you click on the link above, you’ll find the full details: you start off with positive affirmations (“I liked…”; “I appreciated…”), and the only thing the presenter/performer can say is “Thank you.” Other sharing critique is asked for or garnered, creating a very different form of peer level support and notes. Critique is to help each other grow, not to tear someone down, and for the most part the members of the group were diligent in following these rules.
Time was our enemy in that we didn’t always get the full allotted time scheduled (due to other programs going on in the center) and in the way Zach and I planned out the program. We needed more rehearsal time then we thought we would, and I know I should have better time management in getting the stories to poetry. Hopefully we will get the chance to do this again and learn from it.
**************************************
In Part Four of Creative Aging and the Arts, I’ll be discussing the responses/reactions of the attendees from the full day seminar, reactions from these posts that I have received, and ideas of where to go from here.
**************************************
ATTENTION:
I am available for consulting on Inter-Generational Program Development
A 68 year young bus monitor, in upstate New York, was verbally assaulted by a group of Middle School (MS) students. The abuse was caught on video and broadcast on YouTube and all over Facebook and Twitter. According to the article/CNN report, the students will be facing disciplinary actions, and the police are involved in this action.
I’m sure, by now, you’ve seen or heard about the video. The CNN link above only has a fraction of it, and I would not post the entirety of it here. The students who did this need consequences for their actions, not further hits on the video. I do send out my thoughts to the woman who was attacked. My hope is she can find some strength in the fact that she held her own, did not sink to their level and attack back, and that the majority of those sounding off on this are on her side.
We have our share of bullies in all age groups, in all parts of our society. Yet, the majority of our focus is on the school bullies. When I went looking for bully images to use with this post, there were few images that dealt with adults: one adult yelling at a group of kids; one woman berating another. The rest were signage, the red line through the word BULLY and the like.
Alongside issues of bullying in schools, which is desperately needed, I feel all adults (Parents, the workforce, police, politicians, teachers, principals, etc etc etc) need the same sort of awareness programs, if not more so. Not only do they need to learn how to properly deal with this behavior from students, the adults need to see what THEY do that constitutes bullying.
I saw it in action, recently, in working with an older population group. I have seen it in action in schools and business. It seems to be not only a common practice from management to workers at times, but along the peer level. Bullying tactics are not relegated to just children.
Adult bullies, to other adults &/or children, is a seen behavior that is picked up by the young. If an adult does it with little to no consequence, then why can’t a kid? They may not go through that exact thought process, but it’s there: we teach our children outright what we want them to learn, but we are not careful about the rest of our actions, what they observe and take in.
I think we need to label bullying, if we have to label at all, for what it truly is: a hate crime.
Bullying wasn’t okay in elementary school and it isn’t okay now, especially when it comes in the form of a U.S. Supreme Court decision. John Doolittle
Some people won’t be happy until they’ve pushed you to the ground. What you have to do is have the courage to stand your ground and not give them the time of day. Hold on to your power and never give it away.
― Donna Schoenrock
Here are two student video reactions to the bullying of the bus monitor.
“There is a fountain of youth; it is your mind, your talents,
the creativity you bring to your life and the lives
of the people you love. When you will learn to tap
this source, you will have truly defeated age.”
The creative arts should be, to me, flexible and adaptable. Embracing new concepts, moving along with the social/economic/political spectrum, can allow new discoveries as well as keep things afloat. What good is it if you master your art, stick to that one idea, but the times have left you behind?
Arts administrations need to do the same, as the economic landscape has changed so drastically in the last five+ years. A new, or renewed, interest in Life Long Learners can be key in keeping organizations going well past the base of the school ages that many focus on.
What was inspiring to me was participating, through OPERA America, a section of the Open Opera Conference: Creative Resurgence. Opera companies are looking at involving the older adult population in more ways than just filling seats. A number of opera companies from across the US and Canada attended this day long workshop/program on Creative Aging, with many of them already utilizing interactive, participatory programs.
Storytelling is one of the primary arts disciplines that seems to be in wide use: delving into true life testimonials, musical works have been formed, from revues to full mini-operas. Being part of the creative process, the participatory input ranged from storytelling and writing to either performing the work or having professional singers enact their life stories. The librettos ranged from true life to fictionalized non-fiction.
In Creative Aging and the Arts (Part 1), I spoke about our morning session with Ms. Susan Perlstein, an advocate for the creative aging movement, and is the Founder Emeritus for the National Center for Creative Aging (NCCA). In the afternoon two groups shared with the assemblage two recent projects that had just been completed: the pilot project I did with my musical collaborator Zach Redler for OPERA America, and Opera North’s latest operatic collaboration with an elder population.
Presentation: Transitions: Sung Stories
Opera North, Inc. worked with NewCourtland (a service for older adults) to produce Transitions: Sung Stories. Gathering oral history from Philadelphia, PA elders, Jules Tasca (Librettist) and Leslie Savoy Burrs (Composer and Executive Director of Opera North, Inc.) created a moving story that stemmed from the real life interviews.
Relating the details of the process to the group, both Mr. Burrs and Mr. Tasca laid out a professional program that produces positive results. In a video that showcases Mr. Burrs, we got to obverse how he interacted with a group of physically challenged elders. Working with a variety of percussive instruments, the participants helped lead Mr. Burrs, wielding a flute, to compose one of the pieces that became part of their opera.
What was apparent, watching the video, was how involved and engaged everyone was. No one just sat on the side, a spectator. This was a vibrant community coming together for a project that celebrates their lives, and also celebrates the worth they still have in the greater society.
***********************
In Part Three of Creative Aging and the Arts, I’ll be discussing the work that I had the pleasure to experience with our group as well as responses/reactions of the attendees from the full day seminar.
**************************************
ATTENTION:
I am available for consulting on Inter-Generational Program Development
as well as Project Management/Facilitation
I am willing to travel or work over Skype with your organization
What is your first thought when someone mentions a Senior/Elder Center or Nursing Home?
Did you envision the elderly sitting around, doing little, just passing time until…? Did you see them as audience members at a performance, or just sitting around large round tables eating? Were they napping, or just gazing off into the distance, seemingly not connected to their surroundings?
Hopefully those days will be behind us as a new awareness is sinking in. Actively engaging the growing elder community is key to the growing number of organizations that work with this population. Inter-generational programming (from the 50′s and up, as the baby boomers join the elder sector) is being spoken of across the United States in all areas of the arts.
I was invited to be a Guest Speaker for OPERA America‘s Creative Resurgence conference, speaking to those opera companies (from Canada and the US) whose education departments reach out now to the centers, nursing homes, group homes and special organizations that cater to the older adult. A number of them make partnerships with libraries as well, helping build connections in their communities.
I was asked to attend this conference due to my recently completed pilot project with a senior center in NYC. We had worked on creating a musical experience crafted from the personal stories of our participants. I will talk more about this in the next part of this series.
Ms. Susan Perlstein, an advocate for the creative aging movement, led the day with the credo “Embrace This Moment!” Ms. Perlstein is the Founder Emeritus for the National Center for Creative Aging (NCCA). By the year 2030, it is anticipated that there will be over 70 million people over the age of 65, and that the number of those over 85 will double. There is also the chance that many will have to work, if possible, past what we normally determine as retirement age due to the economic realities we face.
There is evidence based research, as first conducted by The Research Center for Arts and Culture (RCAC) that has shown that interactive, participatory arts programs with the older person promotes a vitality in the aging process, helps to build vibrant communities, and has positive results in both the physical and emotional states of the participants. Dr. Gene D. Cohen, the primary investigator of the research, stated that “Art is like chocolate to the brain.”
Entering into fairly new territory in the arts is exciting in the different challenges it gives to professional teaching artists and arts organizations. The methodology we’ve used for youth programs has to be modified, and in many cases whole new approaches have to be discovered for successful programs for those participating. Understanding the various cognitive and physical changes that go on, and embracing the life history and stories that the elders bring with them are only the tip of what needs to be explored.
In Part 2, I will discuss more of my work in the field, and some observations from the conference attendees.
**************************************
ATTENTION:
I am available for consulting on Inter-Generational Program Development
as well as Project Management/Facilitation
I am willing to travel or work over Skype with your organization
As of May 5th, 2012, over $419,000,000 (that is 419 MILLION US dollars) has been contributed to all candidates to run for the position of the President of the USA. Combined, not just one party, so I am not playing favorites here.
$419,000,000
Instead of bombarding us with ads and campaigning, wouldn’t it be lovely if that amount of money went somewhere else…oh, like say create or keep 8,038 teaching jobs (at $50,000 for the school year) for one year, or over 11,000 jobs paying as low as $35,000 a year?
Yeah, drop in the bucket, one may say…but to those 8,000 to 11,000? No, it would be a big deal.
Hard to judge who should get it, where it should go, etc etc etc…yes, it is, especially with so many out of work: According to the Bureau of Labor Statistics:
Household Survey Data
Both the number of unemployed persons (12.5 million) and the unemployment rate (8.1 percent) changed little in April
Splitting all that money amongst all unemployed would only garner a check for $35.52. Not much of a help for anyone (well, for someone starving…).
I would rather see that money at least go to something good, something that would be helping others.
I would rather the President’s $191,000.000 fund education, or the Arts (yes, my personal bias: those in the arts need to live too), medical/health care, anti-violence/hate crime programs, the elderly, or something that would help other people. Better that then take up advertising time, spin negative ads against Romney, and such.
THAT would be the person I want running this country. Raise money from those who are fighting being taxed fairly and use that money for the common good.
No religious, political or personal agenda: just helping others.
To trade goods or services without the exchange of money.
A tagline to a newspaper article caught my eye: “Uninsured Can Exchange Talents for Care.” Lincoln Hospital, in The Bronx, is offering artists in that borough of NYC a chance to get health care; they get credits for each hour worked that can be used towards a variety of medical treatments & prescriptions. Their program, Lincoln Arts Exchange, is modeled after the Artist Access program at Brooklyn’s Woodhull Medical Center.
Bartering is nothing new. It is used in markets across the world, trading goods. Services may have taken a back seat, but the idea works for me. I have no “goods” to barter, but I do have a “service,” and that is my art, whether it’s a performance (Storytelling or Interactive Theater), workshop, or Editing/Copy writing service. With money tight, if I can exchange some of my time and energy to get something I need…bartering is a great idea.
When I ran my theater company (The Brothers Grinn: 1994-2006), I rarely paid for rehearsal space (until the need for an abundance of NYC members of the company). I bartered with a few places (Two churches and a couple of other locations), offering them either free group performances or solo workshops for weekly rehearsal space. This was a huge savings for a company that was young and toured an average of 120 performances a year. We had no “home” space to perform/work out of but the spaces I found worked for us on many levels; the money I saved that way was put into many things the company needed (costumes; sound equipment; insurance; etc).
What Creative Service Do You Have To Barter?
Health Care, rehearsal space, food…what can you add to the list? I’ve only just started a very small section of what could be possible if more would open their minds to the idea: Artists have something to offer.
In this changing economy, and as we get older, it becomes more important to stay flexible and find other outlets and sources to maintain a creative life. This is very true for those without a fixed/steady income, like myself. I see “possibilities” for the future, and strive to work on a positive today. It’s not always easy, but…as the quote I used the other day:
“I’m not telling you it’s going to be easy, I’m telling you it’s going to be worth it.”
I would like to make 2012 a positive year:
The Year of Learning and Creativity.
For me, things are starting to move in that direction; slowly but (hopefully) surely:
I will be working with OPERA America on a four month project, creating an operetta with composer Zach Redler for a group of Manhattan seniors. I’ll be co-directing and writing the book and libretto from stories from the seniors.
Jeff Wirth (Interactive Acting) has opened the door to something new for me: possibly being a member of his NYC iTeam. I met Jeff a number of years ago and had the pleasure to also work with him. This starts soon and I have fingers crossed, as this sounds to be an exciting project.
My book of collected stories and poetry, The Path From Love, will be published soon by Trestle Press (eBook for now; possible print later in the year). Article by me on their website: Crossing Genres
Re-writes of my play, ...everywhere I look, and getting it back out on the road.
A number of already booked storytelling gigs.
May 2012: The Rule of Three Blogfest-The Return to Renaissance
and…some more things that are too soon to mention.
I want to thank Misha Gericke for giving me the title for this blog post (unwittingly, maybe, but it fits a lot of things); ALL the guest bloggers who helped me out in the latter part of 2011 when I got sick; a certain very special someone who has entered my life and has only enriched it, in so many ways; and all of you, the readers of BornStoryteller (and hopefully Tale Spinning too).
“Peace cannot be kept by force. It can only be achieved by understanding.” ~Albert Einstein
