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xi | |
A Personal Perspective |
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xii | |
Preface |
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xiii | |
Acknowledgments |
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xiv | |
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PART I Art and Social Interaction: Concept and Design |
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1 | (14) |
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1 Background and Overview |
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3 | (5) |
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3 | (1) |
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Distinguishing Characteristics of the Program |
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3 | (1) |
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Presenters of the Program |
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4 | (2) |
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Participants in the Program |
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6 | (2) |
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2 The Magic Mix: Art and Social Interaction |
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8 | (4) |
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The Limitations of Product-Oriented Art Programs |
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8 | (1) |
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Evocative Artistic Activity |
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8 | (1) |
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9 | (1) |
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10 | (2) |
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3 The Program as a Learning Experience for Presenters |
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12 | (3) |
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12 | (1) |
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13 | (1) |
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Informational Significance |
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13 | (2) |
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PART II Participating Groups: An Overview |
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15 | (22) |
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4 Group and Site Distinguishing Characteristics |
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17 | (10) |
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The Frail Elderly and the Physically Disabled |
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17 | (1) |
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Choosing to Work with the Frail Elderly or Disabled |
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18 | (1) |
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Residents of Correctional Facilities: Jails and Drug Rehabilitation Wards |
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19 | (2) |
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Choosing to Work with Incarcerated Men and Women |
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21 | (1) |
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Adult Patients of Psychiatric Hospitals and Mental Health Centers |
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22 | (1) |
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Choosing to Work with Psychiatric Patients |
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23 | (1) |
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Children with Special Needs Relating to Abuse, Trauma, Poverty and Physical and Intellectual Disabilities |
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24 | (1) |
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Choosing to Work with Youth |
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25 | (2) |
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5 Site Characteristics Relevant to the Program |
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27 | (3) |
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Responsiveness to the Needs of the Participants |
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27 | (2) |
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Responsiveness to Needs of the Service Agencies |
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29 | (1) |
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Sharing Institutional Goals without Conflict |
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29 | (1) |
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6 Barriers in Instituting the Series |
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30 | (7) |
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Initial Admittance: The Jail Example |
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30 | (1) |
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31 | (1) |
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The Transition from Apathy to Responsiveness |
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31 | (1) |
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32 | (1) |
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Accepting Visual Art Activity |
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32 | (1) |
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Conclusions and Partial Solutions |
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33 | (4) |
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PART III Preparing the Program as an Academic Fieldwork Course |
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37 | (16) |
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7 The Structure of College and Community Interaction |
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39 | (5) |
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Ways that College and Community Can Support Their Separate Goals |
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39 | (1) |
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Benefits of the Program to the College |
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39 | (1) |
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Benefits of the Program to the Community |
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40 | (1) |
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Relating the Program to the Liberal Arts Curriculum |
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40 | (4) |
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8 Pre-registration Course Planning |
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44 | (4) |
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Preparing Written Materials |
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44 | (1) |
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Summary of Pre-registration Written Materials |
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44 | (1) |
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Planning Classroom Space, Equipment, Budget and Funding |
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45 | (3) |
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48 | (5) |
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Overview: Time Frame, Fieldwork, Site Selection, Art Projects, Logs |
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48 | (2) |
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50 | (1) |
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50 | (1) |
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50 | (1) |
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51 | (2) |
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PART IV Community Field Sites for the Art and Social Interaction Program |
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53 | (20) |
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10 Determining Community Field Sites |
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55 | (3) |
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Program Criteria for Selecting Appropriate Sites |
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55 | (1) |
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Locating and Visiting Sites |
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55 | (1) |
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Presenters' Criteria for Selecting Sites to Serve |
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56 | (2) |
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11 Site Responsibilities, Personnel and Support |
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58 | (4) |
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Physical Facilities and Logistical Support |
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58 | (1) |
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Staff Responsibilities in Recruitment, Assistance and Supervision |
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58 | (3) |
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Respect for the Regularity of Participation |
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61 | (1) |
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Staff Contribution to the Education of Presenters |
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61 | (1) |
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62 | (5) |
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The Home-Based Orientation |
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62 | (2) |
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64 | (1) |
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64 | (3) |
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13 Logistics of the Art and Social Interaction Sessions |
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67 | (6) |
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Preparing Art Projects for the Weekly Workshops |
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67 | (1) |
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Transportation and Arrival |
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68 | (1) |
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69 | (1) |
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70 | (3) |
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PART V The Creative Art Projects |
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73 | (52) |
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14 Presenting Creative Art Projects |
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75 | (10) |
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75 | (2) |
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Introductory Remarks to Presenters |
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77 | (1) |
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Preparing Supplies and End Products |
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78 | (7) |
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15 Art Projects: Descriptions and Processes |
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85 | (40) |
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85 | (6) |
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91 | (5) |
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96 | (10) |
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106 | (8) |
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114 | (3) |
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117 | (4) |
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121 | (3) |
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VIII Innovations and Variations |
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124 | (1) |
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PART VI Enhancing, Expanding and Evaluating the Program |
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125 | (16) |
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16 Enhancing Interaction with Participants and Staff |
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127 | (5) |
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Guidelines in Interacting with Participants |
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127 | (2) |
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Recognizing the Limited Duration of the Program |
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129 | (1) |
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Guidelines in Interacting with Staff |
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130 | (2) |
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17 Expanding the Artistic and Social Experience |
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132 | (4) |
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132 | (1) |
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"Critiques" in the Context of the Program |
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133 | (1) |
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Optional Enterprises for Expanding the Experience |
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134 | (2) |
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18 Evaluating Program Effectiveness |
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136 | (5) |
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The Structure of an Evaluation Design |
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136 | (1) |
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Evaluating Benefits to Presenters |
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137 | (1) |
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Evaluating Benefits to Participants and Institutions |
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137 | (1) |
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Verbal Evaluation Processes: Tapes |
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138 | (1) |
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Additional Considerations in an Evaluation Process |
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138 | (1) |
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139 | (2) |
Appendix 1 Instruments for Class and Fieldwork |
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141 | (6) |
Appendix 2 Resources of the Pilot Program |
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147 | (2) |
Appendix 3 Evaluation Instruments |
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149 | (7) |
Annotated Bibliography |
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156 | (3) |
Art Therapy Journals |
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159 | (1) |
Index |
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160 | |