1 HONORING LIFE EXPERIENCE: CONNECTING STUDENTS TO … · 3 Abstract Connecting students to seniors...

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HONORING LIFE EXPERIENCE: CONNECTING STUDENTS TO SENIORS THROUGH ART

By

SHEROLYN RYMAL

A CAPSTONE PROJECT PROPOSAL PRESENTED TO THE COLLEGE OF THE ARTS OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT

OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS

UNIVERSITY OF FLORIDA 2015

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Summary of Capstone Project Proposal Presented to the College of The Arts of the University of Florida In Partial Fulfillment of the

Requirements for the Degree of Master of Arts

HONORING LIFE EXPERIENCE: CONNECTING STUDENTS TO SENIORS THROUGH ART

By

Sherolyn Rymal

December 2015

Chair: Jodi Kushins Member: Michelle Tillander Major: Art Education

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Abstract

Connecting students to seniors through art is a subject that has peaked my research interest

recently as an art educator. Multigenerational projects of all types have been developing over

time in many educational arenas, due in part to a decrease of social interactions within the

mobile family unit. As my research developed, I found data supporting the fact that art has a

strong impact on seniors’ lives and improves communication skills within the aging senior

community. My research study will propose initially connecting students to seniors through art

by way of social interactions through shared heritage storytelling, followed by shared artmaking

experiences. This action-oriented, narrative research project will develop over a period of nine

weeks. Contained within this research proposal are key terms, including intergenerational

collaboration, intergenerational programming and intergenerational learning. The proposal will

include an introduction of the subject, three research questions, key terms defined within context,

an explanation of the proposed research methodologies with steps outlined to achieve quality

data collection, an investigation of the significance of my study, an author biography and

proposed timeline for project completion.

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Table of Contents

Title Page …………………………………………………………………………………………1

UF Summary Page………………………………………………………………………………...2

Abstract …………………………………………………………………………………………...3

Table of Contents …………………………………………………………………………………4

Introduction ……………………………………………………………………………………….5

Literature Review …………………………………………………………………………………8

Methodology……………………………………………………………………………………..17

Significance ……………………………………………………………………………………...19

Findings …………………………………………………………………………………………..x

Conclusion ………………………………………………………………………………………..x

References ……………………………………………………………………………………….22

Author Biography ……………………………………………………………………………….26

Timeline …………………………………………………………………………………………27

Appendix A ……………………………………………………………………………………...28

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Introduction

According to scholarship, there is a need to assist fragmented families and help with

misunderstandings within different generations due to a decrease in social interactions between

families (Kaplan, 2008). My research fits into the larger picture by addressing an overall societal

concern within the human population. The purpose of my study is to make important

multigenerational social connections through art. Many scholars have demonstrated the positive

benefits of connecting older generations with younger ones. The goal of my research is to

connect students to seniors through a multigenerational art project with one of my advanced art

classes. George (2010) completed a research study that addressed intergenerational volunteering

and quality of life (QOL). The study engaged older persons with mild to moderate dementia with

youth ages five to fourteen enrolled at The Intergenerational School (George, 2010). Utilizing a

modified grounded theory approach for qualitative analysis, data was gathered in narrative

interviews with the participants. There were three main “pathways” through which

intergenerational volunteering affected QOL for participatory seniors: “perceived health benefits,

sense of purpose and sense of usefulness, and relationships” (George, 2010, p. 1).

During my research studies, one of the prevalent findings I have found across the board

has been that seniors often become hermit-like and lose much of their identity and purpose in life

as they age (Taylor, 1987). By bringing generations together that would not otherwise have the

opportunity to interact, new data can be gathered in regard to enhancing QOL for both the senior

and the student. I feel that art is an additional pathway for enhancing quality of life for seniors

and students by participating in lifelong learning in art. As I share my research topic and findings

with other art educators, the ageless benefits of engaging in art through a multigenerational art

project can be disseminated for consideration in their own classrooms.

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My intention is to conduct a multigenerational art project in my classroom during the first

nine weeks of the fall semester of 2015. In addition, through my research, I would like to

develop “collaborative relationships with community partners” (Small & Uttal, 2014, p. 936)

using action and narrative research methods by developing a project that bridges my local high

school to a community senior center or facility. In so doing, I plan to have my students do shared

artwork with seniors by visiting a senior facility through planned field trips. McNiff and

Whitehead (2014) in Doing and Writing Action Research reveal that communicability is essential

and involves the criteria of social validity together with the criteria of textual validity. These

criteria have four factors, which are comprehensibility, authenticity, truthfulness and

appropriateness (McNiff & Whitehead, 2014). Furthermore, Gale and Sikes (2006) in Narrative

Approaches to Education Research illuminate the narrative research method, demonstrating the

approach to storytelling in that, “these can be stories as told and they can be stories that we

enquire into: narratives as data, data as narratives” (Gale & Sikes, 2006, p. 5). The heritage

stories exchanged between the students and the seniors will be a key element in preparation for

student artmaking with seniors.

One of the projects I investigated recently that struck me as meaningful in honoring

another human being is The Memory Project founded and directed by Ben Schumaker

(http://www.memoryproject.org). The global project gives children that have been neglected,

orphaned or disadvantaged the opportunity to be honored by an art student using various

mediums to create a portrait from a photograph that has been provided to the art student by the

non-profit organization. In preparation for my multigenerational research study in the fall of

2015, I plan to engage my advanced art students in The Memory Project.

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The nine-week research proposal will include initially, art students mapping their own

heritage through an art project. Next, students will present their completed heritage art project to

seniors before they share a similar mutual heritage and artmaking project with them. Narrative

research will culminate in reciprocal heritage storytelling with seniors. Artmaking with seniors

will result in action research using a community art show as a final reflection.

Research Questions

Three research questions are the focus of my capstone study:

1. How can art serve as a multigenerational bridge? This question is my overarching

essential question guiding my study.

Secondary guiding questions:

2. What role will critical thinking play in connecting students to seniors through art?

3. What is the impact of honoring life experience across multigenerational communities?

Assumptions and Limitations

Certain assumptions were made when I designed my proposed research project. I assume

that there is a need for intergenerational projects within the art education arena. I assume that my

students will be interested in collaborating with older generations through artmaking activities. I

assume that a senior facility will be available in the fall of 2015 and that the facility will be

interested in my research and a community partnership with my school. I assume that technology

belongs in the classroom. I assume that my school leaders will agree with implementing my

study and will approve it within the IRB that I am submitting for human subject research

permission. However, there are limitations to my study. First, there may be students that are

hesitant and may not have spent a lot of time with older generations. Second, the senior facility

that seems like it is the best fit for my study may not be available in the fall of 2015. Third, the

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size of the study is limited in that there are a small number of local participants. Fourth,

appropriate technology may not be available in my classroom in the fall of 2015. Finally, school

leaders may have issues with students being pulled out of the classroom because of the heavy

testing schedules recently implemented in Florida public school classrooms statewide. Therefore,

I must be prepared to accept these limitations and utilize my best problem solving skills as a

professional teacher.

Literature Review

Kaplan (2008) is a researcher in the field of intergenerational community service

projects. He maintains that the value of senior adults sharing past experiences with younger

students is symbiotic relationship. Kaplan (2008) also discusses the fact that stereotypical

attitudes of both student and senior groups have about each other are abolished by the end of any

intergenerational project (Kaplan, 2008). Furthermore, art educators have been encouraged to

help facilitate lifelong learning in art (Timmerman, 1977) and propagate the idea of the purpose

and value of art as one for all individuals, no matter what the age (Jefferson, 1987). One of the

newer fields of research study is that of the arts and cognitive aging. Whitehouse (2013) suggests

that there are more than just scientific methods and solutions to cognitive aging and that the arts

offer a pathway to communicate with elders that have dementia or Alzheimer’s disease

(Whitehouse, 2013). He further states that fostering intergenerative conversations among

different fields can help facilitate solutions to aging associated cognitive challenges (AACC) and

this holds promise to all affected by this disease (Whitehouse, 2013). The arts are very powerful

in restoring purpose, identity and meaning in one’s life as the onset of aging occurs, instead of

becoming bored or isolated later in life (Taylor, 1987). Sharing these three concepts with

students and seniors is one of my research goals. Through these many scholars I hope to find

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connections to my three research questions:"How can art serve as a multigenerational bridge?,"

What role will critical thinking play in connecting students to seniors through art? and, What is

the impact of honoring life experience across multigenerational communities?"

Key Terms

In delineating terms that are important to my review, I found three very similar in nature,

which are intergenerational collaboration, intergenerational programming and

intergenerational learning. Deciphering the difference between the three variations of

“intergenerational” is relatively simple. Intergenerational collaboration refers to the interaction

of young people with older generations (Alexenberg & Benjamin, 2004). Intergenerational

programming refers to the linking of seniors to children through community based or school-

based programs of all types (Poole & Gooding, 1993) and (Kaplan, 2008). Intergenerational

learning refers to the sharing of information across generations for the benefit of gaining

knowledge otherwise not available to each generation by itself. This type of learning eliminates

stereotypical views of each age group by crossing the negative barriers that age sometimes

causes in relationships and allows each to learn from the other (LaPorte, 2000) and (Kaplan,

2008). Cognitive aging refers to more than loss of abilities. It includes aging as a lifelong process

(Whitehouse, 2013).

Community and school based intergenerational arts project development and execution

Some new insights I gained were that there are different perspectives on the topic.

Although this topic seems relatively new, it is not according to Powell and Arquitt (1978) in their

article, Getting the generations back together: A rationale for development of community based

intergenerational interaction programs (Powell & Arquitt, 1978). The divide of generations is

growing vastly apart because of the fact that many young people are growing up with little or no

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opportunity to have meaningful relationships with the elderly. This impacts the way that younger

generations treat older adults in society due to the lack of meaningful interactions with them

(Powell & Arquitt, 1978). However, I found through my research that intergenerational research,

activities and projects have become more prevalent due to social demographics and trends, which

“necessitated the formation of programs to do what grandparents and grandchildren used to do

naturally” since we are living in a much more mobile society now (Poole & Gooding, 1993, pp.

77-78). Many younger generations have been disconnected to their older family members due to

distance. This occurrence has created more of an immediate need for seniors to be active citizens

in society rather than simply retiring and being bored or isolated (Poole & Gooding, 1993). In

addition, out of the thirteen articles addressing the subject of community based or school based

intergenerational interaction programs that I found for this review, all but two go back fourteen

years. Therefore, a more recent influx of interest in addressing the positive benefits of

intergenerational programs connecting youth of all ages to seniors through art programs has

occurred in society. Many of my research findings involved service learning and community

service projects facilitated by art educators, researchers and non-profit agencies.

However, one art project in particular used a key word in their article title for my

literature review: intergenerational collaboration. The project, Creating Public Art Through

Intergenerational Collaboration (Alexenberg and Benjamin, 2004) centered on the model of

“postmodern art education” by connecting younger generations (high school and college

students) with senior citizens by creating large monumental public art. There are three ethnic

elder communities that make up the area of Biscayne Bay in Miami, Florida and were portrayed

by creating and constructing three twenty-foot high clay and steel “Legacy Thrones”

(Alexenberg and Benjamin, 2004). This project also had cultural implications as the three ethnic

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groups that did not normally interact with each other in society had an opportunity to get to know

each other through students leading an art project with them.

Another significant intergenerational art project that I found for my research was from an

article written by La Porte (2000) named Oral History as Intergenerational Dialogue in Art

Education. It addressed a similar topic that I am interested in for my research in regard to

heritage storytelling and heritage maps. The after-school intergenerational community art

program located in Harlem, New York City focused on the intergenerational exchange of culture

and history through interviews in oral history and art making. “Methods from oral history and

material culture studies” encouraged older adults to contribute historical perspectives as “living

witnesses to the past” (La Porte, 2000, p. 44). The creation of collages representing historical,

cultural and biographical themes provided a testimony from each senior’s long life (La Porte,

2000).

Similarly, The Peace Drum Project emphasizes intergenerational connections through the

arts by creating positive relationships between teens and seniors from five Boston neighborhoods

in an after-school program (Porter, 2006). The project was created by the Cooperative Artists

Institute in 2000 and has two founding premises engaging adolescents and seniors. The first

premise is based on the fact that struggling adolescents, who often have independence and

identity issues interact with the elderly, who often fear the unfamiliar (Porter, 2006). This

interaction yields a commonality over the feelings of isolation from the larger community that

both groups often feel. The second premise is that young people, often in urban low-level areas

need leadership opportunities by taking positive risks, which hopefully will offset the tendency

to join negative peer groups, such as gangs (Porter, 2006). A variety of arts enrichment activities

are featured along with creating personal maps, engaging in calligraphy, illustration,

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photography, attending museum and art-school field trips, developing storytelling skills and

journal writing, while developing personal narratives in a variety of artistic media. By practicing

these skills, participants create their own “peace drums” to decorate and design. Local artists are

encouraged to join in the activities as the festivities and celebrations culminate in the exhibition

of the playing of the drum (Porter, 2006). This program in which documentation occurs utilizing

scrapbooks, also supports the concept of the importance of teamwork. Incentives of awards and

stipends are also given to the adolescent participants. The overall goal of self-expression is

successfully achieved through this program as well (Porter, 2006).

Additional positives of intergenerational art experiences are that students and seniors

learn decision-making skills and critical thinking communication. This is achieved through

learning to listen, presenting one’s points, the art of negotiation, how and when to initiate dialog

and how to use clarity and persuasion in presenting one’s points (Kaplan, 2008). These

Intergenerational learnings among students and seniors developed skills that are invaluable in

preparing people to function in a “world of changing social, political, economic, and

environmental conditions” (Kaplan, 2008, p. 226). Problem solving skills can be shared by both

age groups as a result of these types of intergenerational interactions in a world where so many

people need to hone these skills to improve their lives and careers.

The importance of engaging in art with seniors

Through my studies, I also found many examples of art educators teaching senior citizens

visual arts in an arts education platform. By engaging in lifetime learning art activities, seniors

can find something to keep their minds active (Timmerman, 1977). Timmerman (1977) states

that persons in their later years “can play a unique role in fostering creativity, promoting self-

esteem and facilitating growth and development” (p. 12). However, one must agree with the

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philosophy of lifetime learning before the significance of continuing education for older persons

is completely understood and the value of incorporating educational opportunities into programs

and services for them is highly valued (Timmerman, 1977). Art educators can advocate for adult

education in the arts while demonstrating different methodologies and promoting lifetime

learning in the arts (Timmerman, 1977).

According to Jefferson (1987), the Division of Higher Education of the National Art

Education Association established a Committee on Lifelong Learning (Jefferson, 1987). The

committee has identified essential criteria for the development and maintenance of quality adult

education programs in the visual arts. Since it is the purpose of the National Art Education

Association to “promote the highest possible degree of quality instruction in visual arts programs

throughout the United States”, guidelines and standards were developed for the preparation of art

teachers in elementary and secondary schools (Jefferson, 1987, p. 33). In 1987, the need for

standards of visual arts programs for adults became a priority as well within the National Art

Education Association (Jefferson, 1987).

Taylor (1987) states, “through art the older adult can avoid the negative experiences of

ageism” (p. 9). She also conveys the idea that older adults see time as a concern in their lives due

to their age, yet art is timeless. Another positive aspect of connecting older generations through

art is that their identity is questioned when they retire, therefore, art provides a means to gain

back their identity by creating meaningful works of art (Taylor, 1987).

The impact of cognitive aging effects on the elderly in regard to arts integration

Peter Whitehouse MD PhD (2013) refers to cognitive aging as an acronym – aging

associated cognitive challenges or (AACC) and purports that aging presents “challenges that

offer opportunities for individual and social growth, even the emergence of wisdom”

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(Whitehouse, 2013, pp. 105-106). That being said, seniors with AACC can also benefit from art

and art programs, in which Whitehouse (2013) further states, “To address AACC, we need to

foster intergenerative conversations among different fields” (Whitehouse, 2013, p. 108).

Abraham (2005) states,

The afflicted person, overwhelmed by an inability to articulate, can give voice to

this inner world through the use of art materials. In providing that person with the

symbolic language of art, an alternative channel for communication is opened.

This is a vital gift when words have lost their meaning. (p. 1)

Lokon, Kinney and Kunkel (2012) discuss the importance of art making in regard to both

physiological and psychosocial advantages for people with dementia. Since other avenues of

self-expression become severely limited, it becomes essential that creative expression be

encouraged in people with this disorder (Lokon, Kinney & Kunkel, 2012). The methodology

stated in the article to research the topic was an analysis of a study of student journals at a

Midwest university while the college students participated in an intergenerational art program for

people with dementia. The program called Opening Minds Through Art or OMA promotes the

experience of creative self-expression resulting in dignity, social engagement and autonomy of

the people with dementia (Lokon, Kinney & Kunkel, 2012).

Conclusions were that:

They were able to build genuine reciprocity with their elder partners through these

relationships and learn more about themselves and about life. It is evident from

these students’ journals that elders with dementia gained not only new roles as

artists but also as teachers and friends to younger people in the OMA program.

Perhaps we can infer that the elders’ sense of personhood and self-respect were

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also enhanced. This bidirectional enhancement of personhood in a caring

relationship is the “bridge” that was built across age and cognitive barriers and art

was the means to get everyone involved in this building project. The students’

perceptions, as shown in their journals, support the claim that elders with

dementia, even at moderate and advanced stages, are capable of experiencing

friendship. (p. 350)

Furthermore, Lauzon (2010) proclaims, “Age is no criteria in the world of art. Whether it be the

age of the masterpiece or the artist himself, when the young and old get together artistically, the

results can be dynamic” (p. 41). Taylor (1987) in Art and the Needs of the Older Adult explains

that creativity is not limited by age. In fact, she applauds famous older artists such as Georgia O-

Keefe, Maria Martinez and Frank Lloyd Wright still being able to create and explore artistic

concepts upward of age 90 (Taylor, 1987). Unfortunately, “social obsolescence” is often labeled

as normal within the natural process of ageing, which is a misnomer (Taylor, 1987, p. 9).

However, supportive elder organizations such as The American Association of Retired Persons

(AARP) have made a concerted effort to advocate for socially acceptable ways for the older

adult to be publically displayed by sponsoring and exhibiting a national, juried art show. This is

just one example of many art shows across America in which older adults have the opportunity

to exhibit their art work (Taylor, 1987).

Implications for My Research

Perlstein (1999) furthers the idea of intergenerational arts programs through discussing

how art programs can be an integral part of building community (Perlstein, 1999). She

demonstrates how a community-based arts organization called Elders Share the Arts (ESTA)

partner with local communities to create and support intergenerational art programs. For my

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research, I found that this article addressed similar ideas of what I want to do in my research

project with my art class. Perlstein (1999) explained how intergenerational arts programs at the

Rosenthal Senior Center have offered elders a way to communicate through storytelling.

Perlstein (1999) states that by using “a unique synthesis of oral history and the creative arts, the

staff of professional artists works to transform life stories into presentations and exhibitions that

celebrate community life” (Perlstein, 1999, para 2).

These findings have helped shape my own understanding of elder education in the visual

arts, intergenerational community art experiences and in general how important art is to the

senior generation as a means of communicating and interacting with society. Art becomes even

more important when seniors begin to experience signs of dementia and Alzheimer’s disease,

where sometimes the only way to communicate is through the arts (Abraham, 2005).

I would like to do a similar art project that addresses seniors and their life histories and

heritage, which would result in my art students doing a portrait from a photograph of the senior,

similar to The Memory Project located at http://www.memoryproject.org. With this in mind,

Kaplan (2002) states that since the field of intergenerational studies and research is still relatively

new, he wonders whether enough information is available to guide program development.

Another question stated is that very little efforts have been made to assess program impact

(Kaplan, 2002). Therefore, since high school students can verbalize, write and reflect on their

experience, I am anticipating looking for data to answer two of my research questions, “How can

art serve as a multigenerational bridge?” and “What role will critical thinking play in connecting

students to seniors through art?” Not answered: I also read about how it is more common to

report reflection data from the student’s perspective after intergenerational projects but there is

not as much data on intergenerational experience from the viewpoint of the seniors (Kaplan,

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2002). Additionally, not answered: there is not as much data on elders in intergenerational

programs with cognitive disabilities like dementia and Alzheimer’s disease. I look forward to

addressing my third question, “What is the impact of honoring life experience across

multigenerational communities?” by researching the components of my project through chosen

methodologies and current data available from all research resources in this area.

Methodology

The research methodology for my Capstone Research Project study will be primarily

action-oriented, qualitative research. However, I am proposing that a secondary narrative

research methodology component be incorporated into my project. As I further investigate types

of research methodologies, my proposed project seems to have characteristics of both methods.

In connecting students to seniors through art, I intend to do this through a multigenerational art

project and ultimately develop community partner relationships with my school. Investigating

how art can serve as a multigenerational bridge will be the focus of my research and the subject

of my overarching research question. Secondarily, the role of critical thinking in connecting

students to seniors through art will be an important component in my research study as well as

investigating the impact of the act of honoring life experience across multigenerational

communities. The International Reading Association in the Journal of Reading informed me of

the benefits of teachers doing research in their classrooms and described how action research can

be effective in improving teaching and learning. Some of the benefits purported had to do with

improved problem solving in the classroom, the application of new teaching methods and the

incorporation of successful techniques (Journal of Reading, 1989).

Data Collection and Analysis

Mills (2014) discusses “qualitative data collection techniques” in the form of a detailed

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list (Mills, 2014, p. 83). Research data collection techniques will include student reflection

journals during and after the project, instructional activities, oral history and narrative stories,

interviews using student prompted questionnaires, observation, heritage mapping, visual

recordings, and photography. Narrative research techniques will include both event-centered

narrative research and experience-centered narrative research. In the book, Doing Narrative

Research, Andrews, Squire, and Tamboukou, (2008) state, “What is shared across both event-

and experience-centered narrative research is that there are assumed to be individual, internal

representations of phenomena – events, thoughts and feelings – to which the narrative gives

external expression” (Andrews, Squire, & Tamboukou, 2008, p. 5). Therefore, reciprocal

storytelling with art students and seniors will display mutual external expression narrative

research data that can be recorded in writing as noted in student journals and student-performed

questionnaires with interview prompts. Artmaking with seniors will inform action research data

through student reflection of shared art activities. A final, student-created portrait painting of a

senior will honor the senior’s life experience, as students work from a photograph in the

classroom as reference. A student-written heritage map honoring the senior will be displayed

along with the artwork. I will take photos of the final portraits and heritage map and use them to

create a class project PowerPoint, working with my principal to display it on the school website,

demonstrating the action and narrative research to our school community. The final research

project reflection activity will culminate in a community art show open to the public at the senior

facility. I will plan a celebration field trip for my participatory students to set up the art show and

attend the art show along with seniors reciprocally sharing in the activities.

Field trips to a senior facility will provide data outcomes from student interactions with

seniors. Mills (2014) identifies a four-step action research process model, which he named the

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Dialectic Action Research Spiral (Mills, 2014, p. 19). The model gives teachers a practical guide

for how to move forward with inquiries. I intend to use this model, in which the four steps of the

action research process are named as “identifying an area of focus, collecting data, analyzing and

interpreting data and developing an action plan” (Mills, 2014, p. 20). Additionally, I would like

to utilize the action research data collection technique that Mills (2014) identified as “The Three

Es”, which are experiencing, enquiring and examining (Mills, 2014, p. 99). The author also states

that pausing to reflect and analyze during the research process is essential to success (Mills,

2014). In addition, Mertler (2014) outlines and describes a four-stage procedure for conducting

action research as being cyclical and not linear and asserts that the “rigor” in action research is

essential for conducting quality research (Mertler, 2014, p. 27). Working with my school and the

community will be challenging and it will take time to develop the project and collect the data.

However, in the article, Finding the Narrative in Narrative Research, Courtier (2009) states that

“experiences and our stories about experiences endure and change” (Courtier, 2009, p. 610).

Therefore, I have high hopes of developing an engaging and enduring research project with my

students and my community.

Significance

I feel that this research study will result in furthering a positive bond with my school and

community. The area that my school is located in is a rural community on the outskirts of a

larger one. Until recently, the community only had about three senior facilities. Recently, senior

facilities in our community have more than doubled, including a brand new facility that just

opened last month. The opportunity to make a difference in our community with this type of

research project has increased with the population growth that has occurred in our area in recent

years. My daughters were both members of the Girl Scout organization when they were young

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and I remember visiting senior facilities and nursing homes during the holidays to sing carols

with the Girl Scout Troops. I noticed how appreciative the facility Directors and the seniors were

to have young visitors participating in activities of this type. In recent months, I have also

witnessed first-hand the routines of two senior facilities in which relatives had to be transferred

to for health reasons. I noticed that singing activities continue to be a regular routine activity,

although, there are no regular art activities except for an occasional craft-making project.

However, after my research studies, I have learned that art and art making with seniors

have communication possibilities that music cannot fulfill when it comes to verbal

communication after a senior deteriorates physically and mentally. Therefore, according to the

scholars and researchers within my study, art has the potential to rehabilitate the saddest soul and

lift spirits by engaging all generations in the artistic process of creativity and art making. The

creative process involves critical thinking skills. This type of brain activity has been found

scientifically to reduce stress and help seniors through a difficult time in their lives according to

researchers listed in this study. The intergenerational impact of connecting students to seniors

through art will enhance the act of artmaking overall and will help even the most isolated senior

feel cared about.

The arts have potential for all generations. Art Educators will be interested in this study

for possible application in their own schools and communities as they explore the benefits and

prospect of community bonding by connecting students to seniors through art. By participating in

a multigenerational art research study, high school students will be exposed to the benefits of

making a positive difference on the life of someone other than themselves. School leaders,

teachers and politicians will also be interested in the general outcome of this study as it applies to

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the subject of art enhancing critical thinking skills to meet academic outcomes and initiate social

intergenerational interactions within a community.

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References

Abraham, R. (2005). When words have lost their meaning: Alzheimer’s patients communicate

through art. Retrieved from

https://www.questia.com/read/118922343/when-words-have-lost-their-meaning-

alzheimer-s-patients

Alexenberg, M., & Benjamin, M. (2004). Creating public art through

intergenerational collaboration. Art Education, 57(5), 13-18. Retrieved from

http://www.jstor.org/stable/3194099

Andrews, M., Squire, C., and Tamboukou, M. (2008). Doing narrative research. London: Sage

Publications.

Classroom action research: The teacher as researcher. (1989). Journal of Reading, 33(3), 216-

218. Retrieved from http://www.jstor.org/stable/40026861

Courtier, C. (2009). Finding the narrative in narrative research. (2009). Educational Researcher,

38(8), 608-611. Retrieved from http://www.jstor.org/stable/25592176

Gale, K. and Sikes, P. (2006). Narrative approaches to educational research. School of

Education, University of Plymouth [Web site]. Retrieved from

http://www.edu.plymouth.ac.uk/resined/narrative/narrativehome.htm

George, D., (2011). Intergenerational volunteering and quality of life: mixed methods

evaluation of a randomized control trial involving persons with mild to moderate

dementia. Quality of Life Research, 20(7), 987-995. Retrieved from


Epstein, A., & Boisvert, C. (2008). Let's do something together. Journal of

Intergenerational Relationships, 4(3), 87-109. Retrieved from

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Author Biography

"It is the supreme art of the teacher to awaken joy in creative expression and knowledge."

- Albert Einstein (accomplished violinist)

I am in my eleventh year of teaching in Lake County, Florida as an art educator. My

passion for art has been a lifelong commitment to excellence as an artist. I am classically trained

in Studio Art from Florida State University, where I received my Bachelor of Fine Arts degree.

My background in art began at the age of about five years old, drawing in church. Later my

mother encouraged me in art and enrolled me in professional group art lessons from age nine

until about age sixteen, where I learned how to draw in graphite, charcoal and pastels and to

paint oil and acrylic paintings. Growing up in Tampa, I was fortunate to work as a high school

intern at the Tampa Tribune in Advertising and at the St. Pete Times as a college intern in the

News Art department. After college graduation in Tallahassee, I worked as the main illustrator

and graphic artist (pre-computer) at a local design firm that specialized in building visitor centers

and trail exhibits for all U.S. Fish and Wildlife Service refuges and Natural History museums.

Having gained this type of experience, when I moved to Orlando, I was hired first as a

team graphic designer for Walt Disney World Design and Engineering and later as a lead graphic

designer for Walt Disney Imagineering. When post-September 11th layoffs happened across

property, I did not return. Thankfully, I found teaching art to high school students at the local

Title 1 school, which happened to be my older daughter’s new high school. I joke that “we

started high school together” as she was a freshman. As a professional artist that made a career

change into “art education”, I feel that it is very important to share the world of digital art and

traditional art with students and to be able to influence them in the purpose of art as a career. I

strongly believe in art for everyone by encouraging “art education” as a goal for all.

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Timeline

1. Choosing committee members, appointing a chair.

Complete: November 2014

2. Completing an independent study course related to your research.

Future: October 2015

3. Completing forms and applying for permission to conduct your research via the UF IRB.

In Progress: December 2015

4. Getting e-mail permission from your school principal, or the administrator in charge of any other site in which you plan to conduct your research.

Future: January-February 2015

5. Presenting your research proposal to your Capstone Committee.

Future: January-February 2015

6. Conducting your research. Future: August-November 2015

7. Taking the Capstone Research course. Future: October –December 2015

8. Defending your research Future: November 2015

9. Graduation Future: December 2015

10. Celebrating Future: December 2015

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APPENDIX A

1 HONORING LIFE EXPERIENCE: CONNECTING STUDENTS TO … · 3 Abstract Connecting students to seniors...

Documents

Transcript of 1 HONORING LIFE EXPERIENCE: CONNECTING STUDENTS TO … · 3 Abstract Connecting students to seniors...