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AReporton:

MovingWell: AProsperAdventureProject

by

TrishVella-Burrows,SianStevenson,JayneThompson,PeteWallaceandLianWilson

StevensonThompson

SidneyDeHaan ResearchCentreforArtsandHealth

January2014

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AnoverviewofMovingWell

Introduction

This report gives an outline of the Moving Well Adventure, a multi-agencycollaborative initiative funded by the Arts Council England through CanterburyFestival’sProsper: Out of the Storm initiative designed and produced by TheMapConsortiumandWorkersofArt. TheAdventurecommencedinlateApril2013andculminated in a series of events which took place in October and November.Facilitatedbyadditional fundingthesecomprisedaperformanceofMorePleaseattheGulbenkianTheatreCanterburyonthe28thOctober,asubsequentperformanceattheTheatreRoyalMargate,14thNovember,andanopencommunityworkshopattheDeLeWarrPavilion,EastSussex.TheAdventureTheprojectinitsentiretyranfromApril2013toJanuary2014andaimedtoproduceamodelofcreativepractice integratingdanceanddigital technology(DT)toaffect‘transformation’ and ‘transportation’ for participants and spectators throughchoreographed reflective and symbolic representationsof real-life stories narratedby older people, some of whom have severe disabilities. In the first instance theproject involvedagroupoffemalesaged50-82forwhomtheoutcomewouldbeapublic performance. Alongside the artistic directors’ ambitions to develop a newperformanceaestheticprivilegingtheolderfemalebodywasanattempttoexploreand exploit the integration of digital technology in boththecreative process andperformance. It is worth noting that earlier experimental workshops haddemonstrated a number of potential beneficial effects (physical) which hademergedin,andasaresultof,participantengagementwithdigitalprojections.Keytotheongoingdevelopmentofthislatestperformancewasthedevelopmentofnewcreativeapproachesworkingwithdigitalartists,andananticipatedincreaseincreativity,aswellasmobility,onthepartoftheparticipants.

Theprocess at the coreof theAdventureproposed a better understandingof therelationship between the dance/movement and digital technology, and theoverlapping concepts of health and wellbeing as people age. There were furtherambitions to assess the feasibility of transferring such initiatives from the opencommunitytocontinuing-careresidentialenvironmentsforolderpeople.Fromtheperspectiveofthedigitalartists,ButchAuntie,thiswasanopportunitytoembark on an adventure beyond the conventional practice(s) hitherto associatedwith their work. The partnership offered Pete Wallace and his colleague JohnWorthingtonauniqueopportunity to combine their specificpracticeand technicalexpertise with those of StevensonThompson. Not only were they involved indevelopingthecreativeapproachtotransformingthespace,theyparticipatedinthelive moment of the performance working with and responding directly to themovementoftheperformers.BelowPeteWallacedescribeshisandJohn’screativeinputandoverallexperienceoftheAdventure.

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ThedigitalprojectionimplementedbytheAVcompany,ButchAuntie,wasintendedtoallowahighlevelofinteractionbetweentheparticipantsandthebackgroundonstage.Ratherthanusingmoretraditional,highlychoreographedchangeswhicharepre-ordained, the visuals production and delivery specifically used hardware andsoftware that gave an opportunity to experiment and 'play' with the light beingshone onto the stage. Sensors that used 3D data were able to provide detailedsilhouettesofthedancers,andpermitthecompanyasawholetoinvestigateideasofspaceandmovementinreal-timewithouttheneedforthemoredidacticmediumofpre-shotvideoorfilm.Assuch,theparticipantscouldtrynewideaswhilewatchingtheshapeandspeedoftheirbodieswithoutbeingconcernedwithdirectaestheticorsurfacedetail,allowingakindofescapismthroughthetechnologytoaninteractionthatreducedtheworkto some of the purest aspects of dance and performance.For the spectators also, thesemulti-layered video backdrops to the actionwere ameans of augmenting their reading of the piece,where palette or choreographedinserts of specific iconography amplified themes or the emotional context of thepiece. For the designers and technicians, PeteWallace and JohnWorthington, theproject'semphasisonliveinputwasameanstodevelopingtechniquesalongsidetheproduction teamwhich pushed the boundaries of the technology available. Thisjumpforwardinproducingmediaforstagehascertainlybuiltstrongfoundationsforfurtherresearchinthisarea.Thedirect 'action-response'aspectsofthebody-sensorsused,andthegratificationthat this permitted for the dancers, seemed to entice greatermovement throughallowing them to amplify each gesture. Thismade being physical and having thatengagement interpretedinaverymodernandeasilyreadwaysomethingexciting.As such, the emotional and mental expression emanating from the performersappearedmorepowerfulandunderlinedtheburgeoningsenseofprofessionalism/prideamongsttheparticipantsasawhole.IntermsofthesocialaspectsofbuildingMorePlease,ButchAuntie'sstaffverymuchenjoyedmeetingandworkingalongsidethecompanyasitwasavaluabledeparturefrom themore service-oriented aspects of theirmore common commercial work.The opportunity to connect the audio visual impact so directly to the performers,while simultaneously finding out about their very individual interests andpersonalitieswasauniqueperiodintheprocessandonewhichtheyareverykeentomaintain if possible. While the socialbondsmadewithin the companyare clearlyvery strong,ButchAuntiehope that they contributed to the senseof camaraderieexperienced throughout. (Exemplified by a very warm party atmosphere amongsttheparticipantsaftereachperformance).Themobilenatureofthedigitalcontentisanaspectwhichaccompaniesanykindofstageorvenue-dynamicaudiovisualdesign,andsoButchAuntiehavepreparedtheirequipment to be asmodular as possible for futurework. Discussions have takenplace about developing themeans bywhichthe technology could be used in care

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settingswithsmalleraudiences.Theprojectiontechnologyandthemeansbywhichmediacouldbeshownoninterior/exteriorwallsissomethingButchAuntieareverymuchpractisedforandabletocost/deploywithrelativeease.Individuallocationsorsettingsmay introduce challenges, but the experience the company has in findingsolutionstothesepracticalproblemsisverystrong.Site-visitstoresidentialsettingsor public spaces will allow for surveys to be made and changes introduced tomaintainthedesiredimpactwherepossible.Therationalefortheprojectcentredontheneedforstrategicpolicyandpracticetopreservegoodqualityoflifeaspeopleageinlightof:i)demographicpredictionsofanincreasinglyageingpopulationintheUKinforeseeablefuture(LaingandBuisson2006;Wanless,2006;JosephRowntree,2008;HouseofLords,2013);ii)theprobablefutureincreaseinage-relatedandlong-termill-healthconditions,includingdementia(Chai,2006;CommissionforHealthcareAudit2006;Knapp,Prince,Albanese,etal.,2007; DH, 2009; DH, 2012; Alzheimer’s Society, 2012).); iii) an associated rise inpublicexpenditureonhealthandsocialcare(Hirsch2005;Wittenberg,etal.2012);and iv). To this end, the work was being evaluated in terms of the need forsustainable cost-effective interventions that have the capacity to support physical,mentalandcognitivewellbeingandsubsequentprolongedindependence.Partners

AdventurePartnershipCollaborators

TheProsperAdventurepermittedanexistingpartnershipestablishedattheProsperexperiment stage (StevensonThompson & Sidney De Haan Research Centre) toextend further to include a film maker (Open Productions) and latterly digitaltechnology artists (Butch Auntie) eventuating in an innovative combination ofexpertisedrawnfromtheartsandhealthprofessions.

TheMovingWellprojectteam

• Adventure partnership collaborators: Sian Stevenson and Jayne Thompson,artisticdirectorsofStevensonThompsonDanceTheatreCompany;SimonEvans,film maker (Open Productions); Pete Wallace and Jon Worthington, digitalartists/creativeprojectionandlivevisualsprogrammers(ButchAuntie);andTrishVella-Burrows,registerednurseandartsandhealthresearcher(specialism:musicin dementia care), and Lian Wilson, movement therapist and arts and healthresearchassistant,fromtheSidneyDeHaanResearchCentreforArtsandHealth,CanterburyChristChurchUniversity.

• Project participants: performers from the Moving Memory Company (females

aged between 50 and 82), visiting performers drawn from University of Kentstudent/graduate community, Gulbenkian youth theatre and the localcommunity. Other participants over the duration included residents and stafffromConnorsHouse,AbbeyfieldKentCareHomes,Canterbury;

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• Cross-Collaborative partners: In addition to the partnership collaboratorsworking together for intense periods of time, they each took advantage of anumber of opportunities to develop new contacts and initiate/establish newpartnerships.Theseincluded:

CrossCCCUfacultycollaborativepartnerships:

• Faculty of Education: partnership with Dr Jonathan Barnes working ondevelopinguniqueevaluationtoolsformeasuringinvolvementandwellbeingofpeoplewithandwithoutdisabilitieswhoareengagedwithartsactivities.

• Faculty of Health and Social Care: consultations with Prof. Jan Dewing re.refining/pilotingtheevaluationtools(above).

CrossUniversityofKentcollaborativepartnerships:• FacultyofHumanities:SchoolofArtsLiftingtheCurtainpublicengagement–

MarloweTheatre,Canterbury. StevensonThompson/MovingMemorypublicworkshopinitiatedthecommencementoftheMovingWellproject.

• University of Kent CKP research centre: Professor Nicki Shaughnessyobserved creative process/participant workshops. Chapter onStevensonThompsontobeproducedinaforthcomingpublication.

Externalcollaborativepartnerships:

• Green Dandle Dance: a number of visits to GCD’s London-based practicecentretoobserveanddiscusstheirworkandevaluationsofworkwithpeoplewithdementiaandtopilottheevaluationtool.

• MagpieDance:afieldtriptoobserveanddiscussMD’sworkingpracticesandevaluationsof theirworkwithyoungadultswith learningdisabilitiesandtopilottheevaluationtool.

• Trinity Laban Conservatoire of Music and Dance: discussions about futurecollaborativework combining theworkingpracticesof StevensonThompsonand TL, and physiological measures of impact undertaken by TL in theirsciencelaboratory.

• Theatre Royal, Margate: tour venue established and supported withadditional Arts Council funding for a performance of StevensonThompson’sMovingonMoving andMorePlease. Extended the remit of theproject toincludeadifferentdemographic in terms localcommunityparticipationandaudienceattendance–1participantperformer.

• De la Warr Pavilion, Bexhill: a collaborative workshop undertaken inpartnership with DLWP facilitated by Sian Stevenson and Jayne Thompsoncombining theMovingMemory Company and a community dance class ofolderpeoplefromBexhillandsurroundingareas.

• WhitstableWarblers:acommunitysinginggroupfromwhichasmallgroupofmenweredrawntoexperienceandcontributetotheprojectasperformers

• TurnerContemporary,Margate:visitstoTCusingthefindingsoftheMovingWellprojecttoinformaSDHCentreresearchprojectonmappingtheartsasculturalcapitalincoastaltowns

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ProsperAdventure–Prospero• Luke Pell Prospero – Meetings with Luke Pell in London, a visit to the

University of Kent by Pell, and attendance at performance ofMoving OnMoving/MorePleasewherePellhostedtheaftershowdiscussion.

• IanRoss–MeetingwithIanRossinLondoninJuly. Rossprovidedadviceinrelation to applying for additional funding to extend the possibilities oftouringtheproduction.

In-kindsupportPartnershipcollaborators:EachoftheadventurepartnershipcollaboratorscontributedtotheprojectoverandabovetheProsperfundingallocation.Thiswasanambitiousprojectwithaseriesofobjectives which were fundamentally exploratory in nature and technicallydemandingbothintermsofprocessandoutcome.Thisresultedinfurtherandoftenunforeseen costs in time, equipment, and securing additional expertise(sound/projection) to fully develop the work in terms of high quality professionalvalues,andinnovativeresearch/evaluativemodels.These costs included for all collaborators extra time spentdeveloping the creativeelements, liaisingandrunningadditionalworkshopsandrehearsals. Fortheartistsinvolved, themergingof their respective creative practiceswas a great dealmoretimeconsumingthanoriginallyenvisaged,fortheresearchersfieldtrips;desk-basedresearch; data collection activities; and report-design/writing was more involvedthananticipated.Whilstsomeoftheadditionalhoursareeasilyaccountedfor(e.g.field trips; rehearsals; performance attendances), many others are difficult toquantifybecausetheywereundertakenas-and-whenpossiblebetweenotherwork.However, a conservative estimate of the real cost is at least three-times theallocatedbudget(c.£60,000)

Otherin-kindsupport:UniversityofKent:• Use of studioworkshop/rehearsal space for development of the performance,

hosting collaboration partner meetings and facilitating data gathering for theevaluationoftheproject.Storagespace.

• Useoftechnicalequipment/documentationequipmentthroughoutthedurationoftheprocessoftheproject.

• Designandprintingofprogrammes.• Student contributions: Performers stage manager, assistant stage manager,

props,technicalsupport.Soundandlightingoperators.• SchoolofArts–Film:Studentfilmmaker,plusequipment,plustimeediting.

GulbenkianTheatre:• Technicalinterntoworkondesignoflightingandoperationoflighting

SidneyDeHaanCentre:

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• Thedesignandproductionoftheinterimevaluationhandout.• Dataproduction-transcriptionofrecordedfocusgroupinterviews.Additionalfunding:ArtsandHumanitiesResearchCouncil’sresearchprojectonartsandculturalvalue.Thiswas used to support an additional data gathering exercise at theDe LeWarrPavilion. Participants for which were generated from the Moving Memory Co.’sinteractivecommunityworkshop.ArtsCouncil–facilitatedvenuesaspartofpilottourofMovingOnMovingandMorePleaseinregion–hireoftechnicalequipment/expertise.NumbersofparticipantsandaudienceThetotalnumberofpeoplewhotookpartintheproject:StevensonThompsonartisticdirectors 2Researchersandresearchassistant 3Performers 24Technicalsound/lighting 2Stagemanaging 2Props 1ButchAuntiedigitalartists 2OpenProductionsfilm-maker 1Studentfilm-maker 1Projectionist 1SoundArtist 1LiftingtheCurtainworkshop(participant) 25DLWPBexhillcommunityworkshop 25 Thetotalnumberofopportunities(thisisthenumberofworkshops,rehearsalsandperformances in total in thewhole project) for adventure participants to build ontheir personal skills and capacities and to explore notions of transportation andtransformationwasapproximately48.Estimated liveaudiencenumbers reached: Lifting theCurtain–30, Gulbenkian -c200,TheatreRoyal–60,DLWP–25.TOTAL:c300Estimatedonlineaudience:Youtube,website–c100BuildingCulturalCapacityThisprojecthasshownthatopportunities for intenseengagement inanexpressiveandcreativegroupdance/movementprogrammehassignificantpotentialtosupportculturalcapacity,inthefollowingways:

• Buildingopportunitiesandparticipationincreativeprocessesperse

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• Building opportunities and participation among older people with andwithoutdisabilities

• Interweaving creative concepts (e.g. reminiscence; expressiverepresentation)andmedia(dance/movementandDT)

• Broadening audiences (e.g. involving older people living in closed caresettings; using creative activities as education tools for targeting prejudiceandstereotyping)

• Artists’ professional development (e.g. new experiences; multi-mediacollaborations/understandingtheworkofotherartists;usingalternativeartsmediatoenhancework;sharingprojectevaluationprocesspractices)

• TheartstargetingnationalhealthandwellbeingissuesRegarding the latter point, the evidence in the literature shows that people whoadopt a physically andmentally active lifestyle in young older-age (50+) aremorelikelytokeepwellanddisability-freeintoolderage.ThisfactorhasbeenakeydriverintheescalationofhealthpromotionprogrammesandinitiativesacrosstheUK,theconduits for which are widely diverse. Included in these, and based on a slowlygrowingunderstandingoftheimportantrelationshipbetweenhealthandwellbeingand cultural engagement, creative endeavour, productivity and aestheticconsiderations, (Wikstrom, 2004; Clift, Camic, Chapman, et al., 2009), is thepromotion of regular engagement with participatory and expressive arts. Thecontribution of the Moving Well project to this end relates to its capacity toengenderengagedcitizens,andtonurturecurious,motivated,confident, reflectiveandempatheticindividuals.AudienceFeedbackFeedbackfromtheaudiencesatbothperformanceshasbeenextremelypositive.Therewasanopportunityforaudiencememberstocompletefeedbackpostcard.Samplesofthisfeedbackincludecomments:Thisisnotaboutage–it’saboutbeinghuman.Ilovedit!

Whatadelight–fun-clever-somanygreat‘moments...Veryinspiring.

Thejuxtapositionandpresenceoftheages,themovementandmemorywasjustcreated

beautifully.

Ifoundissomoving,sofunny,sosad,sojoyfulanduplifting.

...emotive,joyfulandeleganttowatch.Itwasenlighteningandthoughtprovoking...

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SocialimpactsThe social impact outcomes of the project are far-reaching. They relate to thedevelopment and refining of a model of participatory performing arts that cancontributeto:i)nationaltargetsforsupportingolderpeople’shealthandwellbeingandconsequentialprolongedindependenceintoolderageinlightofanincreasinglyageing population; ii) breaking down stereotyping of older people as declining inhealthandproductivity;andiii)supportingasenseofwellnessforpeoplelivingwithdementiainthecommunityandinresidentialcarehomes.TheimpactwasassessedbyteammembersfromtheSDHCentreusingthefollowingmethods:

• Desk-basedresearchlookingatliteratureon-Demographicsofolderpeople-Olderpeople’shealthandwellbeingissues-Artsinthecontextofhealthandwellbeing-Thevalueofdanceandmovement-basedactivitiesforolderpeople-Theintegrationofdigitaltechnologyinmovement-basedperformingarts-Toolsusedformeasuringtheimpactofsuchactivities

• Consultationswiththeprojectteam• Consultationswithkeypeoplefromdance/movementandhealthagencies• Focus group discussions with older dancers from the Moving Memory

Company• Observationsofrehearsalsandperformancesresultingfromthisproject

A full report on the findings of the evaluation is being compiled at the time ofwriting.Therefollowsabriefoutlineofsomeofthediscoveriesmadeinfocusgroupdiscussionandobservations.

Wellbeing

The following overarching benefits of engaging in theMoving Well process wereexpressedbydancersinfocusgroupdiscussions.Theyfelt:

• Supported,respectedandvalidatedasthemselves• Motivatedandcommittedtotheproject• Averystrongsenseofgroupcohesion;connected• Affectionateandcommittedtooneanother• Anincreasingsenseofself-belief• Increasinglycreativelyenabledandcapable• Challenged• Asenseofpleasureandachievementhavingmetchallenges• Exercisedmentally(inc.memory)

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• Exercisedemotionally• Exercisedphysically• Strongerphysically• Divertedfromeverydaystressors

Aked,etal.(2008)identifiedafive-pointmodelofactionsemphasisingasimportanttoengenderingwellbeing:‘connectivity’;‘beingwithothers’;‘beingactive’;‘noticingthings’; ‘maintaining learning’; and ‘giving’. The following sample of commentsmadebydancersduringfocusgroupdiscussionsdemonstratestheproject’scapacitytoreflectAkedetal.’smodel:Embodiedengagement(connectivity):

‘I think feeling goodwas the beginning for a lot of us,whereweactually felt, ourbodiesweremovingalmostinvoluntarywiththatparticularpieceofmusic’.

. Ifeelageless.I'mnot20,I'mnot30,I'mnot40,I'mnot70,I'mjustagelessdoingthis,becauseIdon'twhythatis,youjust,you'rejustyou.That'showIfeelanyway.

Humanconnection/commitment(beingwithothers/giving):

‘I think it's [a sense of connection with one another] because we've got sense ofcommitmenttooneanother’.‘Everybody'sthereforusyouknow?Youknowthegirls[fellowdancers]aregonna’bethere,attheendofthephoneortheendofane-mailorabunchofflowers.It'sreallywonderful.It'sareallyclosecommunity.’

Achievement(maintaininglearning):

‘Theaccomplishmentofittoo.Frombeingnodancer,tobecomingagroupofpeopledancingtogether’.

: ‘I think I feel really proud about doing this’.

Motivation(noticingthings):

P1:‘It'sverymuchapartofwhoIam,I'mnotthesamepersonIwaswhenIfirstcameintothis’.P2:‘I'mcompletelydifferent’.Interviewer:‘Youmeanintermsofyourselves?’P3:‘Defiantly’.P4:‘Myattitudetowardsthingsisdifferent.I'mmuchmoreoptimisticthanIusedtobe.SoyesI'dmissitterrible’.

(P=participant)

A sense of physical and mental wellbeing, and cognitive stimulation (maintaininglearning/beingactive):

‘Ifyouthinkaboutthewordwell-being…youcan'talwaysquantifyfeelingbetterorwhyyoudo.Butforinstance,comingalongtorehearsals.Iwoulddoanythingnotto

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missarehearsal,ifIfeelawfullikeIdidthismorningIthinkwellifIgotoarehearsalI'llfeelbetter,andinevitably,howoftendowesayattheendofarehearsalsayohIfeltreallytired,butattheend…’.‘Becauseyou'veexercisedIsuppose,youfeeldifferently’.‘Ithinkithasatremendouseffectonmemorygenerally,notonlyhere.BecauseIthinkhere,um,weareencouragedtofocus…wehavetofocusandoncewefocusweremember…andwecantakethatfocusingintootherthingsinlife,that'swhatI'vefound-inlife.Andthisiswhathelpstostrengthenourmemory’.

Quantifyinglevelsofinvolvement

Byworkingcloselywiththeprojectteam,andbyanalysingthedatagathered,thereemergedabetterunderstandingoffactorsthatcanleadtoasenseoftransportationandtransformation.Itwasimportantthatanyprocessesformeasuringthesefactorsshould be transferable to residential care settings and to people with disabilities,particularlythoseassociatedwithdementia.Timespentwiththedancersandtheirfacilitators led to a proposal to create an innovative, creative evaluation tool thatwould help to quantity mapped levels of these factors that appear to relate tocommitment, energy, creativity and embodiment, and verbal and non-verbalcommunication over a period of time. Prototypes of the tool were discussed,designed, piloted and redesigned by the researchers and the organisations listedabove(p.2)andwitholderconsulteesinthecommunity,twolivingwithdementia.The resultant tool, the Prosper Involvement Scale (working title) uses a five-pointscaletomeasurecommitment,energy,creativityandembodiment,andverbalandnon-verbalcommunication,with1beingvery lowand5beingveryhigh.Thescalewasdevelopedoverthecourseoftheprojectandpilotedoverthecourseoffiveofthe creativeworkshops, rehearsals and a performance undertaken by theMovingMemoryCompany.

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The findings (above) show that across five observation sessions, the participants’levelsofcommitment,energy,creativeexpression,andnon-verbalcommunication,were generallymaintained or increased. The dips in creative expression and non-verbalcommunicationatsessionfour,whichwasthedressrehearsalforhigh-profileperformance, might be explained by understandable nervousness among theparticipants and a focus on practical elements, i.e. being in the right place at theright time;gettingthechoreographyandstagedirectionasaccurateapossible.Allelementswere at their highest (apart from verbal communication) at session five,theperformance.The collective findings provide evidenceof theMovingWell Adventure supportingpositive transportation and transformation on many different levels across theperformers, and audiences and the artists and researchers. In addition, on-goingrelationshipsbetweenallofthepartnersareintendedinordertofurthercontributeto an understanding of the complex impacts of this type of project and to refineevaluationtools.Excitingtimeahead!