The Stage Life: promoting the inclusion of young people through participatory arts

O R I G I N A L A R T I C L E

The Stage Life: promoting theinclusion of young peoplethrough participatory arts

Theodore Stickley, Brian Crosbie and Ada Hui, School of Nursing, Midwifery & Physiotherapy,

University of Nottingham, Duncan MacMillan House, Porchester Road, Nottingham NG3 6AA, UK

(E-mail: [email protected])

Accessible summary • This article is about research with young people with learning disabilities who

took part in music and drama groups.

• The groups were held in a local disused cinema.

• People greatly benefited from being a part of this work.

• Joining in with arts activities can really help people with learning disabilities to

feel a part of the community.

Summary The Stage Life was a participatory arts programme for people attending a day

services provision in Nottinghamshire. The uniqueness of this programme was that

it was provided in a local disused cinema acquired by the local authority for

community-based activities amongst disadvantaged groups. The Stage Life aimed to

build the community arts capacity for young adults with learning disabilities by

introducing approximately fifty people to participatory arts activities over a period

of 2 years. The research evaluation reported in this article was conducted by external

academic researchers over this period. A multimethod ethnographic approach was

used to phenomenologically capture the impact of the Stage Life upon individuals’

lives, as well as capturing people’s opinions and ideas regarding taking part in the

activities. The research attempts to describe, both at the individual level and at

group level, the effects upon people who are engaged with the programme. Very

positive benefits are reported both on a personal and on a social level.

Keywords Arts, drama, music, participation, social inclusion

Background

The integration and social inclusion of people with learning

disabilities into wider communities has become foremost in

both national and international political agendas, particu-

larly within Western countries (Sharma et al. 2008). The

social inclusion of individuals with learning disabilities as

well as their families has been promoted within government

policies and legislation (Department of Health, 2001, 2004,

2009; Social Care Institute for Excellence, 2007; Strategy

Unit, 2005). Policies emphasise the principles of individual

rights, independence, choice and inclusion, purposeful

activities and doing things enjoyed by members of the

community, developing friendships, and a sense of belong-

ing (Department of Health, 2001, 2009). In recent years, there

has been a move away from large institutions and towards

more community-based alternatives, although it has become

apparent that physical presence within a community does

not automatically ensure greater social inclusion (Abbott &

McConkey 2006).

ª 2011 Blackwell Publishing Ltd, British Journal of Learning Disabilities doi:10.1111/j.1468-3156.2011.00703.x

British Journal of

Learning DisabilitiesThe Official Journal of the British Institute of Learning Disabilities

Social inclusion simply termed is complex and extends

beyond physical integration into communities to that of the

personal experiences encountered by people with learning

disabilities (Barnes 1999; Christie & Mensah-Corker 1999;

Hall 2005; Sharpe et al. 2001; Sibley 1998). Young people

with learning disabilities identify a lack of friends as a

crucial dimension to social exclusion (Knight et al. 2009;

Morris 2002; Myers et al. 1998). A lack of opportunity for

contact with nondisabled peers coupled with significant

barriers to accessing community amenities are also com-

monly cited (Ludvigsen et al. 2005; Morris 2002; Sloper

2002). Negative public attitudes continue to be perceived as

a major barrier to social inclusion (Abbott & McConkey

2006).

The social inclusion agenda appears to offer the possibil-

ity of better opportunities for employment, but simulta-

neously establishes criteria that may be undesirable for

many people to fulfil (Hall 2004).

Despite such challenges, people with learning disabilities

aspire to be more socially included in their community

activities (McConkey 2006; O’Rourke et al. 2004). It is

proposed that one of the ways in which such aspirations

may be achieved are through participatory arts, notwith-

standing many complex and strong social barriers.

Leisure activities have been recognised as more impor-

tant than merely ‘time-fillers’ (Simons 1995). This is of

particular importance because many people with learning

disabilities experience poor self-image, not necessarily as

an outcome of cognitive impairment but more as a result

of restricted opportunities for meaningful occupation

(Reynolds 2002; Simons 1995). Participatory arts activities

provide enjoyment, active participation and self-develop-

ment (Atkinson & Williams 1990; Gilroy & Lee 1995; Payne

1993; Reynolds 2002). An enhanced sense of personal

freedom may also be felt through involvement in creative

arts as there are no ‘right or wrong’ and therefore less

pressure in being ‘correct’ (Samdahl 1992). Involvement in

creative arts activities therefore allows freedom for self-

expression and communication which may be nonverbal,

yet conveying perspectives of a personal nature. Drama

and creative arts participation can enhance self and

sensory awareness, stimulate thinking and encourage

social skills, relationships and self-esteem (Reynolds

2002). Confidence in taking on greater responsibilities

may also transpire (James 1996 & Steiner 1992), thereby

developing positive self-perceptions. Arts projects, how-

ever, whilst offering opportunities for participation and

confidence building, could be criticised for presenting

people with learning disabilities to the mainstream public

in socially acceptable ways through for example perfor-

mance and exhibitions. Furthermore, projects may not

always be as participatory as they often claim to be and

contact with the community may be limited to families and

friends.

Introduction to the Stage Life

The Stage Life programme aimed to build the community

arts capacity for people with learning disabilities by intro-

ducing approximately fifty adults with learning disabilities

and associated impairments from a day services provision

to participatory arts over a period of 2 years. This was

pioneered through various music and drama workshops.

The programme was delivered at the Worksop Regal, a

refurbished cinema. The use of the Worksop Regal has been

significant in terms of enabling service users to engage with

the wider community. The various groups worked towards

two public performances of a pantomime at the Regal in

Worksop. This article reports upon the evaluation research

of the programme of work.

Evaluation research design and method

The focus of this research evaluation is primarily upon the

effectiveness of the Stage Life programme, in particular

aiming to elicit largely spontaneous, qualitative data from a

variety of stakeholders. The evaluation of the programme

involved a multimethod qualitative approach, including

participant interviews, small focus group discussions and

an observational, ethnographic model. This triangulation of

data gathering was deemed suitable because of the nature of

the activities and the varying cognitive abilities of the

service users. As part of the participant observation, the

researchers attended group workshops across the pro-

gramme timeline. During visits, the researchers carried out

data gathering whilst participating in the activities where

appropriate. This approach afforded the opportunity to chat

with the service users in a relaxed and informal manner as

they carried on with the task at hand. This evaluation

attempts to phenomenologically capture the impact of the

Stage Life upon individuals’ lives, as well as capturing

people’s opinions and ideas regarding taking part in the

activities. The research attempts to describe, both at the

individual level and at the group level, the effects upon

people who are engaged with the programme of work.

Data collection

On occasion, throughout the sessions, the researchers made

notes regarding the processes and effects of the group. Along

with observations, brief informal interviews were conducted

with group participants during and after sessions (n = 6).

Interviews were also conducted amongst the artists facilitat-

ing the groups (n = 3), the support workers (n = 4), organ-

isers (n = 3) and a number of friends and families who

attended the performances in December 2008 (approximately

20 out of an audience of about 250). To preserve anonymity,

no names have been used in this article. Interviews were

digitally recorded and the data were transcribed.

2 T. Stickley et al.

ª 2011 Blackwell Publishing Ltd, British Journal of Learning Disabilities

Analysis of the data

All the data were transcribed, and a process of data analysis

was implemented that involved a number of people to

ensure accuracy of the process at various stages. The data

were thematically coded, and the initial findings were

presented to the programme team for verification. A round-

table discussion was facilitated that asked questions of the

data and subsequent findings. The codes were subsequently

sorted into three over-arching themes with various subthe-

mes (see Table 1).

Whilst reporting the findings, we refer to various groups:

‘Organisers’ are people who had responsibility for imple-

menting and managing the Stage Life programme; ‘Artists’

are the professional arts facilitators; ‘participants’ are users of

the Greenacre Day Services, ‘Friends, family, audience’ were

not differentiated but were those who attended the perfor-

mances. The word ‘(NAME)’ appears in direct quotations

where respondents referred to others by name, and these

have been substituted to respect individual confidentiality.

Findings

Following the analysis of the data, the findings were

grouped into three overlapping themes:

1. The personal benefits to participants

2. The social benefits of the programme

3. Organisational issues

Each of these themes is examined and illustrated with

direct quotes from the stakeholders. It is acknowledged that

interviews with service users themselves elicited very short

answers and it is difficult to quote them; excerpts from these

have however been included in this report. The themes also

have subthemes that help to illustrate the bigger picture of

the benefits of the programme.

Themes and subthemes

The personal benefits to participants

All of those who were interviewed reported how service

users personally benefited from participating in the Stage

Life programme. Specifically, respondents noticed an

increase in what they described as confidence and self-

esteem amongst participants.

Confidence

Participants have demonstrated their increased confidence.

One man for example uncharacteristically stood in for an

absent member:

This is somebody that never wants to go on stage, never been

on the stage, determined not ever to do it. But it was just a

casual thing, I didn’t realise what I said, ‘Just stand in for

(NAME) a minute, and he just did it without thinking about

it. Because he knows the show as well as me, I think. Which is

a big, big first for him’. (Artist)

She used to be quite introverted, I suppose, and stiff almost,

but she’s just so relaxed and happy, and it, and you see it in

other areas as well, it’s not just here. It’s confidence-building,

that’s a big one. …increased confidence, she’s so much more

relaxed, she’s so happy. (Worker)

Obviously, Friends and Families in the audience know

their loved ones and commented on their increased confi-

dence through the programme:

He’s very confident, he’s still very polite, takes his turns…Helps out other learners… (Parent)

…their confidence level rose hugely. It actually caused some

problems because they then wanted to start directing people

but they didn’t have the social skill to be able to do that

without upsetting people. (Organiser)

… it’s like building up her confidence. But we have seen such

a change in her here… (Worker)

Self-esteem

The idea that the Stage Life could build people’s self-esteem

was shared by a number of stakeholders:

He’d like his family and friends to come and watch what they

were doing. I think it helps his self-esteem really. And... to

feel as though they can give something back to other people.

(Parent)

It must make the service users have more of a sense of… self-

esteem, I suppose, and yeah, we are doing it in a real theatre,

it’s a real place. We’re not doing it in a little room, in a hall

or a gym or something or day centre. (Worker)

Table 1 Themes and subthemes

Themes

The personal benefits

to participants

The social benefits of

the programme Organisational issues

Subtheme 1 Confidence Relationship building Group size

Subtheme 2 Self-esteem Conflict resolution Role of the support workers

Subtheme 3 Enjoyment Social inclusion Venue

Subtheme 4 Skills development Sustainability

Participatory arts and young people 3


I think it helps his self-esteem really. (Parent)

The concept of raising self-esteem was not a direct aim of

the programme, although it is interesting how the notion is

identified as an outcome by workers and parents.

Enjoyment

It is evident that all the service users who participate in the

Stage Life get enjoyment from being involved.

They look forward to some continuity, don’t they? Doing the

same session every week. They do get such a lot out of the

music session, don’t they? … They just enjoy it so much.

(Worker)

She won’t be part of a group at the centre but she actually

enjoys being part of a group here. Well, that’s totally different

for her. (Worker)

When asked what participants enjoyed about the group,

one person replied: ‘I love these people here’. She also expressed

her desire to attend every day. More than one participant

claimed to have made new friends within the groups.

Oh, I think it’s brilliant. We know how long... it takes for

them to learn anything. Absolutely marvellous. (Friends

and family/audience)

Well, it gives them something to look forward to… …and,

like anybody else, they can get bored. (Friends and family/

audience)

She can’t wait to go to drama group and, yeah, and just have

so much to look forward to, she’ll be so excited all week.

(Friends and family/audience)

The following comments were all from Stage Life parti-

cipants:

I like it. I like a lot, all sorts and all. I like it here, because I’ll

be bored. I like singing and acting, yeah.

I like the costumes… I like the dancing… laughing and

clapping.

I like to do different things. And I do drama. At the Regal, I

have a nice time…

I like dancing, music and I’m a DJ as well actually!

I like it a lot here.

I like singing and acting.

A sense of enjoyment was naturally hoped-for by the

organisers and was clearly expressed, both verbally and

nonverbally by participants. From an observational per-

spective, it was normal for there to be much laughter in the

groups. It was evident that the professional artists were

skilled at facilitating enjoyable activities.

Skills development

The Stage Life programme has provided opportunities for

participants to learn new skills. These are not just musical or

acting skills, but also improvisation and social skills such as

turn taking and listening to one another.

They pick up ideas from each other and elaborate on them

really. (Artist)

So, yes, we are developing interpersonal skills and musical

skills as well. (Artist)

(NAME) is in a wheelchair and what you’ll find, if you’ve

got a group going on (at Greenacre), she’ll push herself away

and she’ll sit outside of the group. But here she’s actually

started joining in. (Worker)

As skills develop, so people are encouraged to progress

and become empowered through the groups:

When he first came, he was not really interested… there were

no interaction. And now they’ve had him playing on drums

and he will really take an interest in what’s going on around

him in the music. (Worker)

…normally she’ll just sit there.... now, we do actually get

some periods of eye contact, be it just with a, using a shaker,

or... the last couple of weeks, I’ve got her to put a guitar on

her lap and play, strum a few chords. …I’ve seen some

wonderful changes in her over the past few weeks …where

she’ll play a glockenspiel, whereas before, she’d push every-

thing away. (Artist)

Well, to experience life as it is. Without... thinking they can’t

do it because of their disabilities, well, they can. It’s obvious

that they can. (Friends and family/audience)

It is difficult to measure increased skills amongst groups

of participants; however, it was apparent during the

evaluation that a number of participants had learnt and

developed new skills.

The social benefits of the programme

The Stage Life has facilitated both increased social

interaction between service users and social participation

in the wider community. This has been achieved through

accessing a High Street Theatre space and public perfor-

mance.

Relationship building

The programme has impacted upon specific relationships

within the groups. The groups have undoubtedly created

and cemented friendships and have even promoted conflict

resolution.



The relationships with each other has been really interesting

to see people who haven’t typically had a very good

relationship actually really get to know each other. (Orga-

niser)

…they’ve been holding hands today. Holding hands! They

don’t have anything to do with each other normally!

(Worker)

One of the biggest things that I observe is that people, when

they’re in the day service, they stay with the friends that

they know, people that they’ve come from school with. This

gives people the opportunity to mix with people they

wouldn’t ordinarily migrate to as a group of people.

(Organiser)

It became evident that relationships between participants

were significantly affected by the groups being located away

from the day centre environment.

Conflict resolution

Whilst this is not a major theme that emerged from the

research, it is nevertheless a significant and unexpected

finding. However, the Stage Life programme has enabled

two participants to go some way to healing their differences

that have existed for many years.

People like (NAME) and (NAME), we would probably never

have seen them integrate or mix or even communicate with

each other unless it was to be horrible to each other really.

And it’s taken quite a long time, but they are really, really

starting to be considerate of each other. (Worker)

Social participation and inclusion

When asked what people would be doing if they did not

come to the group, a number of participants said they did

not know or ‘nothing’. There was a consensus amongst

stakeholders that the Stage Life has given service users

something meaningful to do with their time. Furthermore, it

has facilitated social participation.

Anything like that will help them to keep in the community.

As really people would accept them more… and see what they

can do… give them a better chance. (Friends and family/

audience)

So I think there’s, a programme like this breaks down a lot of

those barriers and we’ve had fantastic support from the guys

here, and in other community venues as well. (Worker)

When asked what he would be doing if he did not come

to the group, one service user was quite clear: ‘Knocking

around at home’. The group has therefore stimulated social

participation and reduced isolation.

Oh it does her a world of good. Gets her out. (Friends and

family/audience)

Feel more a part of the community when they get feedback like

this on stage rather than... doing something in isolation, on their

own, but actually come out and meet the public. Means a lot more

to them. (Friends and family/audience)

There was an acknowledgement of the significance of the

venue (the Regal) to the local community:

On the night and leading up to it, it made no odds as to

where people came from, it was just people who had a

connection to this building. They weren’t coming from

Greenacre, they weren’t coming from anywhere. (Organiser)

…even though it’s just coming up the road, it’s something

like coming into a theatre that’s a bit special. (Worker)

It was acknowledged that if the groups were to be held at

the Greenacre Day Service, there would be limitations:

If we were doing this programme at Greenacre, it would

never work… we wouldn’t get groups coming in from other

areas being comfortable in that building, because it, it’s got

such a massive label attached to it. (Organiser)

Organisational issues

Respondents were asked to reflect upon organisational

issues in relation to the Stage Life. Issues such as group size,

the role of the support workers, the venue and sustainability

of the programme were raised.

Group size has obviously been important

It’s a small group; everybody gets on in the group… I think

the size of the group’s really good as well because you do get

to spend quality time. (Worker)

And also, the main thing is that most people love music and

that’s what they’re coming to do. (Worker)

The role of the support workers is valued by the artists

There are some difficulties with communication, I would say.

It’s good to have the support workers at hand to help us out a

little bit with. (Artist)

But it’s useful having support workers sat next to that

person... somebody that’s used to their level of communica-

tion, used to the way that they speak…. (Artist)

There is clear evidence that the Stage Life had enormous

benefits for participants. These benefits can be summarised

as providing personal and social confidence, increasing self-

esteem, bringing enjoyment and skills development. The



Stage Life has helped to build relationships, manage conflict

and given people opportunities for social inclusion that

would not have otherwise existed. Organisational issues

have also been explored and issues such as group size, the

role of the support workers and the significance of the

venue.

Discussion

It is apparent that the Stage Life has been successful in

achieving its objectives. Individual service users have

benefited from engagement with the programme through

engaging with purposeful activities, developing friendships

and a sense of belonging (Department of Health, 2001, 2009).

The service users themselves have generally measured this

in terms of enjoyment; however, families and workers have

measured this in terms of confidence building, learning new

skills and improved self-esteem. The need for confidence-

building activities has been recognised as an area for

development amongst people with learning disabilities

(Department of Health, 2009). The significance of locating

the programme in a community-based venue at the Regal

Cinema should not be underestimated. This has proved to

be a step towards social inclusion, i.e. amber, rather than red

on the ‘Inclusion Traffic Lights’ (see Bates et al. 2006). The

impact of the venue has been significant in a number of

ways:

1. It has become ‘special’ in people’s minds.

2. It creates a sense of occasion.

3. It provides a professional arts venue for the programme,

thus attaching a ‘serious’ side to the work.

4. It enables participants an opportunity to engage with a

‘normal’ community resource.

All the above have contributed to the positive impact of

the programme, as it sought to promote social engagement

for service users. Furthermore, the programme has gone a

long way in fulfilling government directives in terms of

social inclusion for people with learning disabilities

(Department of Health, 2001, 2004, 2009; Social Care

Institute for Excellence, 2007) although not obviously in

terms of increased employment. Furthermore, the opportu-

nity for the use of the Regal Cinema whilst a great bonus for

the project does not make the model easily transferable to

other communities where venues may charge high fees for

the hire of such spaces.

Confidence has been built through the person-centred

approach adopted by the artists and support workers and

the subsequent participatory nature of the programme.

Whilst it might be understandable that performing chal-

lenges one’s feeling of security, it is evident that families

have noticed increased confidence in participants through

their involvement. There is a real sense of pride in what the

Stage Life has achieved. Noticeably, a sense of pride related

to the professional venue. Gerber et al. (1996) envisaged the

potential for ‘positive re-framing’ for people with learning

disabilities, with community-based initiatives. The Stage

Life, in effect, has achieved this for its participants. The

programme has enabled the participants to re-frame them-

selves with regard to their abilities and achievements and

their social role (Atkinson & Williams 1990; Gilroy & Lee

1995; Payne 1993; Reynolds 2002).

Enjoyment has been significantly evident by participants’

positive anticipation of the weekly sessions. The Stage Life

gives people something meaningful to do (Department of

Health, 2009). The performances gave an opportunity for

friends, families and staff to share in their enjoyment. The

development of individual’s skills should be highlighted.

These skills included improvisation, singing, rhythm,

movement, painting, song-writing and acting. Other ancil-

lary skills developed were social, such as turn-taking,

conflict resolution and listening to one-another. The Stage

Life therefore has succeeded in its educative objectives.

The social benefits of engaging with the programme can

be assessed on several levels. Firstly, the programme has

facilitated the development of personal relationships. Some

of this is attributed to having the group located away from

familiar surroundings. By locating the programme in the

community, it is generally agreed that the programme has

had a positive effect upon the service users, especially in

terms of increased social contact and meeting new social

challenges. The Stage Life has therefore presented partici-

pants with new personal and social opportunities (Bates

2005; McConkey 2006; O’Rourke et al. 2004) although in

reality, however, it should be noted that it is highly likely

that the increased direct social contact participants experi-

enced was with other participants’ friends and families.

The evaluation found that the core strategy of the Stage

Life was to develop a participant-led ethos. As an essential

shift in arts and drama provision, this was viewed as a

progressive approach in terms of how individuals with

learning disability should be involved in devising the final

production. However, there are challenges that were met

during the rehearsals and performances. The issue was how

much creative latitude could be given when there are

requirements for a finished production. For the Stage Life,

the principle of direct and meaningful participation in-

volves balancing participants’ freedom to take their ideas

wherever, whilst also putting in place some form of

supportive control in order that the activity is seen as

positive in terms of esteem-raising and a positive public

success (Samdahl 1992).

Essentially, the Stage Life has emphasised the provision

of new opportunities in community arts and drama for

people with learning disabilities. With the transition from

day centre-based arts provision to community venues, there

are benefits for people participating in programmes like the

Stage Life. Not only do individuals personally gain through

their inclusion in positive community activities but also this



positive presence could potentially raise the status of all

people with learning disabilities.

Other community members had experienced a shift in

their former views of learning disabilities because of the

programme. For example, for students from the local college

who had filmed the group, the experience gave them new

insights into the positive involvement people with learning

disabilities can have in their community. Increased interac-

tion between people with and without learning disabilities

should be further developed (McConkey 2006; O’Rourke

et al. 2004).

Parents and guardians felt that the opportunity for

community activity was beneficial. They recognised that

participating in arts activities within a local arts centre

added value to participant’s experience. Parents want to see

greater community presence for their loved ones. But what

is crucial to this desire to elevate citizenship amongst adults

with disabilities is that it should be achieved through a

positive impact within the community (Bates 2005; Depart-

ment of Health, 2009).

Conclusion

Participant involvement in the Stage Life programme is an

attempt to position individuals with learning disabilities

nearer to the activities and resources of their community.

Allowing group members to define and work to their own

perceived strengths and abilities was also an important

feature of the Stage Life. The experience of participation in

community arts events was a positive experience for service

users. However, it was acknowledged that in order for

people to participate to their full potential, appropriate

support is required from staff. Equally, staff indicated that

through changing the support environment they had

viewed particular individuals in a new light. To this end,

one facilitator noted that in short steps, service users were

becoming ‘braver’ in what they were able to achieve. This

was noticed in the fact that individuals were enabled to

make small but important choices about participation.

Choice has become significant within learning disability

policy and practice (Department of Health, 2009). Although

the course gave the opportunity for individuals to experi-

ence input from professional artists in a theatre environ-

ment, the concern over future opportunities remains. The

community as yet does not have the capacity to offer

continued opportunities for arts activities; there is still much

more work to be performed. The Stage Life programme

marks a start for this particular community.

Acknowledgements

The Stage Life programme and subsequently this evaluation

research were funded by Arts Council England. The work

was implemented by employees of Nottinghamshire

County Council in partnership with Young Potential

together with visiting artists. We would like to thank

everyone who took part in this research evaluation, espe-

cially Katie Fisher for making it all happen. Thanks to David

Charnock for advice on relevant policy.

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The Stage Life: promoting the inclusion of young people through participatory arts

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