Hold a pen or pencil in your hand and draw a line on a sheet of paper. A simple act. How do you feel? Excited, wondering what image you might go on to create? Bored? Daunted? Is it full of possibility? Many more of us all the time are experimenting with art and with the arts in general, to see how they may boost our wellbeing. But even as creative health has become so mainstream, there are still many barriers to participation, all kinds of barriers that may stand in the way.
What about the “four Cs” for a start? Confidence is a major barrier, because so many people doubt their artistic ability. They may feel happy crafting or colouring, but shy away from drawing in particular. Sometimes in the end they enjoy experimenting and laughing off their own fears, but sometimes it can be more serious. There’s imposter syndrome, where a person feels out of place, as if they’re not entitled to be there or do that, or don’t deserve to. Such low self esteem can be deep rooted, sometimes in negative comments by a school teacher or other adult during their younger years, sometimes down to more generalised anxiety or identity issues. And even if a little renewed confidence starts to emerge, staying motivated is more unlikely if art feels like an uphill struggle.
And that leads on to the second C, Commitment. Someone might start out motivated, but be unable to sustain that over time as they lose interest or the initial buzz wears off. Other practical time commitments can also prevent participation, whether work, caring commitments or hospital appointments. Or a person may be too ill to attend or take part and so drift away.
Then there’s Concentration. People may have short attention spans, or have trouble focusing because of pain, anxiety or depression. ADHD can further hinder concentration, as the brain races ahead and boredom soon sets in.
And there’s Convenience. Online groups raise issues of digital literacy and exclusion, and ironically it’s people who could most benefit from home-based activities, like older people who have trouble getting out, who are most likely to be digitally excluded. In-person groups may not be possible for them, or for people of any age who are ill, disabled or have no transport.
As an art for wellbeing practitioner, I’ve encountered all these issues and more – shared by participants, or, importantly, by those who do not participate, as problems that hold them back. Overcoming these and making arts for wellbeing as inclusive, positive and equal as possible is fundamental. It’s one element that is at the heart of the Creative Health Quality Framework, and of other initiatives, like emerging work by the National Centre for Creative Health.
To be truly inclusive, any activity needs to be flexible and open, and responsive to the individual. Making group activities inclusive is a challenge where members’ wants and needs differ, although I’ve found that it can be helpful sometimes to suggest a wider theme rather than a specific idea. Have examples to show anyone who prefers to follow a lead, but leave the overall prompt flexible so that people can take it in whatever direction they choose. You could suggest a figurative art activity and also a more experimental, abstract idea on the theme, for those who have more confidence with abstract art. Sometimes I suggest two ideas on one theme, one art, one craft, so participants can do whichever they choose. Yes, craft is usually more inclusive for those who are wary of drawing, but demands more material and equipment (an issue for online groups, where materials won’t be provided). And it’s more likely to exclude men, as craft still has more of a traditional gender bias than art. Even with art, gender still seems to be another barrier to participation, with men considerably under-represented. The ratio of participants in my most recent art for wellbeing challenge was 59 women to 1 man.
There’s a fifth “C” I want to include, which also shows how what feels like a barrier to some is the very opposite to others. It’s Community. Taking part in arts for wellbeing isn’t only about creativity, it’s about connecting in community too. And for someone with social anxiety or phobias, that can be a real issue. Yet I’ve heard fellow practitioners say they know many participants come more for the chat over tea and cake than for the painting or the singing. That’s not to say they don’t enjoy the activities, more that connection is such a powerful motivator to encourage them through the door in the first place.
Do you have any thoughts to share about what makes creative health inclusive or exclusive?
Medley 