Therapeutic Use of Art with Visually Impaired Pupils
Focus on Visual Impairment
and Hearing Impairment
Presented in January, 2005
OutLook in LOOK Presents the Therapeutic Use of Art Seminar
By Vicky Smith, Youth Development Officer, LOOK
- Introduction
- Sensory Game
- MindsEye
- Questions
- Demonstrations
- Practical in Pairs
- Warm up Workshop
- Ambition Workshop
Synaesthetics
Therapeutic Use of Art
The therapeutic use of art involves the making of images, pictures or models that help to express and explore inner feelings and emotions.
- Expression
- Range of People
- Creative Process
OutLook Workshops
- Fun and Informal
- Starting Block
Seeing the Whole Person
?their visual impairment is only a part of who they are, a part which may have an effect on their self-image? they are parts of the whole being?
?when I ?see? only a visual impairment I lose my focus on the individuality of those seeking my help, and thereby collude with discrimination of a society that limits an individual with their disability?
(Maggie Rowe, Counselling the Visually Impaired)
Cognitive, Sensory and Kinetic Development
- Visual perception
- Spatial awareness
- Confirmation of
- reality
- Physical action
- Sensory Stimulus
Emotional Content
?There may be certain psychological difficulties common to specific groups, although it must be noted that these difficulties do not occur automatically by virtue of having a visual impairment.?
?Art Therapy with the Visually Impaired by Mary Levens?
Social Model of Disability
"Disability is a condition imposed on disabled people by society and is created by prejudice, fear, myths and ignorance. It limits opportunities for education, employment, financial independence and full social interaction. It is only be acceptance of the social model that disabled people will be valued as individuals and be allowed to fulfil their potential, as identified by themselves."
Social Barriers
Personal Challenges
Emotional Concerns
Emotional Development through Art
- Self Identification/Self Worth
- Independence and Confidence
- Communication
- Expression of Emotion
- Emotional Security
Creative Signals presenting Emotional Development
Creative Process
- Non-verbals
- Pace
- Proximity
- Movements
- Individuality
- Creative type
- Relationship to Image
- Content and Choices
- Colours
- Tools
- Materials
- Quantity
- Placement, quadrance
Individuality
Creative Type : Haptic
- Subjective
- Kinaesthetic Experiences
- Establishing Relationship with Outside World
- Emotional Reaction
?characteristic sense of volume and interior energy?. Sue Blagden and John Everett
Creative Type : Visual
- Objective
- Representation of Objects
- Creator as a spectator
- Naturalistic, replica of stimulus
- Less involvement of ?Self?
?does it look the same as it feels?? Sue Blagden and John Everett
Images from Visual Memory
Observations on Non-verbal Communications
Pace and Placement
- Shy children with intense qualities of blindness and introversion do not express themselves easily through painting and finish quickly as if they desired to ?free themselves?.
- Children who have accepted their blindness draw slowly, steadily, pose lots of questions and generally enjoy painting.
- Children with well-established social relations and high intelligence draw easily making leisurely movements.
- The child characterized by depression and timidness prefers to draw in the edges (in the corners) of the piece of paper.
- Finally, the size of the paintings increase with age.
Independence and Confidence
?Freedom in decision making self-management, independence and participation in making decisions. Power over one's own life.? (Klaus Vilhelmsen- Head of School, Deafblind, Denmark)
Self Identification and Self Worth
"Creative actions are expressions of identity, ability to be creative is looked upon as one of the essential components of identity." (Klaus Vilhelmsen- Head of School, Deafblind, Denmark)
Creativity and Freedom
Inspired by Klaus Vilhelmsen, Head of School, Deafblind, Denmark Communication
Making A Social Comment
Still Lights by Sally Booth
Expression of Emotion
Security
Repetition and Security
Security in repeating creations particularly in unfamiliar settings and situations, insuring mastery over forms. Taken from Lowenfield 1957
Emphasis on Process
Security in Existence
?The primary concern for Richard, and others, is with their work?s existence rather than its appearance, made to BE in itself rather then to be looked at?This would seem to reflect the essentially conceptual approach of many students who have never seen.? Sue Blagden and John Everett
Teacher and Learning Support Relationship with Student
- Identification with Student
- Level of Visual Interpretation required
- Creative Type
- Environmental needs
- Student perception
- Needs of Expression
- Student relationship to creation
Environment and Atmosphere
?children who feel secure are not easily distracted by their surroundings and are confident in their environment? Lowenfeld
Therefore one must strive to create a safe environment.
- Lighting
- Work surfaces
- Mobility Access
- Low Vision Aids
- Labelling
- Stimulating Visually and Tacitly
Accessible Tools and Materials
- Metal Sheet Paper, engraving
- Embossing Powder
- Aluminous Paint
- Quilling
- Outlining
- Modelling
Teacher and Learning Support Adopt;
- Visual and Tacitly stimulating accessible environment
- Accessible art mediums, methods, tools and materials
- Democratic Approach
- The young persons experience, needs of expression and perception
- Emphasis on the importance and relevance of creation
- Visual and Tacitly stimulating accessible environment
- Accessible art mediums, methods, tools and materials
