Anam Beo

Offaly Arts in Health Programme 2013

Contents

Anam Beo

Anam Beo Ethos and Objectives

Resources

Anam Beo Partners

The Contributed Programme 2013

Participants Attendance at 2013 workshops

Anam Beo in 2013

Recommendations

Charter for Arts, Health and Wellbeing; is the result of conversations across the nine regions of England and was written by Rosie Jackson. The Weapons of Life: A case for arts participation as a creative response to mental health problems by Mary Dineen

In 2014

Summary of Anam Beo 2013 workshops

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Anam Beo

“You’ve made art come alive for me, I thought it was about straight lines but now I know it’s about so much more than that.”

“This is great, we should do this more often.”

Anam Beo is an independent arts’ in health organisation originating from an arts in healthprogramme initiated by Offaly County Council Arts Officer Sinead O’ Reilly and the Dublin MidLeinster HSE to support and promote the benefits of the arts within a healthcare environment.Anam Beo have 5 professional facilitating artists where its’ first and foremost concerns areproviding participants from health care centres with art workshops, an annual exhibition toenable a creative outlet; ensuring social inclusion in various forms. The needs within our community that Anam Beo address include social inclusion and positive healing, by primarily providing a focused attention on participants within care centres that encourages creativity, individual empowerment and an expressive outlet. The arts are part of rehabilitation within care settings and Anam Beo has developed a strong and viable method of practise, a Charitable Company that runs an innovative service.Anam Beo was developed in 2005 by Offaly County Council and the Dublin Mid Leinster HSE following the evaluation and recommendations of an Artist in Residence programme in 2004 with Tom Meskell. The evaluation highlighted a strong desire by the participating care centres for more art intervention as participants had demonstrated notable increases in confidence, mobility and well being. It takes a particular skill of the artists leading the projects to bring out the artist in each participant. Each facilitating artist must possess a warmth, empathy and respect for the individual participants and a skill for empowerment, faith in the individuals and a trust in the creative process.

Our EthosTo provide non-judgemental process led art workshops within a safe Health Care and sociable environment where taking part is more important than the end product. To always recognise potential within the individual whilst encouraging them to be creatively expressive.To combat social isolation and promote the impact and benefits of consistent sessions for the participants, such as increased ability to be expressive as an individual, increased self esteem and imagination, stimulation of the mind and body and improved concentration and focus.

“Amidst all the attention given to the sciences to how they can lead the cure of all the diseases and daily problems of mankind, I believe that the biggest realization, that the arts, which are conventionally considered ‘useless’, will be recognised as the whole reason why we ever try to live longer or live more prosperously. The arts are the science of enjoying life.” Muriel Cooper Professor of Media and Sciences at the Laboratory of the Massachusetts Institute of Technology.

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ObjectivesProvide a creative and expressive outlet for those in health care in Offaly.To enhance the quality of life within the healthcare environment.To ensure a safe, secure and healthy environment for art sessions, assisted by a staff member or activities nurse.To support group members, keep close contact via meetings.Provide participatory practise for local artists’ inc. personal development and network support.Challenge perceptions of what older people are capable of achieving.Demonstrate through best practise the benefits of local partnership projects.Develop links with National institutions, e.g. IMMA, Arts Council.Develop links with established Irish artists, e.g. Alice Maher, Brain Maguire, Michael Fortune.To be progressive, define and promote best practise of participant led process led art sessions and evaluate these art sessions.To promote the benefits of an arts in health programme.

This comprehensive workshop programme in health care settings uses creativity to engage the older generation. Using a wide range of arts media and experiences enabled a successful workshop delivery tailored to a wide variety of individual abilities, interests and health conditions supported and encouraged by the nursing staff of all the centres. A participant centred approach was the key to effectively engaging with people who were not initially very confident in an arts workshop environment.

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The knowledgeable and caring staff at all the centres are an integral part of the programme.The programme involves the Anam Beo Facilitating Artists and the Centres’ Care Staff working together with participants in their environment. The Health Care Centre provides

Decent and safe work space with good light, ready for the artist to use and set up.The room fully available to allow set up by Facilitators or staff before the participants arrive. Paper laid, brushes, primary colours and white paints, water, pencils etc, this will define numbers by allocating prepared spaces and allow the session to start promptly for all participants, other materials can be suggested.Contact key staff / Nurse for all communication / feedback, to be easily allocated. Staff assistance during each session; on hand.Quality art materials paid for by centre; invoices are the responsibility of the centre, Anam Beo will recommend materials.Quality framing paid for by centre for one exhibition a year, organised by Anam Beo.The artist and staff nurse responsible must keep in touch regularly, updates and resolving any minor issues before they become problematic.Recommended number of participants during an art session is 6/10.This number could be less depending on ailments, dependency and space allocated.

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Resources 2013FinancialThe Dublin Mid-Leinster HSEOffaly County Council Arts OfficeThe Community Foundation for IrelandMaterials and framing: contributed by all participating HSE Care Centres,The Attic Centre, Carthage House, the IWA and Clochan House.Riada Comfort FundOffaly Local Development CompanyHuman; paid and voluntary hours committed by all members of Anam Beo

HSE Care Centres Anam Beo Art FacilitatorsBirr Community Nursing Unit Jackie LynchClara Day Care Centre Rowena KeavenyOfalia House Kieran BrennanRiada House Tina Hayes Julie Spollen

Anam Beo Directors 2013Miriam O’CallaghanNiall SweeneyGeraldine ByrneAnam Beo Company TreasurerNiall SweeneyAnam Beo Company SecretaryRowena KeavenyAnam Beo Chairperson and Artist LiaisonJulie SpollenOffaly County Council Arts OfficerSinead O’RiellyThe Dublin Mid-Leinster HSENick DeveryHSE Incident Reporting ContactCarmel Broughan, Arden Road Health Centre, Tullamore.

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Anam Beo Partners 2013Offaly County Council (through the Arts office)

✴ Provides funding ✴ Mediates with Anam Beo✴ Provides support, advice and development of programme. ✴ Enables the annual exhibition of work and fundraising initiatives.✴ Promotes the project

The HSE (through Laois/Offaly Services for Older people)✴ Provides funding for HSE workshops✴ Mediates with the centres and co-ordinating staff through project guidelines

The Facilitating Artists✴ Provides agreed hours / contact time with participants per annum✴ Discusses progress with staff✴ Documents and evaluates the art sessions✴ Conducts on going research into best practise in the arts in health sector✴ Networks as a group to discuss new ways to develop the project✴ Participates in co-ordinating the annual arts in health exhibition.✴ Contribute to the development of Anam Beo.

The Care Centre✴ Provides a safe environment for the art sessions.✴ Creates an awareness of the programme within the centre.✴ Provides a lead staff nurse to organise participants’ attendance and needs.✴ Provides a lead staff nurse to communicate / liaise with the facilitating artist.✴ Provides an annual budget for materials and framing.

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The Contributed Programme 2013Value specific to HSE Health Centres.2013 Monetary value of programme to each of the 4 HSE centres = €5,437.50€21,750 divided by the 4 HSE Centres

Care Centres €1,600 proposed only*Riada Comfort Fund €400 Riada sessionsThe Community Foundation for Ireland €1000 BCNU sessionsDublin Mid-Leinster HSE €12,750Offaly Co.Council €6,000 €21,750

*Proposed only is a contribution by Centres for framing/ materials, circa €400 per HSE centre annually; x 4= €1,600. Offaly County Council Arts Office also assisted Anam Beo in the run up to exhibitions via invites, social media, PR, sales of donated work, guidance and assistance for opening events.

Break down of expenditures and cost of programme 2013 specific to HSE centres which are shared costs between Offaly County Council, Dublin Mid- Leinster HSE and Anam Beo.

4 Facilitators HSE centers fees €12,400 Liaison fees €4,000Ink/ stamps expenses €34Secretary €440Network meetings €450Annual May Event €275Printing of May posters €42Website €200 Grant Applications €220BHP Insurances €795Annual Report 2012 €300Annual Audit 2012 €984Secretary audit fee 2012 €200 Total of shared costs €20,340

A total of 124 workshops were provided by Anam Beo to HSE care centres alone in 2013 with573 participants attendances in HSE Centres.

Aid located by Anam Beo which made other arts in health workshop sessions, resource material and projects available.

Riada house Comfort Fund funded 4 workshops for Riada Day Care.Anam Beo funded the open Library Bealtaine workshops and 7 workshops as a pilot project in Clochan House.Offaly Local Development Company funded 20 workshops for a pilot at Carthage House, Muchlagh and a media project at the Irish Wheelchair Association, Ballinagar.The Community Foundation for Ireland Fund funded 20 workshops at the Attic Centre and HSE Birr Community and Nursing Unit.Offaly Local Development Company also help funded Anam Beo Arts in Health resource material; a Facilitators Guide to work in health care settings and the initial blurb.com Connections project.Care Centres later requested Anam Beo to order Connections books for use as their own resource material and for participants and their familiesAnam Beo website continues to be updated by Rowena Keaveny and Julie Spollen.

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Participant Attendance in 2013HSE funded Workshops by Anam BeoA total of 124 workshops were provided by Anam Beo to HSE care centres in 2013.In 2013 there were 41 HSE participants and 573 HSE attendances.

Level of individual participation in the programme (P) and overall attendance at sessions (A) in the four centres funded by the HSE and Offaly County Council.The following figures are indicative:-Clara Day Centre (A 91) and (P 6)Riada House Day Care Tullamore (A 235) and (P10). Ofalia House Edenderry (A 68) and (P13 ).Birr Community Nursing Unit (A179) and (P12).

Non HSE funded Workshops with aid located by Anam BeoRiada Comfort Fund 4 workshops at Riada Day Care (P9 ) (A36) included in HSE totalAnam Beo Fundraising 7 pilot workshops for the Clochan House (P13) (A30)The Community Foundation for Ireland Fund 201310 workshops at the Birr Community Nursing Unit in 2013/14. (P7) (A70)included in HSE total10 workshops at The Attic, Offaly Street, Tullamore (P24) (A240)Offaly Local development Company 201310 workshops at the Irish Wheelchair Association, Ballinagar (P15) (A150)10 workshops at Carthage House, Muchlagh (P12)(A60)

In total there were 163 workshops provided by Anam Beo in Offaly with 105 participants and 1053 attendances in 2013.The average number of participants attending each workshop varies from centre to centre depending upon the workshop space allocated and the independence of the participants. It is felt that there should be no more than 10 participants at any given time with one facilitator. Attendance drops during Winter months due to ill health, lack of transport and road conditions.

“We have to recognise that individuals can experience a sense of well-being, ofconfidence, of transformation even, through participating in the arts. We have alsonoticed that high quality arts opportunities available over a sustained period of timeseem to offer the most beneficial experience.”

Catherine Rose, Age and Opportunity

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Anam Beo in 2013“An enjoyable distraction for some and an avenue of joy and achievement for others”

Anam Beo facilitated 163 arts in health workshops with over 1053 attendances in 2013.The programme in 2013 ran throughout the year allowing for a break in Summer, Christmas and with scheduled project breaks agreed between Facilitating Artists and Care Centres. The annual event this year were open workshops at Tullamore library. Anam Beo also produced resource material and wonderful projects such as Seek, Equality Street, Connections booklet and Facilitators guidelines.The website is continuing to be updated and our Sanctuary Renal unit project went on line at artsandhealth.ie website, the art projects, word of mouth and exhibitions allow for an audience participant number; which is immeasurable. All images are used by kind permission of the centres and the participants.On a shoestring Anam Beo have a high standard with a progressive atmosphere and environment allowing good health to follow. The art programme is free for anyone attending the care centres included in the programme and all art projects are tailored to the needs of individuals and the care environment itself. Contact hours between art facilitators and participants are the primary focus of the programme. The degree of meaningful participation by members of both groups is largely determined by the relationship of trust they build over time with their facilitating artist, the supportive relationship between the participants and learning to trust in their own creative voice. A high level of participation was achieved using a process that included research, experimentation, group discussions and individual projects, animation, printing, knitting, digital photography, desk top publishing, painting, collage, drawing and poster making.

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“I’ve taken more interest in art now.” “I loved it, it was something different.”Participants expressed their enjoyment and sense of achievement at having made meaningful creative contributions to the development of their own individual and group projects. Those not physically taking part are an attentive audience.One of the main outcomes of all projects was the establishing of a creative and mutually supportive momentum from which further projects could develop and flourish. Through the evaluation process it is clear that the participants and staff members at centres would like to continue collaborating and work together on new projects if funding could be sourced. Ongoing support from the HSE and Offaly County Council has allowed workshops to continue to make an impact within Offaly Care Centres. We were also successful with other grant aid, fundraising and seeking out other avenues for extra workshops within the community. Over the last year the Offaly Arts and Health Programme Anam Beo has not only provided arts in health workshops to numerous participants based within health care settings but also ensured that the programme is kept to a professional standard of practise through networking and evaluation. Ensuring and educating that creativity is not for the few or a luxury.

Enabling access to people with physical and mental health disabilities in arts and technological experiences.

An opportunity to promote the positive outcomes of social inclusion.Job satisfaction in the delivery of high quality arts project.

Enabling participants to trust their own creative voices.The opportunity to share the outcomes of both projects with the wider community.

To further develop a facilitating practice that embraces collaborative exchange, dialogue, equality of participation as well high professional standards of technical delivery.

This programme could be established within other counties as the core funding is extremely basic for the amount of participants from the community that it reaches.Whilst Anam Beo always seek new possibilities to provide a varied programme each year, the primary focus is for the existing participants. As the art programme evolves organically during the process of the workshops it is accepted as not being a production line of artwork, so does not have an expected measured or fixed outcome in terms of product. The true outcome and value is immeasurable as it is relative to an enhanced quality of life and social inclusiveness. The workshops are not about the facilitating artists or their artistic needs,although these needs do cross over continually. It is about sharing creative skills. All Anam Beo Members contribute many voluntary hours and endeavour to enable a continued growth in arts in health within our community and to ensure social inclusion, to fill an unfortunate but recognised gap in services. Creating access to our process and most importantly, participant led art workshops is one way of combating a grave and distressing scenario. The process led workshops are non judgemental, the positive effects are immeasurable and contribute to a quality of life that all of us should strive to have, being human enough to allow others to have. Anam Beo have a tried a tested method of best practice in arts in health. Utilising the arts with Anam Beo is not only cost effective but means that skills and knowledge are shared whilst combatting social exclusion within our community.

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Connections resource materialIn 2011 Anam held a exhibition at Arás an Chontae, Tullamore at which President Michael D.Higgins spoke with great knowledge and eloquence as our guest speaker. The show, ‘Connections’ was a fundraising exhibition that comprised of paintings and prints from participants in five centres across Offaly and also pieces by invited guest professional artists from across the country. Anam Beo used photographs documenting the event to form resource material booklet published through the on-line company ‘Blurb’.com. The 10 copies would not be for sale but would be used to publicise the work of Anam Beo and to support future funding applications, it would also be a useful tool for the care centres themselves and made available to participants and families. This was part funded by Offaly Local Development Company in 2013 and produced by Julie Spollen.

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Facilitators Guidelines for Artists in Healthcare Settings printedAnam Beo facilitator Rowena Keaveny was employed to develop best practice guidelines for artists facilitating in health care settings in Offaly. This was done with discussion from the care centres themselves and other knowledgable sources. It is intended to provide a framework of understanding for artists, facilitating participants in an on-going arts workshop context, who are vulnerable either because of their physical/mental health requirements or as a result of a need for dependence on full time care. It is no longer possible or desirable for artists working in a community context only to be concerned with the delivery of arts practice. Artists need to be very clear about their role and responsibilities when they are working with vulnerable participants and to be full aware of all the implications of that responsibility. As this area of arts practice continues to develop it’s vital that structures such as educating, monitoring, evaluating and sharing exist and are effective in keeping both participant and artist working together in a mutually healthy and protective environment. The distribution of these resource documents will contribute to the development and discussion of arts practice both locally and nationally. This was part funded by Offaly Local Development Company and can be viewed on our website.

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Pilot projects at Centres Carthage House and Clochan HouseTo expand Anam Beo through the sourcing of new centres artists Tina Hayes, Julie Spollen and Kieran Brennan used the Anam Beo best practice model for two centres based in the Offaly. Providing social inclusion and stimulus through arts in health workshops for older members of our community. These projects increased the number of arts in health participants in creative workshops. Anam Beo fundraised for sessions at Clochan House. Carthage House sessions were part funded by Offaly Local Development Company while the centres funded materials and any framing.

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IWA trip to IMMA via Athlone.The Irish Wheelchair participants traveled with Anam Beo facilitators a Rowena Keaveny and Julie Spollen to visit the new Luna Gallery in Athlone during an exhibition of selected works from the Irish Museum of Modern Art. This was a great field trip as two curators kindly came from IMMA to explain all the art work exhibited and afterwards participants were able to have a short creative response downstairs in the workshop area. Wonderful artwork, wonderful gallery and great company!

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‘Seek’ animation and booklet collaborated with the Attic CentreThe D.V.D, ‘S.E.E.K’ and accompanying booklet guide to Bipolar Disorder are going to be rolled out nationwide and will engage with patients, their families and friends across Ireland. This built from the 2012 ‘Look At Me I’m Dancing’ project with The Attic Therapy Centre funded by The Community Foundation For Ireland. The project expanded and cemented the new technology skills learnt during the initial project into the production of a 20-30min short film. A great project by Rowena Keaveny which was part funded by Community Foundation for Ireland fund and the Attic Centre.

“I was shocked at myself, that I could do that.”

‘Equality Street’ animation at IWA

Equality StreetTo specifically identify, engage and encourage socially isolated members of The Irish Wheelchair Association, Ballinagar to participate in the Anam Beo programme through a ten week tailored arts/new media workshop block by Rowena Keaveny.The project sought to engage with participants in a new technologies project addressing the theme of identity and the self in a community context. The work examined how is that some people’s voices and presence within a community have a higher profile while others are ignored, socially isolated or excluded? Many of the participants were familiar with technology through the use of mobile phones and home computers but not necessarily desk top publishing, editing digital photographs or adding text to images they have produced previously. This was part funded by Offaly Local Development Company and the IWA.

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Anam Beo Protection PolicyIn 2013 Anam Beo updated and printed a working policy that applies to artists, officers and directors who undertake activities on behalf of the company where they come into contact with participants in the Anam Beo programme. This policy provides a framework for delivering Anam Beo’s role in safeguarding participants and facilitating artists. This policy is also supported by Anam Beo’s, ‘Guidelines for Artists in Healthcare Settings’. This document outlines the procedures and responsibilities that should be followed for Anam Beo members to comply effectively with the policy.

Anam Beo WebsiteIn 2013 the Anam Beo website was updated, Rowena and Julie placed more information about our Arts in Health programme for a wider audience. It is a way to improve communication between artists, health care professionals, participants and a wider community. It will encourage support and enable visual documentation. It is vital that we can communicate the true benefits via our website and gather much needed support.

Anam Beo and Garda vettingAnam Beo maintain a high level of confidence and trust within our environment and are committed to providing a professional standard of practise.

Incident Reports: 0 Complaints: 0 Health/safety issues: 0

Corporate GovernanceNumber of General meetings: Annually, there are 3 general meetings with one AGM. Number of Facilitators meetings: Annually, there are 2+ facilitators network meeting.Procedure for authorising paymentsFacilitators have a signed off time sheet for their workshop hours by key staff at the centres. This provides evidence of workshops hours alongside the workshop record sheets. The Treasurer signs off the Liaisons timesheet which has a description of work completed. The Treasurer receives a copy of expenditure spread sheets at the end of year.When facilitators invoices / signed off time sheets are received by the Liaison; for agreed work, the Liaison signs and confirms these invoices. Invoices are then passed onto the Secretary who issues a Request for Payment to the Treasurer. Payments are made by two signatories who are Anam Beo Directors. If in the unusual event where one signatory cannot sign off on facilitators cheques then the Liaison (the third signatory listed with Bank of Ireland) can sign a cheque where other facilitators’ invoices are concerned. The Liaison must wait until the 2nd signatory can sign off liaison payment.All payments are made in accordance to agreed work and funds available.The Treasurer receives the bank statements and passes them on to the Secretary.All invoices and paperwork are held by the Secretary who summarises accounts and produces documentation for the annual audit. All aid received for Anam Beo is lodged without delay into the Bank of Ireland. Receipts and all paperwork are held by the Secretary.

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In 2014To include HSE Birr Mental Health Association in the programme.Ongoing participant led art workshops and the annual May event 2014Update the Anam Beo website.Visit the Adelaide and Meath Hospital, The National Centre for Arts and Health.Risk assessment sheets should be renewed annually/ updated when necessary. Use of Quality Form Sheets by Staff and FacilitatorsOngoing funding hunt for more workshops and support.

Ongoing recommendationsContinue to involve all in the evaluation process, staff and participants in a subtle and unobtrusive manner. Key staff to be engaged in the evaluation process.Workshops: maintain a friendly and safe environment and always re-consider the participants capabilities and concerns.Anam Beo continue to have a fresh approach to the Annual Exhibition.Anam Beo must stay aware of our responsibilities and are accountable for our dealings with the centres/participants and address any concerns straight away.Keep a goodwill atmosphere with staff and the centres.It is important to provide some participant groups with new and fresh approaches to creative work while others like to stick to what they know best. The facilitator has to be able to balance these creative needs sensitively whilst introducing new short term challenges/projects from time to time

Programme review While funding is being confirmed there will be a pause and review of the programme and an outside evaluation of workshops aided from the Arts Office. The structure of the programme will be reviewed after 9 working years in order to be progressive and as the availability of grant aid has dramatically changed in recent times.

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A Charter for Arts, Health and WellbeingThis Charter for Arts, Health and Wellbeing is the result of conversations across the nine regions of England and was written by Rosie Jackson.

We are a national alliance committed to promoting the role of the creative arts in health and care. Creative activity has long been known to have tangible effects on health and quality of life. The arts, creativity and the imagination are agents of wellness: they help keep the individual resilient, aid recovery and foster a flourishing society.

Arts in health programmes across the country, indeed across the world, are using diverse and dynamic disciplines in a variety of health care and community settings for expressive, restorative, educational and therapeutic purposes. Some work preventively, some enhance recovery, others improve the quality of life for people with long-term or terminal conditions. The creative arts help make sense of our human condition, making room for the heart and soul to be heard. They encourage active engagement with the world around us, help people to keep learning, connect with each other and contribute to their communities.

In our current political and economic climate, which is forcing a reassessment of human priorities, and where wellbeing is a declared government priority, arts in health offer a professional, value-for-money contribution to mainstream health care. They can contribute to shortening the length of hospital stay, reduce patient medication and lower reliance on G.P. consultation. They offer personalised non-medical health strategies that support many of the declared NHS outcomes, including improving the effectiveness of care and quality of patient experience.

We are holistic in approach and believe the arts and humanities have a crucial role to play in medical training, clinician wellbeing and awareness. We believe the arts help us to see and value the patient as a whole person, not just an illness or symptom. We believe the arts will contribute to a culture within health services that is more supportive, empowering, enlightened, personal and humane.

Environment has a huge impact on health. Works of art can create a welcoming, uplifting space that increases a feeling of wellbeing and promotes a positive experience of care. We strongly advocate original art commissions, sensitivity to aesthetics and the introduction of nature into medical and other healthcare settings.

A lot of arts in health work happens at grass roots levels, in community based programmes that address both clinical and social determinants of health. Our aim is to provide a proactive national alliance, which will offer strong networking and advocacy to increase public awareness and understanding of the role of arts in health nationally and internationally. We will encourage best quality practice, shared ethics, research and evaluation, excellence in process and product, while celebrating and supporting the passion and drive of the many arts in health activities which make a difference.

We believe that keeping this creativity alive, active and accessible to all, will reduce the financial burden of illness, help people to be the best they can be, and foster a healthier, happier, more vibrant, thriving society.

July 2012

The National Alliance for Arts, Health and Wellbeing www.artshealthandwellbeing.org.uk

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The Weapons of Life: A case for arts participation as a creative response to mental health problemsMary Dineen, community mental health nurse and chair of Arts + Minds, argues for the integration of arts programmes into mental health services.In an era of austerity and scarce resources, a participatory arts programme as an integral part of the mental health services would appear to be an unaffordable luxury. I am a community mental health nurse (CMHN) and Chair of Arts + Minds, a Cork-based programme that aims to enhance the health and wellbeing of mental health service users through engagement with the arts. As such, I would argue that arts programming can be justified within the context of current government policy on mental health and that persuasive arguments can be made that the arts in mental healthcare are an effective tool in the recovery process from a social, clinical and budgetary perspective.

Irish mental health policy is guided by the 2006 Department of Health report on the mental health services, A Vision for Change (1). The report recommends that a recovery approach to mental health be adopted as a cornerstone of the policy: ‘While recovery does not necessarily imply a cure, it does suggest that the individual can live a productive and meaningful life despite vulnerabilities that may persist’ (2). The report raises concerns about the effects of social exclusion as experienced by mental health service users and recommends that community and personal development initiatives which impact positively on mental health status should be supported. It also recognises the stigma attached to mental ill health which encourages discrimination and prejudice, and suggests that this may be ameliorated by raising the visibility of mental health service users in community settings.

I work in an area of Cork city that includes areas of high social deprivation. Many service users in my care live alone in poor circumstances. They have limited social networks and have little or no contact with the community in which they live. They experience a high degree of social isolation and have little stimulation in their lives apart from television. I have a strong personal interest in the arts and a firm belief in their invaluable contribution to our lives. As the late American poet Jayne Cortez said ‘The arts are just a part of the weapons…of life’ (3). An encounter with Arts Consultant Ann O’ Connor at an information day during the 2005 Cork City of Culture, showcasing innovative music workshops in two mental health facilities, piqued my interest in introducing service users to high quality arts experiences. I hoped that this would have the twofold effect of improving the quality of life of service users and facilitating their social inclusion.

As a result of this meeting a steering group was formed comprising HSE mental health service staff, along with representatives of service users, the Irish Advocacy Network, the HSE Cork Arts and Health Programme who became our core funder and Ann O’ Connor, to explore the possibility of setting up an arts programme for mental health service users. This group became Arts + Minds and what began as a series of music workshops has expanded to include sessions on dance, creative writing, animation, storytelling, visual art and choral singing.

Arts + Minds projects are delivered at in-patient, day hospital and community settings. A decision was taken early on in the programme to avoid using HSE, and particularly mental health, facilities when delivering arts workshops in the community. Sessions have taken place in community centres, GAA clubs, arts venues and private facilities. This has the effect of increasing the visibility of mental health service users, and in doing so, breaking down the barriers between service users and the community. Healthcare staff take a very hands-on role in the organization. We liaise with participants, book artists and venues, research ideas for new programmes, manage funding and are active participants in the workshops, thus making the service user-staff relationship more equal.

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There is an increasing body of evidence that highlights the benefits to mental health service users of participation in quality arts programmes, including the Arts + Minds commissioned report Beyond Diagnosis: the transformative potential of the arts in mental health recovery (4). The subjects of the research reported that the programme has had a positive effect on their mental health, made them feel part of a community, increased confidence and self-esteem, enhanced mood and reduced stress. Mental health service staff identified a considerable reduction in the frequency of outpatient appointments in those who participated in the programme.

Occasionally questions have been asked about the perceived conflict between my role as CMHN and that of chair of an arts programme. I would assert that the CMHN is perfectly placed to run such a programme due to the nature of the role. Our entire working day is spent with service users in their own community. Furthermore, the autonomous nature of the role has allowed us the latitude to develop imaginative solutions to problems outside of the dominant biomedical model of care.

Programmes such as Arts + Minds can greatly enhance existing mental health services and contribute to their efficient delivery. At any one arts session, up to twenty people are seen by the CMHN. This is particularly pertinent for men with severe and enduring mental health problems who are more likely to disengage from the mental health services, increasing the likelihood of relapse and readmission to hospital. Arts + Minds has attracted some of that ‘difficult to engage’ cohort who are now active in many of the programmes.

The inclusion of an arts programme as part of mental health care sits comfortably within the context of Irish mental health policy. It is a cost effective measure with proven capacity to enhance the lives of service users. Staff involved say it has changed their relationships with service users for the better and has improved the healthcare working environment. As the Beyond Diagnosis report concludes on the integration of the arts into mental health care, ‘[it requires] a cultural shift in the way we understand, respond to and engage with human distress. This is a shift towards embracing creativity of expression, nurturing strengths and facilitating service user care choices, both inside and outside mental health structures’ (5).

Mary Dineen is a Community Mental Health Nurse working in the South Lee mental health services in Cork. She is a founder member and chairperson of Arts+Minds. She trained as a nurse at Our Lady’s Hospital, Cork and at Cork University Hospital and has graduated from UCC with a BA and MA degree.

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1 Department of Health and Children ‘A Vision for Change’: Report of the Expert Group on Mental Health Policy.Dublin: Government Publications Office, 2006.

2 Ibid: 13.

3 McNally, Frank. ‘Compelling US blues poet who used her gift to confront and celebrate’ The Irish Times 19 January 2013: 12. Print.

4 Sapouna, L and Rudie Pamer. ‘Beyond Diagnosis: the transformative potential of the arts in mental health recovery’ Arts + Minds: Cork, 2012. http://www.artsandhealth.ie/wp-content/uploads/2012/11/Beyond-Diagnosis_lowres.pdf

5 Ibid: 47

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Summary of 2013 Workshops Information provided by the Anam Beo Facilitators’ workshop sheets and summaries.Workshop evaluation sheets/summaries are held by Anam Beo for future reference.

Ofalia House Facilitating Artist: Kieran BrennanDates: January 2013 to November 2013 Workshops:29 Staff Nurse: Nuala HarrisTotal no. of Participants: 13 Workshop attendances: 2.3 average, includes 3 group projects involving up to 13 participants and staffWorkshop Space: There is storage space for artwork and materials. The space is bright and accessible, with opportunities for engagement with staff and clients. Some of the workshops delivered during this time involved working with participants in the main room, which is a little more restricted, but made for more inclusion.Level of engagement with assistant/nurse during workshop: All the staff are especially welcoming, and Nuala made time at the beginning of the year to understand the programme and what we are doing. Group projects worked well, and staff were encouraging and helpful. Work was done during times I wasn’t there to make sure anyone who wished could contribute. Finished work is admired and when possible displayed in the centre. Need to communicate with staff over any issues: No, the staff and I discuss the participants in a general way, but no real issues arose.CommentsThis year started well enough, though the main problems was funding worries and the fears about lack of continuity. Regular participants were attending and enjoying the sessions. Once we had approval for a definitive number of workshops we were able to plan and execute more project or group based work. A large collage piece included work from a number of people at the centre, with work being continued throughout the week, facilitated by staff or participants. This led on to a mosaic piece, suggested by the group. Donations came forward from many people “I was delighted to see them put to some use,” remarked one on the donation of mosaic tiles. These same tiles were embellished and included in the final piece. This work was completed over number of sessions and is now hanging near the entrance to the centre. Julie had visited the centre before the summer break and had, after discussions with Nuala and clients at the centre, suggested ways to bring in more participants. One of these was a knitting based project. Following some discussion, the participants and I agreed to start such a project for the winter sessions. Some participants were brought to workshops from the residential side. While some of these clients seemed happy to engage with the work, the change in the routine seemed to upset the participants and the staff.During the 2nd half of the year we got stuck into the knitting project. This was challenging for me much more than others, since I had to learn what to do first. The sessions while I struggled with needles and wool caused great hilarity. Over nine sessions we made over 50 knitted patches and crocheted a chain from which to suspend them. All knitted patches had been embellished with application of ribbons, bells, buttons, glitter and various found materials. The piece as a whole is hanging at the centre as bunting. “I’d forgotten how to knit,”, “it was great to get back into it”, “we’ll need more wool for that”, a sample of some of the comments. While I struggled with plain knitting, others made triangles, bows and roses for decoration.This is probably the best, most engaging project I’ve done at the centre, and there is no way it would have started without Julie’s input in April. Though there was disagreement about how it might be delivered, the result has been overwhelmingly positive. Everyone involved interacted during the week outside sessions, and participants took work home and contributed with decorations or wool. Already we’ve wondered, “what can we do next...” Yarnbombing.

Kieran Brennan 2013

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Riada House Centre: Riada House, TullamoreDates: Julie 2 in January 2013, Tina 29 Jan to December 2013Number of Workshops: 31Total attendances for Day Care: 235Participant Day Care:10 average 8Facilitating Artist: Julie Spollen and Tina HayesStaff Nurse: Elaine Claffey Workshop space:The workshop space has a lot of natural light with a long table that may fit up to 10 participants at a time. The room is large enough for wheelchair access around the table. There are cupboards with a sink area;to house some materials.The art trolley is kept in a utility area near by where art work is stored in folders for all participants. It is new space, warm with good access and the windows are easily opened. Needs another way of display/hanging artwork.Did the workshop start on time? Yes.Level of engagement with assistant during the workshop.Two staff members are in the communal area of the day care. Elaine and other staff call over to see how everything is or I need assistance. The area is a welcoming and an enthusiastic environment. Staff are knowledgeable about the creative process and understand not to be intrusive or become too hands on with participants individual artwork. There was a young girl on work experience who helped out.Need to communicate with staff over any issues?Inquired if a participant could be brought over by Residential Staff, which is only down a corridor. And that if any other residential would like to join in as the workshops are being held solely in Riada house from now on to ensure the best use of resources for participants.CommentsThere was a good atmosphere from the beginning, participants were looking forward to the workshop after the Christmas break and enquired “how long would we be having them.” I was unsure but hopefully up to the summer, that we would have and exhibition in April/May, and that Tina would be starting back on the 1st of Feb. So, tables were set out and I asked what size paper everybody would like, M asked for “tiny” so we laughed and said “ok let’s try tiny”. D used an easel on the table to do some portraits. As we were working small we discussed the idea of doing our own art postcards/cards. One participant also wanted to print. Some beautiful work was produced, from abstract designs to images of trees and boats, abstract faces, prints of flowers. Cards were made to individual styles and new work was displayed on the board. The workshops were enjoyable for all involved..As ever, at the start of the year, it was lovely to see new members coming on board for the art workshops. Also, it was nice to get a warm welcome back after my maternity leave.Working with and recycling old materials continues to be a feature of the art workshop. For example, the old tablecloth used in the workshops was cut into pieces to be made into an art piece in itself. Participants enjoyed seeing this happening every week. One person commented: “It is a work of art in itself. It is so colourful.”Throughout the year, participants rotate between doing both individual work and also group pieces. Sometimes it is nice for everyone to work together. As well as the actual art making, participants enjoy the social side of things and chatting. This was seen during the Bealtaine festival with the 1963 theme. People especially recalled what they were doing when JFK was shot and some incorporated this theme into their work. At times also, people enjoy working in solitude and becoming immersed in their own piece.As the workshops in the Residential Unit have finished, one participant from residential started to attend the workshops during the Autumn months. She is very keen, capable and eager to take part. Having her come over from the Residential Unit to the workshops in the Day Care Unit has worked out very well. There are just not the funds to do both consistently but there is a possibility of staff doing art sessions at other times in residential.

Julie Spollen and Tina Hayes 2013

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Clara Day Care CentreFacilitating Artist: Rowena Keaveny.Dates: January 2013 to December 2013 Workshops: 27Staff Nurse: Mary Wyer.Total number of participants:6 No. of attendances:91Workshop space:For the majority of workshops the space is good to go, there is an occasional issue with wheelchairs being stored in the room when it’s not in use but I just move these into either the shower room or the hair dressers room if it’s not in use so they don’t pose a health and safety issue. In the colder months a heater was put on prior to my arrival as the room was very cold, this was very welcome as it meant that the temperature was suitable from the beginning of the workshop rather than just getting warm when it was time for the session to end.At the beginning of the year we had reached the maximum number of participants that the room could safely hold which is 6 including me but this dropped back to 3 during the year. At the years end the session reached the maximum number of 6 and we also have two other people who attend the centre who pop in to see what work is being produced.Do the workshops start on time? The majority of workshops have started on time during this period.Level of engagement with Staff:The staff continue to be friendly, welcoming and supportive. If an issue arises it is quickly dealt with.Need to communicate with Staff over any issues? The main issue has been participant numbers which had dropped off for a variety of reasons including illness, bereavement and decreased numbers at the center however these have now been very positively addressed. CommentsJ is continuing to work on his seaside piece which is both stylistically and structurally different to his previous works, while F has started work on a potential 3rd piece it’s still in the experimental stage. M has moved onto working on canvas and is very keen to produce more traditional works. Although critical of her work she is becoming more confident in trusting her own creative process. I am concerned about the drop off in numbers but as the overall attendance at the centre isn’t that great at the moment I’m not to sure where an increase in numbers will come from. I am working on an animation idea that would involve the people who sit in the sitting room and intend to get to work on this after the break. J has been experiencing transport issues which are the result of his normal driver being off sick. This means that he has missed two out of the last three workshops. There was great disappointment in this.

The staff continue to be helpful and available if needed. We have ended the year in a very positive place with participant numbers very healthy and enthusiasm high. There is a great rapport between the participants, with everyone being encouraging and supportive of each other. This works especially well with the long-standing members of the group ‘looking out’ for the newer participants. In the last few sessions we have been developing a group project to begin in the New Year, funding allowing. The participants have written a script which they want to turn into an animated short film. I feel not only is this a good way to explore different ways of working it will also enable the participants in the main living room to participate whether in terms of scenery or voiceovers. All participants are continuing to develop technically and stylistically gradually becoming more confident in trusting their own creative processes.

Rowena Keaveny 2013

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Birr Community and Nursing UnitFacilitating Artist: Jackie LynchDates: January 2013 to December 2013Workshops: 32 Staff Nurse: Claire ScullyTotal no of attendances:179No.of participants :12 and average 7 Workshop Space: the space is good, bright with storage but waiting on a sink unit. Level of engagement with Staff:I had very few visits from activity staff this year. On the wards because of changing staff rota it was difficult to have consistency regarding engagement of staff. Also interest among staff varied widely between wards.I was never sure when there would be hospital staff available for workshops.Do the workshops start on time? Always.CommentsThis is the first year I travelled down to the wards to facilitate workshops. It became necessary to do this because fewer residents were being brought to sessions because of the lack of availability of activity staff. As it turned out it was a fresh approach. I split up the workshops between the 3 wards in B.C.N.U. and in the beginning people from Day Care travelled to the wards for each session. Day Care participants found it harder to travel comfortably to the wards because of the distance involved and their specific health problems and requested that they stay in the old 'art room'. I then spent the first 30 minutes and last 30 minutes of my 2 hour session facilitating their workshops, between time traveling to the wards. B.C.N.U gave me a great trolley to transport my materials on and was able to use the Day Rooms in the wards. I found that there was varying interest and attitudes among staff in different wards to the workshops and this affected numbers of participants and the overall success of the projects.One very successful project was where staff,residents and I decorated an outside walled garden area in strawberries and daisies for a 'Gathering" BBQ. There was a tremendous positive energy surrounding this initiative and one that was much commented upon.Another great project was creating a set of 'Bird Boxes' . Thirdly a notable project was creating a family of dinosaurs to go outside in the garden.Probably the most important event was the Bealtaine Exhibition in Birr Theatre and Arts Centre showcasing the work of participants in Birr over the past few years. Nick Devery from the HSE officially opened it and there was a great turn out from the centre. It was a very emotional day for me especially when I remembered past participants and the feedback was brilliant. It hung for a month and raised the profile of the project in Birr.I was asked to write an article on the Anam Beo project in Birr for the Birr Review and happily they published the one page feature.I applied for and was granted an award from Community Foundation of Ireland and this allowed for extra workshops and the creation of the 'Bird Boxes ' for the Bealtaine Exhibition.It was hoped that Birr Community School might participate with us on an intergenerational project but however the school would not commit and this did not get off the ground.Sadly T, a long time participant passed away.Overall it was a very successful year , feedback from participants, family members and staff was very positive. It was challenging for me dealing with the different dynamics of the 3 wards however it opened my mind and brought me to a wider audience. There were some teething problems, lack of communication being one that hampered the smooth running of the workshops but this became easier as time went on. I think there was an appreciation of me being there and staff were looking forward to and suggesting future projects. I felt more part of the overall scheme of things in the Centre and when I had to space out workshops to every second week staff often continued working on the projects in the weeks in between.

Jackie Lynch 2013

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Clochan HousePilot Project 2013Facilitating Artists:Julie Spollen and Kieran BrennanKey Staff: Deirdre FoxContact hrs:14 Duration: 7 in March and April 2013No. of Participants:13Number of Attendances:30Refer to workshop space: Open space in a communal room. Good sized room with two tables to use as a working area, utility room down the hall for cleaning brushes etc. Care staff are within earshot and participate in painting from time to time.Did the workshop start on time? YesPlease specify level of engagement with assistant during the workshop.There is always a member of staff within the communal area and helped out when askedHelpful and kind, asked if we needed anything. Helped to change water and clean brushes.Did you need to communicate with staff over any issues? NoAims: a chosen theme of ‘Map” this participant & process led project is to introduce participants to the possibilities and diversity of colour, black & white using a range of techniques within a participant led process.Objectives:to create an understanding of basic colour theory while being creative while perhaps producing some participant led artwork within a relaxed and sociable environment. We went through the colour wheel. Participants put primary colours and mixed secondary colours etc to gain experience and be introduced to the workshops in a relaxed no experience needed environment , adding more or less water to see the different effects achieved on watercolour paper. Everyone played around with colour and then we talked about black and white and when they are colour and when its an absorption or reflection of light. Different types of black and white were achieved by adding new colours to the paints. Good atmosphere. Participants worked on background washes, covering the page. I brought in A3 colour photocopies of old local maps for participants to focus on and interpret loosely. This demonstrated a great sense of individuality in colour choice and keenness to follow detail of rivers/small roads that they knew.We experimented with Acrylic inks and how on wet watercolour paper it bleeds and blends beautifully. One participant later studied old drawings of a butterfly and copied it onto black sugar paper using different white pencils. One participant really got into strong opaque colours and made up an abstract map. One participant drew a road map on black sugar paper using different pencils. All participants were really getting into it and there was great discussion on what each were achieving. J chose his favourite strong colours and did various large hand prints, he also did a bog landscape using colour washes on watercolour paper. M drew a form from a design book and then painted an old man with a hat using black and grey washes on large watercolour paper. All the work was on display on the wall. Staff and participants commented that the work deserved good frames! From subtle feedback I felt that all the participants enjoyed the art workshops and would definitely continue if given the opportunity.Introduction to colour and paint, a warm up workshop.I had square pieces of watercolor paper prepared for participants to do out the primary, secondary and tertiary colours into 9 squares lightly marked out on the paper. I asked them to use nice thick and heavy acrylic paint,like icing on a cake and then we did the same using watered down paint and wet watercolor paper to see the difference in effects achieved and the way the colour changes an bleeds into each other. Participants experimented with acrylic inks on small watercolor squares also. Day 2 allowed participants to experiment with the basic principles of printing. We started with butterfly prints and hand prints, again using different paint qualities on watercolor paper , mixing up the paints with water and creating individual effects. Two participants went on to paint faces, matchstick figures and birds.I enjoyed these sessions with the participants and feel we all had quality creative time together starting with the basics of colours and mixing of paint, my only feeling is that the time is too short and that workshops with quick results are needed for this centre as you only have 2/4 workshops with participants at most.

Julie Spollen 2013

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Carthage HousePilot Project 2013Facilitating Artists: Tina Hayes and Julie SpollenKey Staff:Daphne MattewsContact hrs; 20 and 4 developmental facilitators hrs Duration:April to July 2013 No. of Participants:12No of attendances:60Refer to workshop space: A lovely upstairs communal room with a view. The table will fit 6 in the middle, located beside an activities room with a sink, storage space and equipment. Accommodates the art workshops well.Did the workshops start on time? YesPlease specify level of engagement with key staff during the workshop.There is always a member of staff in the activities room beside communal area and helped out when asked.Did you need to communicate with staff over any issues? Only to communicate on specific workshop dates and images of the workshops.Project Brief: to expand Anam Beo through the sourcing of a new centre. This will provide sustained employment and use the Anam Beo best practice model for two artists based in the Offaly whilst at the same time providing social inclusion and stimulus through arts in health workshops for older members of our community. Participating in the workshops enables participants to discover and explore their own creativity. This project seeks to increase the number of arts in health participants in creative workshops from within our community . Printing and Painting Workshops Using printing, painting, collage and design the participants produced their own artwork. Through interaction during the learning process the project also encouraged and facilitated creative exchanges + partnerships between participants from a wide variety of backgrounds and experiences. The technique of block printing was introduced to participants using materials suitable for all ages and all abilities. This is a simple accessible process. It involves firstly drawing/etching an image into a soft plastic slab. Ink is then applied to the slab. This is done by firstly applying ink to an inking tray. A roller is then used to pick up a thin layer of ink. This is then rolled onto the slab in all directions. Then a clean sheet of paper is laid over the inked up slab. A dry roller is then used to rub evenly all over the sheet of paper. The paper is then lifted up to see what the print looks like. Also, towards the second half of the workshops, I introduced participants to screen printing. This is a process whereby participants draw an image on paper and then cut out a stencil of the shape made. This is then attached to a screen and ink is pushed through the stencil and onto paper. It is a less immediate and slower process than screen printing. Nonetheless, it worked very well and some great work was produced.

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Julie discussed the printing project with the participants and we used these images as an initial starting point to paint. Participants were able to think about what they had achieved previously and comfortable with the subject matter. There was an ambitious and confident atmosphere with some fun banter. On different occasions people did individual work but over time, gardens, insects and lone trees were discussed so this became the theme for the larger work. The project participants have gained an understanding of and competency in some printing processes, encouraging them to be creative and how the printing technique and painting process can be very effective. With the small works created individually there was both delight and sincere appreciation of the technique and what it can offer. However it was when the larger work that was produced encompassing various smaller works that gave the group a great sense of amazment. Feedback was positive in that all the participants and staff hoped AnamBeo would be able to return to encourage more printing and group work. This is positive as we will in future be able to seek out grant aid for continuing such projects in this established centre. There will be a recorded presentation of finished work to the centre and participants.

Creating the finished workAs the workshops were finished at the centre Julie and Tina used extra professional development time to meet on different occasions to discuss the artwork and how best to place the individual work to create larger pieces. The most refined and successful individual pieces went back to the participants. Using a selected choice from both the printing and painting projects we mentored each other to create larger collages. The results were very different as the sessions had created different source material to begin with. It was decided that the printed collage work would be best suited in a glass frame while the painted collage work which was tactile and on a canvass to have an open frame.Tina and Julie organised the framing and delivered all artwork back to the participants for the centre to have an open event. Participants and Staff loved the session and the finished work and only wished for us to come back soon.

Julie Spollen and Tina Hayes 2013

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Equality Street

Centre: Irish Wheelchair Association Ballinagar.10 Workshops: March to June 2013.Facilitating Artist: Rowena KeavenyStaff:Kathleen CarrollTotal number of participants: 15, average 12.Total number of attendances:150Workshop space: The workshop space has a lot of natural light with a long table that may fit up to 10 participants at a time. The room is large enough for wheelchair access around the table. There are cupboards to house artwork and materials for all participants’ arts and crafts. And smaller rooms to make recordings. It is new space, warm with good access and the windows are easily opened.Level of engagement with assistant during the workshop.Members of staff were instantly available if needed and at least two always remained present during a workshop to support the more high dependency participants. The carefully structured support network employed at the IWA supports the participants in such a way that enables them to explore new methods of exploring their creativity and in so doing work towards embracing their full potential. Staff are knowledgeable about the creative process and understand not to be intrusive or become too hands on with participants individual artwork.CommentsUsing collage, photography, desk top publishing, computer skills + design the participants produced their own posters examining the project theme’s while at the same receiving training in these new technology skills. Through interaction during the learning process the project also encouraged and facilitated creative exchanges + partnerships between participants from a wide variety of backgrounds and experiences. At the end of the project participants have gained an understanding of and competency in digital media processes enabling them to use them independently in their own subsequent work should they chose to. This was a very good humored and busy project with me initially exploring the project brief with the participants and looking at what direction they’d like to take it in. As a warm up participants made digital images from hand and people cut out’s, photographed them and thought about what words could be added to them ranging from, “The Hand of Equality, The Hand of Peace, I Love My Friends and Many Hands Make Light Work.” Later on in the project as we explored the theme of ‘Equality’ the statements for the digital posters became more directly connected to disability and issues of access, “Why are people with disabilities treated as second class citizens?” and “Accessibility, for the disabled? Enough said!!”

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One of the participants had the idea of writing a script that everyone could perform around the theme of equality. The script grew into an animation project called, ‘Equality Street’ with all of the participants getting involved with making the characters and the scenery, recording the voices, using stop motion animation and we also discovered that one of the participants had previously made a cd of songs which we were able to incorporate as the theme for the opening and closing credits. There was a great amount of enthusiasm around the project and I was pleased with team work spirit that developed naturally and quickly. All of the participants worked together and took ownership the project deciding who would play each character, the direction of the script and also invited members of staff to get involved. The staff and participants interacted really well with each other and this added an extra dimension to the positive atmosphere surrounding the project. The participants also worked on a large wall piece made out of the animated characters so there is also something visible remaining in the building after the project is complete.Now that the project is finished I’m going to look into the possibility of submitting, ‘Equality Street’ to film festivals locally and nationally. Also through sharing the completed works further with the wider community through poster distribution in public places such as public buildings and spaces the project outcomes will challenge stereotypes and misconceptions about the creative capabilities of people with physical and psychological disabilities.

Work producedDigital posters exploring project themes.Digital poster poems.An 8min + 30second animated short, “Equality Street.”

DifficultiesEarly in the project it was the intention to work with one of the participants on making an online digital magazine of his poetry using ‘Issuuu’ software. Although D was very successful in learning to use the ‘Publisher’ programme to format his poems, the required internet signal kept dropping out or wouldn’t connect for long enough to explore and learn how to use the ’Issuuu’ software. This became very frustrating and made it will be very difficult to continue with the on-line aspects of this individual project. As an alternative we decided to format the poems into posters which will be displayed in the community at a later date.

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SeekCentre: The Attic, Offaly Street.Funder:Community Foundation for Ireland Grassroots GrantFacilitating Artist: Rowena KeavenyKey Staff: Carrie ByrneContact hrs: 20hrs No. of Participants:24Total attendances: 240Workshop Space: the workshop space is ideal, it has an accessible sink, great lighting, a very user friendly large table formation and well stocked materials cupboards. The space itself promotes a supportive and friendly group atmosphere.Level of Staff Engagement:Instantly available if needed and different members of staff always come into the room to check on the participants and to see the work being produced. We were also joined by student psychiatric nurses for some of the workshops. The meaningful team approach at The Attic supports the participants and enables them to work towards embracing their full potential. Did You Need To Communicate With Staff Over Any Issues? The lines of communication were very open during my time with The Attic. Carrie called me into the office at the beginning of a workshop if she was concerned about a participant or to let me know about a new participant joining the group. The centre is extremely busy and if Carrie wasn’t available she would ring me after the workshop or I would liaise with other members of staff, all of whom were very friendly and accommodating. Purpose: This built from the 2012 ‘Look At Me I’m Dancing’ project with The Attic Therapy Centre funded by The Community Foundation For Ireland. Working with the staff and male participants through a 10 week tailored arts workshop programme, this new project would expanded and cemented the new technology skills learnt during the initial project into the production of a 20-30min short film. How many people benefited indirectly? The D.V.D, ‘S.E.E.K’ and accompanying booklet guide to Bipolar Disorder are going to be rolled out nationwide and will engage with patients, their families and friends across Ireland. There were 150 people at the launch evening. There was also extensive local newspaper and radio coverage. CommentsAfter an initial discussion with the Clinical Nurse manager Carrie Byrne, we decided to make our animation project into a guide to Bipolar Disorder for patients and their families.At the time of a ‘Bipolar Disorder’ diagnosis or when a person is unwell they aren’t in a suitable position to either take in the information they are being given or to ask questions. Also the mental health service in Offaly had learnt through feedback that families were in a place of isolation and had started to ask if there was ‘something informative’ and ‘user friendly’ available that they could take home and digest.”Over ten weeks the participants and staff at The Attic Therapy Centre illustrated, photographed, animated and recorded voiceovers for a 20min animated short film entitled, ‘S.E.E.K’ which explores both the ‘science’ and reality of living with Bipolar Disorder. The soundtrack was provided by ‘Kismet 20’ (Birr Mental Health Association) from their recently launched ‘Sounds of The Silenced’ C.D).With a supportive and strong team ethos very evident to all throughout, this project extended further than its initial brief. After seeing the finished animation and accompanying booklet the Mental Health services have decided to roll out the project nationwide. An educational grant from ‘Lundbeck’ will see 500 copies of the D.V.D being produced, while an educational grant from ‘Janssen’ has seen 500 copies of the ‘S.E.E.K’ booklet already printed.

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Speaking at the launch and celebration of the project held at The Bridge House Hotel, Tullamore Consultant Psychiatrist Dr Jim Daly emphasised the empowerment aspects of the project, “The Book and D.V.D, ‘S.E.E.K’ (Support, Education, Empowerment, Knowledge) are all about empowering patients, families, carers improving knowledge and getting mutual support and information from other service users who have been through difficult times due to Bipolar Disorder, have dealt with the issues and come through. It’s very positive to learn from other people who have, ‘walked the walk’ and have had good outcomes.”Having identified the need for a booklet this proactive community based project spearheaded by The Attic Therapy Centre will provide valuable information and education for clients and their families from their perspective across the county and beyond.

Rowena Keaveny 2013

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