continuing art education for adults || locale 5: activity day centers a. hospitality house in...

National Art Education Association

Locale 5: Activity Day Centers A. Hospitality House in Dallas, TexasAuthor(s): Martha Dee Guthrie and Freida E. GorrechtSource: Art Education, Vol. 18, No. 9, Continuing Art Education for Adults (Dec., 1965), pp.18-21Published by: National Art Education AssociationStable URL: http://www.jstor.org/stable/3190656 .

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Art Workshop in which we counted five generations from one family.

Perhaps the most unique aspect of Flint's adult education program is involvement with the total community. For instance, local nurserymen and landscape gardeners learn to display their merchan- dise attractively and at the same time introduce the public to a beautification program. Craft therapy is taken into local

hospitals and rest homes on a level be-

yond pattern copying. Hospitals are now able to release many patients from institutions mentally stabilized; but in need of continuing emotional assurance to face the same environment that brought them to a point of imbalance in the first place. Communities must be prepared with an educational program that will fortify them. In Flint we have begun to tackle this problem and an art class has become an important part of the group experience they are receiving.

The parents' section of our Art for

Young Children class, which is manda- tory if the 31/2 year old is to be accepted, is based on the philosophy of experimental learning. The parent is encouraged through active participation to under- stand exploration, creativity, decision and discipline. In an adjoining room under the instruction of an experienced artist craftsman the mother works in the same medium as the child. Parents are intro- duced to work space, work clothes and adequate supplies and equipment. Many of these parents are sharing with their whole family their new awareness. Many have continued in art classes discover- ing latent abilities and creating interests to enrich their whole lives.

A number of workshops are a part of the Mott adult art education program.

The Family Art Workshop provides op- portunity for families to work together in a variety of art and crafts. The Crafts Workshop for Physically Handicapped Adults offers basic techniques for work- ing in all media. Small Crafts Workshops are designed to provide training in origi- nal crafts for Scout leaders, church activities directors, teachers, camp crafts directors, parents, and volunteers for hospitals and convalescent home employees. There are also workshops for florists' aides and teachers.

In addition three clubs are sponsored by the Arts and Crafts Department: the Flint Rock and Gem Club, the Advanced Movie Techniques Club, and the Leather- craft Guild. These clubs serve the greatly interested amateur and members attain a high level of competence. Eleanor Woolfe is the Coordinator of Art & Craft Department, Mott Adult Education Program, Flint, Michigan.

LOCALE 4: COMMUNITY ART CENTERS The LeMoyne Art Foundation

An outgrowth of the interest of citizens and drawing upon the resources of individuals in local areas, the community art center is typical of the institutional development of art in large and small cities. Since World War II these centers have been developing at a rate that can not be estimated. More often than not they begin operations in old dwellings which are remnants of quiet small town beginnings. Special facilities and en- larged programs follow. The character of their development is closely related to

the nature of the community to which

they owe their existence. Community art centers are a significant influence on the art consumption of amateurs across the land.

The LeMoyne Art Foundation in Tal- lahassee, Florida, not yet two years old reflects community cooperation and effort. A core of citizens sparked the or- ganization with funds, a temporary home and a full-time paid director. The phe- nomenal growth of the center attests to the wisdom of this manner of beginning. The hub of activity is the gallery with its monthly changing exhibits featuring local artists. The center has been gen- erously supported by professional artists in the area, many of whom teach at the two local universities. Recently LeMoyne premiered a new series of paintings by internationally known artist, Karl Zerbe. Classes for adults and children, a lecture series, and special talks and tours for clubs and schools enrich art programs throughout the area. Service to smaller communities in a radius of 100 miles are continuous. At the present time program emphasis is upon the interested consumer in Tallahassee proper. As the center becomes stronger, this will be extended to special events for the sur- rounding cities and for the many artists living in the community. LeMoyne Art Foundation, like its counterparts in many cities, serves as a clearing house for community activity devoted to development and improvement of the visual arts.

LOCALE 5: ACTIVITY DAY CENTERS A. Hospitality House in

Dallas, Texas

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MARTHA DEE GUTHRIE

Many groups and organizations at local, state and national levels are now seri- ously concerned about the future of our growing number of older adults. There are now 18 million men and women over age 65 in the United States. Every 20 seconds another American joins their ranks. That is 180 an hour . .. 4000 a day . . . 1.4 million a year. Recognition was first made of the fact that every individual regardless of age has basic needs for new interests and companionship. These needs can be met by the establish- ment of activity day centers which are educational, cultural, recreational and service oriented. A need was and is present to create a modern philosophy con- cerning retirement discretionary time and its use, with emphasis on the positive, constantly aware that education is a continuous process, growth occurs at any age; and the perhaps trite but true say- ing, never too old to learn. Day centers for older adults are still in a very pioneer stage.

The E. D. Farmer Foundation, a non- profit trust established to help the senior citizens of Dallas live as fully, usefully and independently as possible, operates Hospitality House as an activity day center. The program of Hospitality House has been developed from the desires, needs, and imagination of its members assisted and guided by the professional staff. Here the older person can make friends among his contemporaries and also among the younger people who serve as volunteers on the various house committees. Along with new interests they find something even more important, companionship and the incentive to re-

main active. Regardless of economic status, mem-

bers of Hospitality House may take part in as many activities as they like. Some come almost every day; others come only to one class or activity in which they are particularly interested. Activities re- quested in the realm of art education center around oil painting, watercolor, sketching, art appreciation, ceramics and sculpture, china painting, silk-screen printing and other crafts. Classes are held once per week from two to five hours. Oil painting is the exception: five classes are held in this medium.

The uniqueness of our particular pro- gramming has been the use of volunteers as instructors in classes. These volunteers often are not professionals; but individuals with experience in an activity who are willing to share the learning experience with others. Besides knowing a skill or technique, they have an understanding of people and know how to help each individual develop to his or her utmost. Art exhibits have been held showing what individuals at a later age in life are able to produce. My personal opinion has been that as excellent as the volunteers have been, we still need to bring a better quali- ty to our art education program. This can only come about with more cooperation from our local art educators or an increase in financing so that all professional people can be hired. Most centers pay their teachers.

It is estimated that the number of activity day centers for older adults range from 200 to 700 with different classifica- tions: some meeting once a week; others, like us, meeting five days a week during day light hours. Some are privately supported, some belong to United Funds,

and others are sponsored by city recreation departments.

The activity day center has proved to be a new way of life for older adults. It has given them a stimulus to renewed interest in life, re-awakened their interest in our vast universe and what it has to offer. New doors have been opened. A challenge has been offered. They have accepted it. Life is richer and worthwhile once again. Martha Dee Guthrie is ACSW Super- visor, Hospitality House, Dallas, Texas.

B. UAW Retired Workers Centers in Detroit, Michigan

FREIDA E. GORRECHT The emphasis on art education in each of the United Auto Workers Retired Workers Centers is specifically tied to our goals for giving service to retired members of our community. Briefly stated, our goal is to help older, retired people enjoy a creative art as partici- pants. In most cases this is their initial effort. The classes themselves differ from those taught in typical adult education sequence. They differ in this manner: the formalized procedures are kept to a minimum; a student may remain in a class for as long as he chooses without having to go through entrance procedures; there are no fees charged for instruction and a very minimal fee charged for supplies and equipment. This is most important in enabling people of rather re- stricted income to continue participation in the art work both in class and at home. Classes are kept small. Any special types of equipment needed for older people are obtained.

PHOTOS: Far left: The community action of interested citizens set up a fund drive for the second year's opera- tion of the art center at the Le- moyne Art Foundation galleries. Photo by Joe Kairis. (Locale 4: Community Art Centers) Left: Ce- ramics at Tallmadge Hamilton House, Seattle. Photo by Elisabeth Blaine. (Locale 5: Activity Day Cen- ters) Right: UAW Retired Workers Center, Detroit. (Locale 5: Activity Day Centers)

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PHOTOS: Above: Painting and drawing at the Post Crafts Shop, Fort Dix, New Jersey. (Locale 6: Military Com- munity Centers) Right and below: Jewelry and textile activities at the Indian Arts Cooperative Project of the University of Wisconsin Exten- sion Division, carried on with the active support of the Bureau of Indian Affairs of the U.S. Govern- ment. While the designs are rooted in the ethnic backgrounds of the tribe, no attempt is made to create "Indian" patterns. (Locale 7: Higher Education)

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Included in the instruction are planned opportunities for visiting art exhibits and displays in order to fill in gaps in art understanding and to expose the students to a variety of art expressions. Each class member is helped to proceed at his own rate of speed to develop his potential without pressure. Physical limitations are considered at all times and present particular challenge to the instructor. Our experience has shown us the need for expansion, continued experimentation and needed cooperation among all institutions interested in enriching the lives of older people through the various art media.

Freida E. Gorrecht is ACSW Executive Director, UAW Retired Workers Centers of Detroit.

LOCALE 7: HIGHER EDUCATION A. Its Involvement in Adult

Art Education

FREDA H. GOLDMAN

Although there is no question that the much discussed contemporary American cultural "explosion" is reflected in artistic activity on American campuses, there is some doubt whether this expanded activity has deeply affected adults. Magazine stories, and Sunday supplements of news- papers, hail new university art centers, the vogue of university artists-in-residence, and the campus art festivals. But for opportunities for non-professional adults to pursue artistic cultivation in depth, one looks in the average college catalogues still mostly in vain.

Nonetheless, on the whole, universities are accepting a growing responsibili- ty with respect to art, and in this growth adults as well as young people are profit- ing. The programs and activities discussed below give evidence of the variety of possibilities now being explored. They represent, it is important to note, a limit- ed area of university activity. We are concerned here not with the total university involvement in art education, but only with those efforts that relate to adults who, as laymen and amateurs, are interested in continuing their education in art. Thus, we do not include the courses and programs offered that are aimed at pro- ducing professional artists or teachers of art, nor do we include here most of the work of university art extension divisions as an area of concern. Neither of these areas, of course, will be altogether miss- ing, for there is much overlapping of program offerings.

With respect to current university art education programs designed especially for adults, the story is simply told. Al- most all universities - private colleges too, but especially the state universities -offer some forms of art education programs for adults. Most of these are standard skill and appreciation courses that differ from one university to another mainly in the number offered. If we include, however, programs that are not strictly adult offerings, adding the activities of universities that involve adults, even though they are not directed specifically to them, the picture is somewhat more varied.

The fact about the status of art education is that the arts are still a peripheral concern within adult education, and in turn that adult education is itself equally marginal in the university as a whole. Thus, the situation actually is that the

total amount of adult art education is relatively small. In most universities there are only a few routine programs for adults, and in some places there is none at all. On the other hand, in an increas- ing number of institutions, a growing in- tensity of interest has led to a willingness to apply effort and a budget to develop the arts along imaginative lines that probe the possibilities of art education for adults. These form the basis for the gen- eralizations in this article.

Dramatic advances have occurred mainly in the extra-curricular, or the co- curricular areas. In the performing arts more liberally, but in the creative visual arts also, some universities have under- taken revolutionary new roles. Accepting the imperative in the present cultural mood, they have turned patron, curator, impresario. A university today may actually be the regional base for art, help- ing to bring art into close proximity with on-going life, even in outlying areas. As a matter of fact, it is often asserted that the university's main function in relation to art today is to be the central medium through which the present cultural growth can touch wide groups of Ameri- cans.

In these new roles, the university serves adults as well as undergraduates. An artist-in-residence at Iowa State Univer- sity includes in his experimental studio programs, Iowa City people and wives of faculty along with the college students. Aaron Bohrod, an artist-in-residence on campus of the University of Wisconsin, and his counterparts on other university campuses, whether they actually teach or simply open their studios to observers, help to create a climate that excites artistic interest, supports talent, and stimu- lates high aspiration in the community as a whole.

Universities also provide an art "gallery" at home and on circuit that is some- times the only serious art exhibited in an area. The Nebraska Sheldon Art Gallery (and its Spring Fine Arts Festival), the Wyoming Traveling Art Exhibit, and the traveling shows sent into the Upper Pen- insula of Michigan by the University of Michigan-all serve areas where art mu- seums are often entirely out of reach to inhabitants. Artistic tours, fairs, compe- titions, lectures are characteristic activities of present day state universities, and they serve adults in the communities as well as undergraduates. University gallery shows or festival exhibitions are among the important art events in many communities. In the urban centers students are often taken on tours to the galleries of art institutions, and courses in appreciation and understanding are

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LOCALE 6: MILITARY COMMUNITY CENTERS The Army Crafts Program

The Army Crafts Program serves all Army personnel alike. The cultural impact of arts and crafts serves a two-edged purpose, contributing to the welfare of the individual soldier while providing peaceful incentives for the Army. Crafts shops provide a relaxed and stimulating environment where military personnel may increase their capacity to identify and solve specific problems. The self- confidence and specific skills which re- sult from participation in crafts programs are directly transferable to the military mission, to disciplined use of leisure time, to the profitable development of an avo- cation, and as preparation for retirement. These "military community centers" are designed 'to serve a highly concentrated male population. The program strives to provide constructive practice in the arts and crafts, to broaden the base of knowl- edge and experience, and to afford some aesthetic growth. Personal help is given at the time of the individual's point of need.

in January, 1951, after careful study of the program's impact and growth from its inception in 1942, the formal designa- tion as "The Army Crafts Program" was determined. Subsequently, this program has been recognized as an essential Army recreation activity along with sports, li- braries, service clubs, soldier shows and soldier music. The program operates on all Army installations on a world-wide basis in multiple type crafts shops offer- ing a balanced program of five to seven arts and crafts; and also in special interest shops geared to specific activity such as woodwork, photography and auto repair.



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