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In collaboration with the Sidney De Haan Research Centre for Arts and Health

Evaluation report of the impact of a Community Art Studio

Group initiative at the Beaney Learning Lab to enhance the

mental health and wellbeing of residents in Canterbury

Authors: Carolyn Jackson, Madeline Naick, Dr Toni Wright

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Acknowledgements: The group model was designed and established by

Joyce Armstrong, Art Psychotherapist and Group Facilitator, Canterbury

Art Studio Group. The evaluation team would like to thank her and

Georgie Childs and Esther Miles, co-facilitators of the creative space as

well as 'The Beaney House of Art and Knowledge' for hosting the group.

Thanks too to all members of the public who participated in the workshops and in supporting the public exhibition.

There is a separate artists reflective report available to accompany this

brief evaluation summary available on request from

Carolyn.jackson@canterbury.ac.uk along with a photographic

representation of the public exhibition on Steller by following @ECPDCarolyn.

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Table of Contents Introduction and Background ........................................................................................................ 4

Evaluation Data Sets and Methods ................................................................................................ 4

Table 1. Data Sets Presented for Analysis ................................................................................... 4

Results ......................................................................................................................................... 5

Quantitative data...................................................................................................................... 5

Figure 1. UCL Museums Wellbeing Measure Generic Wellbeing Questionnaire (GWQ) Data .......... 7

Overall scores of change for the group over time .................................................................... 7

Mean scores per GWQ question for session 2 ......................................................................... 7

Mean scores per GWQ question for session 6 ......................................................................... 8

Qualitative data ........................................................................................................................ 9

Exhibition Visitors.................................................................................................................. 9

Participants........................................................................................................................... 9

Co-Facilitators ....................................................................................................................... 9

Carers ................................................................................................................................. 10

Museum Staff ..................................................................................................................... 10

Discussion .................................................................................................................................. 10

Recommendations...................................................................................................................... 11

References ................................................................................................................................. 13

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Introduction and Background Creativity is innate, to be human is to be an artist.

This project, created by the Canterbury Art Studio Group, aimed to provide residents of

Canterbury who are unable to access mainstream arts based mental health services, an

opportunity to enrol in a six session art programme facilitated by an experienced art

psychotherapist and 2 student volunteers, at the Beaney House of Art and Knowledge. With

a focus upon social inclusion, recovery and 'the healing nature of art', the group met weekly

to facilitate participants in the exploration and discovery of a creative identity in a non-

judgmental space, each working to move away from the different medical “labels” they have

been given to improve their self-esteem and focus on being an artist. Participants were self

-selected through a community advertisement. Six participants enrolled in the programme.

At the end of the programme participants presented their art work to the public in a two- week

art exhibition, held in 'The Front Room Gallery' of The Beaney titled 'Taking the line for a walk:

discovering a creative identity'.

Canterbury Christ Church University’s England Centre for Practice Development and Sidney

De Haan Research Centre for Arts and Health worked alongside the project to offer an

independent evaluation of its impact. The evaluation was funded by an internal Higher

Education Innovation Fund (HEIF) grant and ethical approval provided by the University Ethics

Committee.

Evaluation Data Sets and Methods The participants selected eight methods of capturing the impact of their experiences with their

facilitators at the beginning, during and at the end of their programme which were then

independently analysed, presented in Table 1 below. This provided an opportunity to analyse

impact quantitatively and qualitatively from the perspective of facilitators, participants,

museum staff, public visitors to the art exhibition and carers.

Table 1. Data Sets Presented for Analysis

No. Data set Data type Data provided by

1 UCL Museums Wellbeing Measure Generic Wellbeing Questionnaire (GWQ) (Thomson & Chatterjee 2013)

Quantitative Participants

2 Brief reflections/ responses postcards post session

Qualitative Participants

3 Reflections/ responses post initiative

Qualitative Co-facilitators

4 Reflections/ responses post initiative

Qualitative Museum staff

5 Exhibition comments book Qualitative Exhibition visitors

6 Exhibition feedback slips Qualitative Exhibition visitors

7 Exhibition gift tag comments Qualitative Exhibition visitors 8 Email carer feedback Qualitative Carers

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Results Moving from quantitative to the qualitative, the data results coming out of the initiative are

outlined and discussed in this section. Quantitative data are presented in tables in Figure 1.

showing the overall scores of change for the group over time, the range of change for individual

participants over time, and the mean scores per GWQ question for both session 2 and session

6; the arising statistics are discussed below. Because qualitative data came from five different

groups of people (data sets 2-8) the themes emerging from the individual groups are

presented as subheadings to denote them as distinctive.

Quantitative data The UCL Museums Wellbeing Measure Generic Wellbeing Questionnaire (GWQ), a

museums’ initiative measurement tool designed to illustrate wellbeing improvement, was the

quantitative tool used to evaluate changes for the group overall, resulting in data coming from

only the participants of the initiative. Measures were taken at two points during the initiative at

session two and session six. The aim of the measurement was to identify change over time

for the group as opposed to before and after each/ or a session. The scores for all participants

from session two were compared to all the participants’ scores from the sixth session. Whilst

six participants took part in the initiative the statistical analysis was based on data from only

five participants as one participant’s data set was incomplete. Because the scores of the sixth

session for that participant were missing their data set was omitted from the analysis.

The UCL GWQ provides descriptive statistics. The statistics coming out of the initiative shown

in Figure 1 do not evidence any change in the sense of wellbeing for the group overall. There

are small differences for individuals with two (P1 and P4) showing slight improvement, but

three (P3, P5 and P6) indicating a minor downward trend.

The statistical analysis is difficult to compare directly to the qualitative data as it is narrow in

focus by only offering the perspective of the participants. The qualitative data comes from a

much wider range of perspectives and includes facilitator, exhibition audience and museum

staff viewpoints; and therefore offers a more nuanced understanding of the initiative, its

outcomes and impact.

The quantitative data is inconsistent with the results of the qualitative data that came from the

participants which provides a richer more in-depth picture of impact for participants that is

evidenced by the positive statements made by them about their experiences of engaging in

the initiative.

The quantitative data produced is quite crude and unsophisticated. The points of

measurement taken in the initiative deviate from the GWQ guidance and this may have had

an impact on the statistics that emerged. The standard application of the GWQ is for

measurements to be taken before and after each session to track improvement for each

individual participant over time, and for the accumulation of the scores across all the sessions

to be calculated to provide a measurement of group wellbeing improvement over time. A larger

cohort measuring impact over a longer period of time could also potentially provide more

comprehensive data and allow for a deeper understanding of impact on wellbeing. As this is

a museum well-being tool it may be more appropriate to consider other mental health and

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wellbeing tools such as the Warwick-Edinburgh Mental Wellbeing Scale (WEMWBS) or

another quality of life tool.

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Figure 1. UCL Museums Wellbeing Measure Generic Wellbeing Questionnaire (GWQ) Data

Overall scores of change for the group over time, range of change for individual participants over time

Participant Score for session 2

P1 22

P2 0

P3 28

P4 24

P5 26

P6 30

Total 130

Mean scores per GWQ question for session 2

Participant P1 P2 P3 P4 P5 P6 Totals

Q1 I felt happy 3 0 5 4 4 5 21

Q2 I felt engaged 4 0 5 4 4 5 22

Q3 I felt comfortable 3 0 5 4 5 5 22

Q4 I felt safe and secure 4 0 5 4 5 5 23

Q5 I enjoyed the company of other people 4 0 5 4 5 5 23

Q6 I talked to other people 4 0 3 4 3 5 19

Totals 22 0 28 24 26 30 130

Participant Score for session 6

P1 24

P2 0

P3 27

P4 29

P5 23

P6 27

Total 130

Participant Range

P1 2

P2 0

P3 -1

P4 5

P5 -3

P6 -3

Total 0

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Mean scores per GWQ question for session 6

Participant P1 P2 P3 P4 P5 P6 Totals

Q1 I felt happy 4 0 4 5 4 5 22

Q2 I felt engaged 4 0 4 5 4 4 21

Q3 I felt comfortable 4 0 5 5 4 5 23

Q4 I felt safe and secure 4 0 5 5 4 5 23

Q5 I enjoyed the company of other people 4 0 5 5 4 5 23

Q6 I talked to other people 4 0 4 4 3 3 18

Totals 24 0 27 29 23 27 130

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Qualitative data Qualitative data suggests all the different groups of people involved in the initiative benefitted

from taking part, with benefits being group specific rather than interrelated across the groups.

What follows is presentation and discussion of the main themes emerging from each of the

groups.

Exhibition Visitors

Visitors to the Beaney House of Art and Knowledge Canterbury Studio Art Group Exhibition

were asked to, either leave remarks on the exhibition on a feedback slip, in a comments book

or a note on a gift tag. Feedback slips and the comments book were available to visitors for

the duration of the exhibition, as were the gift tag remarks through display on a miniature tree.

Three main themes emerged from the perspective of people that came to view the exhibition.

Of the responders who fedback via the slips, thirty-three out of thirty-five indicated they were

‘very satisfied’ with their visit to the exhibition, one indicated ‘somewhat satisfied’ and one

‘neither satisfied nor dissatisfied’. The main significant theme was one of inspiration where

people had found the collaboration of work, stories and exhibition inspiring. Creative

expression was another main theme, drawing on visitors’ own sense of creativity when

commenting on the exhibition they had viewed. The future of this group was a further main

emerging theme that concerned visitors and they expressed this through comments about the

sustainability and inherent value of this group, and through wanting to see more work from

this group of artists. One comment from a visitor that the research team particularly noted,

contributed a salient holistic viewpoint of the exhibition as follows,

‘This is a fascinating and thought provoking exhibition. What is particularly striking is

the honesty of the work and this brings with it a high level of quality’.

Participants

The artists that took part in the initiative were encouraged to complete an evaluation of each

session on a post card. This invited the artists to express themselves and record their thoughts

at the end of the session in an informal way, which gave meaningful insight into their response

to each session. Interestingly, there was only one comment on inspiration and four connecting

to creativity and expression. The main noteworthy theme that emerged for the artists was on

group identity, which focused on sense of belonging and forming relationships with

group members; expressed in how the group made members felt at ease and reassured by

others, and that it provided a safe and secure environment. This was achieved through a

supportive group and being able to share experiences and building a ‘really wonderful sense

of group and togetherness’. The artists also focused on their own mental health and

wellbeing as another main theme; and while members felt initially nervous about starting the

group it was noted that their confidence grew over the weeks. Some members also felt an

improvement in their mood, depression and anxiety levels from the second week onwards.

Towards the last two weeks’ comments started to emerge about the art exhibition and the

future of the group. It was clear that some artists wanted the group to continue.

Co-Facilitators

Co-facilitators of the group sessions gave feedback about the initiative being a rewarding

experience, and that they felt they identified with being a member of the group too. This

experience led them to be more experimental with their own art and allowed for greater

freedom and growth in their own creative processes.

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Carers

Carers were asked for impact feedback on the person they care for that participated in the

initiative. Little data was generated from the request for feedback and so it is difficult to make

any inferences about the carer group. However, it is possible to report on one carer who wrote

back indicating recognition of positive impact, saying,

‘The sessions working with you and the others have given her focus which has helped to sustain and progress that recovery’.

Museum Staff

Members of staff at the Beaney House of Art and Knowledge focused on how the art

workshops in the Learning Lab enabled people experiencing mental health issues, who may

have become isolated, to be included in making their art accessible to members of the public.

They also commented on how this would potentially breakdown barriers that may exist as a

result of misconceptions about mental health.

Overall, the qualitative data has provided a much richer and positive picture of the initiative.

Through their own words, the narratives of the people involved in the initiative and their own subjective experiences and perspectives have come alive and been made multi-dimensional.

Discussion There is developing evidence of the benefits of arts-based approaches in supporting health

and wellbeing, and although research remains under-developed (Huet 2015), recognition of

the benefits is growing (Public Health England 2016). Approaches to initiatives and

interventions that are specifically art therapy-based are less well researched than those that

are arts-based, but there is increasing use of, and interest in such approaches by art therapists

(Huet 2015). What makes the Community Art Studio Group initiative different and innovative

from other community art groups could potentially be, not only the specific art therapy-based

approach, but the approach coupled with the staging of the public selling exhibition. This

aspect showed inventiveness and courage in raising awareness of mental ill health from

practitioner and service user perspectives, and was overwhelmingly well received by the

exhibition audience; inspiring awareness and interest in creative expressions relating to

mental ill health, and the possibilities for collaborations, partnerships and sharing that is

sustainable between community groups with different experiences and perspectives.

Through reflection, there is much evidence to suggest that the facilitators also gained

significantly from being part of the initiative. It is important to gain insight into the perspectives

of practitioners (whether therapists/ working-artists/ facilitators) in terms of demonstrating the

value of engagement with community-based art groups to their continued professional

development. Whilst the initiative has been meaningful for practitioner learning and

development, it is also important not to lose sight of preoccupations for funders being evidence

of positive impact for service user’s/ initiative participants.

Although the Community Art Studio Group was exclusive with its membership for people with

mental health conditions, it took place in a local community setting. This enabled the group to

establish itself away from institutional mental health settings and for the learning lab to be

inclusive of the art group. Although the aim was for artists to move away from “labels” with

regard to mental health diagnosis, it was clear that they group formed a safe creative

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environment through the artists' shared experience of mental health. Some artists were able

to reflect on their mental wellbeing through-out the initiative and noted improvements in their

mental health.

The quantitative data did not provide insight into improvements of wellbeing, and therefore is

inconclusive in terms of demonstrating impact, when compared to the qualitative data

generated by the group which shows positive impact on wellbeing. The qualitative data

showed the complexity of different perspectives and agendas between the different groups of

people that engaged with the initiative. Whilst this can be interpreted as an indication of

disconnectedness between the groups, simply by virtue of engagement with the initiative, it

can also be interpreted as a cohesive willingness to engage in and acknowledge some of the

concerns and challenges around mental ill health.

Recommendations The following are recommendations for consideration to disseminate the insight and learning

gained from the initial pilot of this art based initiative for future development:

Develop a strong business case for local funding councils to support a continuation of

the model to widen access for people living in the Canterbury community and beyond.

This will help to bridge the gap in current service provision for adult mental health users

requiring access to mainstream art therapy for their health and wellbeing.

The reflective insights provided by practitioners (whether therapist/ working artist/

facilitator) offer important learning and development narratives that may be of interest

to others working in the field of mental health or arts-based approaches to health and

wellbeing. Publishing the reflections would be a useful way of sharing insights into

significant learning and development.

Publication of the design, practicalities and outcomes of the initiative, will help others

considering development of similar initiatives across the UK e.g. policy makers,

professional bodies, voluntary sector organisations, local councils.

For future initiatives to use quantitative evaluation tools more closely aligned to the

orientation of groups’ particular needs and purposes, and be administered according

to guidance. We would propose that we seek a continuation of funding to undertake a

longitudinal evaluation of this group’s continued mental health and wellbeing using

alternative methods/tools.

For qualitative methods to focus more on outcomes for participants as this will be

potentially what funders will be primarily interested in; although maintaining foci on

local community engagement and responses as a point of possibility for sustained

partnerships and collaborations will also be of keen interest to prospective funders.

This is of particular relevance to thinking about the civic responsibilities of libraries,

museums and other public spaces for public health and wellbeing.

To track participants, post exhibition to gain insight into the usefulness and nuances

for participants of public selling exhibitions. It is also important to reflect on and

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acknowledge the limitations of small short initiatives in terms of not providing consistent

sustained engagement for participants, and to build sustainability into future initiatives.

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References Huet, V. (2015) ‘Literature review of art therapy-based interventions for work-related stress’, International Journal of Art Therapy. 20:2. pp. 66-76. DOI: 10.1080/17454832.2015.1023323

NHS Scotland (2006) The Warwick-Edinburgh Mental Well-being Scale. http://www.healthscotland.com/documents/1467.aspx

Public Health England (2016) Arts for health and wellbeing: An evaluation framework. Public

Health England. [Online] Available at: < https://www.gov.uk/government/publications/arts-for-health-and-wellbeing-an-evaluation-framework>. Last accessed 14th July 2016.

Thomson L. J. and Chatterjee, H. J. (2013) UCL Museum Wellbeing Measures Toolkit.

University College London. [Online] Available at

<https://www.ucl.ac.uk/museums/research/touch/museumwellbeingmeasures/wellbeing-measures>. Last accessed 14th July 2016