Canberra

Program Assessment by Roberta Turner

Art for Parkinson’s - Taking the Artist Within Out for a Walk

The birth of a work of art is a profound experience to witness. It is especially amazing when the act of making art allows the person making it to transform before one’s eyes!

This has been my experience in facilitating a group called Painting with Parkinsons in Canberra, ACT, Australia. I believe that there is no more exciting way of demonstrating how the therapeutic elements of art work than to watch the transformation which takes place when a person subjected to the symptoms of Parkinson’s Disease makes art.

In October 2005, at the Asia-South Pacific Conference for Parkinson’s in Melbourne, Australia, I assisted Nancy Tingey with a therapeutic painting class for those attending that conference. We also sent paintings from the Canberra Painting with Parkinsons group down to the exhibition that was held in Melbourne to celebrate and demonstrate their achievements.

The history of the group is interesting in itself. It originated with Nancy Tingey in 1994. Nancy, with her inimitable style of optimism, sought a way that might enable her and her family to cope with the difficult challenges linked to her husband, Bob’s, Parkinson’s. Parkinson’s is not a disease affecting only the person who has it – it affects families, friends, and even whole communities! (Consider Pope John Paul II, for example.)

Nancy decided to offer her own expertise as a painting teacher to people with Parkinson’s. She intuitively knew that there are enough disappointments and losses for people with Parkinson’s, so her aim was to try to ensure a sense of achievement in the class. For example, Jack, one of the first people to join the class, was a pastel artist, but was finding that dry pastels no longer worked for him. Together, Nancy and the group found that media like oil pastels, aquarelle crayons, eticole dyes and acrylics worked. Other insights were that watercolor, when used thickly, generated rich color and offered a bountiful feeling of accomplishment; and also that short brushes were better than long ones for ease of movement. From these humble beginnings, the name, ‘Painting with Parkinsons,’ emerged and has remained. Although, Bob, her husband, said recently, he thought the name could just as easily be: “You’re Not Useless With Parkinson’s”.

My own interests in art therapy began during my undergraduate years at Pennsylvania State University, but just after completing a degree in Arts and Sciences in 1984, I followed my husband to Australia before I could do any graduate work in art therapy. It felt like I’d been chasing the world to realise my hopes of studying further in this field, until I got to Canberra. So here in Australia, I completed a graduate diploma in Community Counselling in the early 90s – which was the only place offering a portion of its course work in art therapy on the eastern side of Australia, at that time! Since then, I’ve completed further studies in art therapy.

I have been a facilitator for Painting with Parkinsons since 1996. Even after ten years of involvement, I never leave the group session, without feeling awed by the effects that the art experience brings about in a two and one-half hour session once a week - both for the group and for myself!

As a facilitator, I feel very privileged. It is one of those experiences in life that lifts my spirits far beyond what my skills may be as a therapist. Despite the progressive nature of the disease of Parkinson’s, there comes an extraordinary range of creative expression. As one person put it, “As a group of people who get together to do this work, we don’t kid ourselves that we will become great artists, but the art is something as a collective endeavour, we can do well!”

Stimulated by this comment, I wondered what the individual group members might have to say. Why would a group of people who have Parkinson’s continue to turn up in taxis, be dropped off by carers, etc., come to this class in faithful attendance, week after week for years? I could only discover the answer by asking that question – so I decided to interview each member of the present Painting with Parkinsons group.

I recently visited Vera, who is one of the younger members of the class. When I arrived she was talking with her sister who was asking Vera to describe what it feels like when not on her medication. “It’s like being one of those wooden puppets, where the strings - pulled by an unknown source, controls the limbs!” Yet, this same person while creating a watercolour painting, sends the brush into such a magical performance that anyone observing her would say she embodies the definition of what art’s potential is – a transformation of the body, mind and spirit of the person creating it.

Vera is trying to go without her normal medication in order to test a more naturopathic type intervention – her personal decision. What she does find through all her trials, however, is that her creative work helps her focus, alleviates stress and helps in her ability to perform. Vera is also an active musician who finds that her time with the art group enhances her spirit of creativity.

Many people in this group had never painted, drawn or sculpted before coming to the class, and like many of us had a ‘fear’ of ‘not knowing how to paint’. They soon found out that this is not what this class is about. It offers a great range of ways to approach art, and it requires no prior knowledge of visual art at all.

Introspection over the loss and grief that accompanies Parkinson’s cannot easily be verbalized. As a result, it can be sheer bliss to be able to give self-expression through creative actions when words have become harder to access.

Though the name of this group Painting with Parkinsons remains the same since its beginnings, the group benefits from a wider range of art activities than the painting. It incorporates the use of clay, collage, music, paper-making, poetry writing, print-making, shibori dyeing and other creative art activities.

However, the validity of the use of watercolor as one of the more reliable mediums is found to be well grounded. Watercolor painting is useful in facilitating movement in a non-threatening way, as it allows the water itself to act as a conduit in the process of ‘letting go’. The unexpected drop of ink or colour into a pool of water or a water soaked paper has a different effect than might be expected. That process which may once have been seen as a ‘loss of control’ becomes more a realised dream of ‘letting go to new possibilities’. This is where playfulness through creativity gains momentum. It has the ability to enhance the spirit of freedom. It is where the body may not find physical healing necessarily on a long-term basis, but the mind and spirit may.

As humans we often concentrate on a person’s outer appearance and we overlook what a person’s abilities are by assuming that the ‘dis’ part of physical appearance affects the brain too! I believe in the necessity to challenge these cultural and systemic biases.

The quiet atmosphere, which is what we aim to set up in this group, encourages play, with whatever material is before her or him. That space can then become a place where the artist within (which I believe we all have), can freely access the inner connections to their own personal stories and treasures. They begin the journey of taking the artist within out for a walk.

These are not my own thoughts, but have been expressed in several different ways by the nine people whom I recently interviewed for this paper. It is their stories that, I believe, that give credence to the strength in therapeutic art for Parkinson’s! I am grateful for their candid and thought provoking answers.

Here, then, are the questions I asked, along with a sampling of the responses.

What was your former work experience?

Accountant/ public servant/now retired priest; artist/teacher; boat-maker/boilermaker; child-care worker; library assistant, secretary/counselor, scientist/Antarctica explorer, teacher, upholsterer/furniture maker. Some, who no longer attend, have been test pilots, university professors, and school principals. Some are mothers, some fathers.

This question demonstrates both the range of occupations people have held, before their Parkinson’s hit, as well as acknowledging their strengths of mind and character.

When were you aware of your Parkinson’s?

Most of the people in this group developed a late onset Parkinson’s after the age of 45, some have known about their disease for more than 20 years.

These preliminary questions gave time for reflection that tapped into the memory banks of those I asked in a very positive way. Most mentioned how they appreciated the opportunity to discuss their past careers; their present condition; and their role as contributing members of society.

What aspects of the art do you find helpful?

This was answered in a variety of ways. Some liked the 3D work in the early days, but find it harder now, as it is more physically demanding than painting even though they still enjoy it. However, if this is offered, and they don’t feel they can participate that day, they have free choice to select another medium. All really enjoy watercolor painting, all found that they loved playing with the different drawing and painting materials, including oil pastels, felt pens, graphite, acrylics etc.

How does it help you?

• It is a teaching tool about myself. There is an emergence of the deep unconscious. I find it stimulates a diary of my deep subconscious that feeds me. • It allows me the enjoyment of time and space – it gives me an opportunity for the continuation of childhood and I believe in play – it’s a natural way to be!

• The works of art I produce become like ‘my children’. It is a love-making story.

• It releases my ability to be surprised, yet produces something amazing as it materialises.

• It offers an optimum condition to succeed!

• It doesn’t seem like ‘work’ – I don’t have to worry about form or performance!

• Imagery is constructive, you can look backward and forward positively.

• It’s a way of externalising the intangible.

• It boosts my confidence – you realise you can take risks without dire circumstances!

• It seems there is a new me – joyful and always revelatory.

• It delights me as I never know what’s going to emerge.

• I look forward to each session and love being with my “Parkie” mates in this positive shared experience.

• There are opportunities to experiment with a variety of media, to explore colour, texture, form in a totally accepting non-judgmental environment.

• My creative spirits soar!

• When I received information about my painting that sold at the last exhibition, it was simply amazing to be acknowledged by someone who actually wanted to buy my work.

• It keeps my spirits high. I have a sense of achievement.

• It is okay not to have CONTROL!

• Playing music for me acts similarly. It is like painting before an empty canvas. • You can let go of grief of what your disability is causing you for which you have no control. You build from the first impression of the first note or the first drop of paint on the canvas. You no longer have to be the obedient child, but you are

invited to look at things in a new way, by building up the next piece of information you’ve put down or played.

• I love the genuine kindness within the group, a space of calmness and general nurturing.

• We are happy to see each other.

• We can present truthfully without trying.

• We are different people who have a common understanding. We know we are held well by each other, the facilitators and the carers.

Do you have noticeable tremors? If so, do you notice that they die down when you are painting, etc. If so, do you believe this is related to the fact that you are concentrating on the subject?

This was an interesting question, as most who do have tremors found that they are reduced while focusing on their art work. Distractions of having to stop and start again could create havoc at times, but all who tremor significantly, said the tremors were reduced and definitely are not made worse. One member has significant dyskinesia, but this is not as severe when he is focused on his art.

What are some of the things which make you feel the most comfortable when settling into the flow of work?

• No one rushes you! We are not judged by our ‘dis’abilities.

• Everything else gets blocked out and we get ‘vibes’ from others in the group.

• The class is held in an inspiring place with good light and a quiet space.

• The morning tea and the delicious cakes makes a really good start to the day – it helps us settle down from the outside hurry and allows us to catch up on the social time with the others. But even without the cakes just the social settling is very important.

What works well with the art itself?

• Playing around with colours is a real perk. Stimulating colours such as red and yellow are exciting to me, and blue is one I use for a more calming and peaceful feeling.

• Watercolour allows an easy ‘happening’ with little physical effort. There is a collaboration of expectation between me and the material.

• I find painting is helpful. It allows a sense of putting things together and I love to splash colour. I look around and see so much talent in the group.

• It helps me bring things from the past in front of me, which gives me a real buzz.

• What we get from each other is really important. I remember those who are no longer with us. For example Charles’ use of colour was amazing, Sheila’s sense of humour gave us all a treat, and the fact that we can laugh together a lot helps me.

Does it help to have different facilitators?

• Yes, it offers diversity, but it is easier to have one person over a few weeks to get used to their energy. It is very important, though, that they not give us too much to look at or take in, at once.

• I like the fact that a couple of the carers participate as well – the support for their partners is something we get the spin off from.

Do you find a short meditative type exercise enriching?

• At one time I would have said no, because when I first came to the group I wasn’t sure this was something that people thought we needed due to our Parkinson’s condition or not. Now, I really look forward to it and relax more before painting.

• I like the meditation time – and when people read aloud a passage that gives me something different to think about. Music is stimulating too.

As one group member expressed to me:

“You know that rainy morning after the drought seemed to have broken, when you asked us to try to recall our first memory of rain, or any other association with rain that was strong for us? And do you remember the rainbow painting I did? Well, that was the rainbow I saw at the time my husband left for what was meant to be a simple training manoeuvre. When I looked at my painting, I realised that that was the rainbow I saw when my husband’s plane flew off into the morning as I stood holding our young baby. I knew intuitively that I wouldn’t see him again. Don’t ask me how I knew it, but I did.

That painting experience allowed me to release a certain grief I’d held onto. I believe it was healing. It may not have to do with my Parkinson’s, but it allowed me to release something painful and look beyond.”

Roberta Turner
Community Counsellor
Art as Therapy Facilitator
Canberra, Australia

February 2006