ABSTRACT
Ageist beliefs (Applewhite 2016) intersect with the more rigid gender binary of previous generations in creative arts therapy spaces. Assumptions about gender and preference dictate older adults’ participation as well as the types of materials, projects, and even the space itself. Work in elder care settings requires the arts therapist to advocate for the creative potential of older adults and empower through non-traditional media and approaches (Houpt et al. 2016; Maidment and Macfarlane 2011; HP Development Company 2016). In the first few months of work in an assisted living community, I observed a heavily gendered art program, reinforced by stereotypes and emphasis on product over process; even the pale pink art room walls emphasized art as a female-only space. Prior to my arrival, residents were ushered through step-by-step craft projects without any room for personal expression. Male-identified residents felt the space and therefore my services were not for them. Shifting the philosophy towards creativity and exploration resulted in a more inclusive art therapy program; elders and those who provided care began to see the participants as artists. Our art spaces became hubs for exploration, community, and research instead of step-by-step crafting. The change was evident in the participation demographics as well as the quality and subject matter of the work – elders explored their gender identity through a community photography project (Rosenfield, n.d.), social histories, and connection to community through creative pursuits. As our creative work dismantled the gender binary, we were able to emphasize other inclusive practices; we used adaptive techniques to facilitate expression and became a site for intergenerational and community connection. The implications of this creative work extend beyond the walls of the art studio as evidenced by the call for inclusive elder care (Johnson 2013) and feminist critiques of formal and informal care practices (Parks 2010; Poo and Conrad 2015).
